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Virgin and Child , Stucco Relief workshop of Luca della Robbia 15th century
Virgin and Child , Stucco Relief workshop of Luca della Robbia 15th century - Sculpture Style Virgin and Child , Stucco Relief workshop of Luca della Robbia 15th century - Virgin and Child , Stucco Relief workshop of Luca della Robbia 15th century - Antiquités - Virgin and Child , Stucco Relief workshop of Luca della Robbia 15th century
Ref : 117236
12 000 €
Period :
11th to 15th century
Provenance :
Italy
Medium :
Stucco
Dimensions :
l. 10.04 inch X H. 15.35 inch X P. 3.54 inch
Sculpture  - Virgin and Child , Stucco Relief workshop of Luca della Robbia 15th century 11th to 15th century - Virgin and Child , Stucco Relief workshop of Luca della Robbia 15th century  - Virgin and Child , Stucco Relief workshop of Luca della Robbia 15th century Antiquités - Virgin and Child , Stucco Relief workshop of Luca della Robbia 15th century
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Virgin and Child , Stucco Relief workshop of Luca della Robbia 15th century

Virgin and Child, polychrome and gilded stucco relief, workshop of Luca della Robbia. 15th century.

This intimate composition was one of Luca della Robbia's most appreciated: modeled half-length, the Child holding his mother's veil in one hand, the other on his back, the Madonna grasping his foot.
Allan Marquand has listed nine versions, including the copy in the Corsini Collection in Florence. Versions are also found in the sculpted jamb of the hospital of Santa Maria Nuova in Florence and in the vault of a cloister of Santa Maria di Castello in Genoa.
Luca's early production was terracotta pigmented with natural colors; it was only after 1440 that he began to devote himself to enameled terracotta.
The iconography of the Virgin holding Christ's foot and Christ holding the mother's veil, popular in Italian Renaissance painting and table sculpture, derives from Byzantine icons.
This type of relief enjoyed extraordinary success in fifteenth-century Italy: cast from marble sculptures or, more often, from terracotta using a plaster cast of the original, they were then finished by the sculptor and finally painted and gilded. The painter's role was fundamental: by highlighting the clothes or hair with gold, illuminating the eyes, giving life to the complexions, the brush helped to accentuate the gentle and affectionate character that invariably distinguishes these compositions. The result is a tone of close naturalism, of familial intimacy that was to constitute the most irresistible attraction of this whole new generation of sacred images, which soon came to undermine the role played by triptychs and altarpieces with Marian subjects in domestic devotion. Studies around this branch of Renaissance sculpture have highlighted Tuscany as the epicentre of this very particular production.
Our stucco relief has a clearly legible and raised motif, which testifies to the fact that it is one of the first replicas of the original. The polychromy has been well preserved: the incarnates have been preserved as well as the colours of the clothes and, in particular, the beautiful golden decoration of the Child's dress, whose richness indicates a prestigious commission.

The relief has undergone a conservative restoration including cleaning and consolidation of the original colours at the Nike laboratory in Florence, specialised in sculptural restoration at the service of the Polo Museale in Florence. A fundamental thing about our stucco is the state of conservation of the pigments: over time many of these reliefs, including most of those preserved in museums, have undergone a noticeable pictorial retouching, following a typical 19th century fashion. They have been, practically, repainted, because these objects of devotion were often exposed to humidity and lost much of their colors. Our stucco, curiously, had been completely repainted with a thick layer of lime: when it was found, only the faces of the Madonna and Child emerged from the white. It was the hard cleaning work carried out by the Nike laboratory, which lasted almost a year, that brought to light the wonder of the pigments and the original gilding, protected from humidity and bad weather by that thick layer of lime. It is of fundamental importance to understand this because our stucco has apparently dull colors compared to others of the same era but in reality what we see are the original pigments laid down in the 15th century.

It is accompanied by the expertise of Dr Camilla Chiti of the University of Padua.

Measurements
Height cm 39
Width cm 25.5
maximum thickness cm 9/10

Delevery information :

Antichità San Felice takes care of organizing the packaging, home delivery and all the administrative formalities related to the shipment.
Antichità San Felice works with several service providers selected for their professionalism, in order to ensure delivery of works of art in the best conditions.

For the packaging of the goods, we involve craftsmen who were responsible for the construction of custom-made wooden crates.
For transport, depending on the case, we involve the most suitable service provider.

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