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A Della Robbia Pottery vase probably by Elizabeth Beckett, ovoid footed form with applied loop handles to shoulder, incised and painted with a band of scrolling ivy between stiff leaf bands, in shades of green, yellow and turquoise on a brown ground, incised Della Robbia mark and EB artist monogram. 26cm. high

A Della Robbia Pottery bowl by Agnes, painted with bands of radiating foliage from a central Tudor rose, the rim with smaller flowers and foliage, in shades of red, green and cream on a tan ground, an Art Nouveau C H Brannam jardiniere, a Ruskin Pottery crystalline bowl and a collection of ceramics, incised DR mark and AEB, painted Agnes, chips to bowl, 20.5cm. diam. (a lot) Provenance The Estate of David Coachworth and Peter Myers.

A Della Robbia Pottery charger by Violet Woodhouse, dated 1895, incised and painted with flower mon inside geometric bands to the well, the broad rim a band of scrolling foliage, in shades of green, yellow, turquoise and brown on a buff ground, incised mark, date and JP monogram, painted Violet, chips and crack to rim, 37.5cm. diam. Provenance Christopher Wood, thence by descent

A Della Robbia Pottery plate by ELL, incised and painted with bands of stylised foliage, in shades of blue, green and yellow, incised Della Robbia mark, and ELL monogram, painted ELL mark, fine hairline to rim, 26.5cm. diam. Provenance Christopher Wood, thence by descent

A Della Robbia Pottery twin-handled vase by Lizzie Wilkins, dated 1901, the ovoid vase with tapering neck and swollen top rim, applied twin griffin handles, painted and incised with Art Nouveau foliate panels, in shades of green, yellow, turquoise and blue painted Della Robbia mark, dated and LW monogram, minor professional restoration, 41cm. high Provenance Christopher Wood A Very Victorian Eye, Christie's South Kensington, 28th February 2007, lot 160. Private collection Literature Isabelle Anscombe & Charlotte Gere Arts and Crafts in Britain and America, Van Nostrand Reinhold, page 216 plate 311 this actual vase illustrated.

A Della Robbia Pottery Dragon Jug by Liz Wilkins and Arthur Bells, swollen ovoid body with applied strap handle, the spout modelled as a mythical beast, incised and painted with panels of stylised Art Nouveau flowers and foliage in shades of green, blue and turquoise, painted and incised DR ship, painted LW and incised AEB monograms, 26.5cm. high Provenance Bonham's London24th April 2012, lot 315. Private collection, Literature Peter Hyland The Della Robbia Pottery, Birkenhead 1894-1906, ACC Books, page 238, original catalogue illustration, this shape illustrated catalogue number 14.

CARLO MANZONI (1855-1910), AN ARTS AND CRAFTS POTTERY BOTTLE VASE, incised decoration of green leaves, blue, yellow and red flowers, incised marks. 18cm highNote: Carlo Manzoni had a short-lived career at Della Robbia pottery under Harold Rathbone and Conrad Dressler from 1893 to 1895, when he left the company to form Minerva Art Ware Manufacturers, renting space in the Granville Pottery, Stoke-on-Trent. In 1898 he left the company in the hands of his staff and returned to Della Robbia, where he continued to work until 1906

A Cantagalli Della Robbia style pottery roundel, late 19th century, modelled in high relief with the Virgin Mary and Christ in white, surrounded by four angel heads against a pale blue ground, the rim moulded with fruit, cones and foliage, black painted cockerel mark, diameter 38cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

Hannah Jones for Della Robbia, a charger, with underglaze enamel decoration of cherubs, 37cm diameter, painters mark HJ to the reverse Condition: The glaze to the front seemingly in reasonable condition with some slight crazing, the reverse in poor condition with extensive glaze loss and associated re-spraying as restoration, this now with some losses, please see photographs

Annie Davis for Della Robbia, an art pottery plate, circa 1900, slip and sgraffito decorated with radiating leaves within an ogee rimmed border of onion lozenges, incised and painted marks ADs, 23.5cm diameter

Ruth Bare for Della Robbia, an art pottery dish and cover, circa 1900, slip decorated with knotted ribbon deign to the domed lid, the broad rimmed bowl with lip, decorated with geometric bands in green and yellow, incised and painted marks, 20cm diameter

Della Robbia plaque, circa 1894-1906, no. 952, incised with stylised tulip reserves in yellow and green, within an Art Nouveau inspired border, impressed marks (restored), 34.5cm diameter

Della Robbia vase, by Liz Wilkins and Arthur Bells, circa 1894-1906, shape no. 367, decorated with green incised leaves flanking a blue band of scrolling tendrils, impressed marks (restored), height 18cm

Della Robbia plate, circa 1894-96, simply decorated with a green ground centred with a rose and bordered with stylised flowerheads and leaves, incised and painted marks, 20cm diameter

Della Robbia large twin handled Algerian Vase with applied scroll handles and vertical incised leaf motif decoration under a turquoise blue and brown glaze. To the bottom of the vase is a decorative pattern of overlapping leaves in the Arts & Crafts style. The base of the vase is mostly obscured however the painted marks are similar to both Annie Smith and Annie Jones, Incised 'DR' with ship motif, 38cm (15") highMultiple breaks to both handles that have been reattached, chips to the glaze at the top rim of the vase. Firing faults to the bottom of the body.

Early 20th Century Della Robbia twin handled footed vase applied scroll handles, decorated by Tom Hall and Percy Jacques. The vase with dark brown painted vine and burgundy coloured flower decoration on a pale emerald green ground. The foot of the vase has ochre painted stylised vine decoration on a brown ground. Underside is incised 'DR' with ship logo and 1581 with a brown painted monogram for Tom Hall and Percy Jacques. Also painted number 119. Height 28.5cmGood quality restoration to both top handle joins, the top rim and body of the vase as well as the foot in multiple places. A couple of firing faults. Crazing throughout. Please see additional photographs.

Early 20th Century Della Robbia twin handled footed vase applied scroll handles, decorated by Tom Hall. The vase with dark green painted vine and peach coloured flower decoration on an emerald green ground Emerald green glaze. The foot of the vase has a stylised vine decoration with a thick dark green border to the bottom. Underside is incised 'DR' with ship logo and 391 with a green painted monogram for Tom Hall and brown painted 118 or 168. Height 28.5cmQty: 1Restoration to two portions of the body of the vase, chip restoration to one of the handles, loose glaze on the body in areas.

Pair of early 20th Century Della Robbia footed dishes or tazza, decorated by Gertrude Russell. The dishes are incised and painted with a symmetrical floral design with leaves and a triangular zig-zag rim. Each dish is painted in shades of green, yellow, ochre and pink. Underside has incised 'DCR' text with ship logo and 458 with a blue painted monogram for Gertrude Russell. 8cm and 8.5cm height and 18.5cm and 19cm in diameter.Qty: 2Chip to the foot of both tazzas and crazing throughout. See photographs.

A Della Robbia style pottery shallow dish decorated with stylised flowers, 30cms diameter.Condition ReportCrazing to the glaze front and back, firing pock marks to surface, rim has fritting

DELLA ROBBIA -- MARQUAND, A. Andrea della Robbia and his Atelier. -- Id. Luca della Robbia. -- Id. Benedetto and Santi Buglioni. -- Id. Della Robbias in America. -- N.Y., Hacker Art Books, 1972. 4 vols. 4°. Ohcl. (Bookblocks sl. foxed).

A DELLA ROBBIA STYLE MADONNA AND CHILD WALL PLAQUE with a modernist crucifix and a silver plated teapot

An Italian Della Robbia Tile Depicting Aringhieri After Pinturicchio, 15x10cms, Inscribed Verso

Della Robbia, an Art Nouveau pottery vase, dated 1900, by Charles Collis and Liz Wilkins, pear shaped with knopped neck, incised and painted flowers and leaves in reserves in turquoise, green and brown, the base with incised and painted marks, 35cm high CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

A Della Robbia ceramic plaque of a praying angel. Ship stamped to back with letters DR.

AN ITALIAN GLAZED AND BISCUIT POTTERY RELIEF MOULDED ROUNDEL IN THE DELLA ROBBIA STYLELATE 19TH CENTURYModelled with the Virgin and Child within a floral border, 78cm diameterMounted in a giltwood frame, 92cm diameter And on a claret baize ground board 103cm overallCondition Report: Chips to extremities - notably the floral border, some flaking to the blue ground behind the Virgin Condition Report Disclaimer

BENJAMIN CRESWICK (1853-1946) FOR DELLA ROBBIA POTTERY, BIRKENHEAD ARTS & CRAFTS RELIEF WALL PLAQUE, glazed polychromed terracotta, oak frame(panel 55.5cm x 36cm)Footnote: Literature: Hyland, P., The Della Robbia Pottery Birkenhead 1894-1906, ACC, 2014, p.159 Note: Benjamin Creswick was a sculptor and teacher based in Birmingham. He was a founder member of the Century Guild along with A.H. Mackmurdo and William de Morgan. He lived in Liverpool briefly in the 1880s. He will have been known to Philip Rathbone, and he carved figures for Wallasey Memorial Unitarian Church, designed by Harold Rathbone’s partner Edmund. The full extent of Creswick’s work for Della Robbia is not known, however, the closing sale of the company included a ‘finely modelled panel – “Merry Drinkers” in low relief, By Mr Creswick, of Birmingham School of Art’, possibly this panel.

APHRA PEIRCE & LIZ WILKINS FOR DELLA ROBBIA POTTERY, BIRKENHEAD VASE, DATED 1899 glazed terracotta, incised pottery marks and AJP monogram, green painted initials LW/ 1899/ 64(20cm high)

HAROLD STABLER (1872-1945) (DESIGNER) RICHARD LLEWELLYN BENSON RATHBONE (1864-1939) (MAKER) RARE patinated copper, glass(103cm wide, 88cm high approx.)Footnote: Note: Harold Stabler initially trained in woodwork and stone-carving before being appointed Head of Metalwork at the Keswick School of Industrial Arts in 1898. After a short time there and later at Liverpool University, he moved to London in 1907 where he was Head of the John Cass Institute’s Art School until 1937. Stabler worked with a number of materials, including enamels, metalwork, glass and ceramics, producing designs for mass-production which had a notable influence on the development of modern English design of the 1920s and 30s. He exhibited extensively at The Art Worker’s Guild and in 1936 he was one of the first to be appointed a Designer for Industry by the Royal Society of Arts. A relative of W. A. S. Benson, Richard Llewellyn Benson Rathbone was also the cousin of Harold Rathbone, Head of the Della Robbia Pottery in Birkenhead. He initially trained in metalwork with Benson, before setting up his own workshop in 1908. In keeping with the Arts & Crafts aesthetic, Rathbone’s work proved popular and he is known to have produced metalwork designs for Mackmurdo, Heywood Summner and C.F.A. Voysey. Rathbone also taught metalwork classes at Liverpool University, where he was later joined by Harold Stabler in 1903. By 1905 he moved to London to take a position as Head of the Art School at the John Cass Institute.

Della Robbia pottery arched shaped plaque, the Annunciation, with fluting border, 32cm wide, similar pointed arch relief head and shoulders of Virgin and Child, 27cm x 28cm and another smaller circular swaddled child, 15.5cm (3) 

TondoMutter mit KindUm 1440In der Art des Luca di Simone di Marco della RobbiaFlorenz 1399 – 1482 FlorenzAlabaster-Guss im ReliefMonochrom gefasstDurchmesser 65 cmMuseales Tondo aus Alabaster Guss mit dem beachtlichen Durchmesser von 65 cm. Diese reliefierte Darstellung der Madonna wurde im Zeitalter des Umbruchs zwischen Spätmittelalter und Renaissance im Italien des 15. Jahrhunderts geschaffen. Maria mit dem Kind wird hier als Ganzkörperbild gezeigt. Auf ihren abgewinkelten Knien balanciert das nackte Jesuskind, welches sie mit der linken Hand an seinem Rücken stützt. Die manieristisch gelängten Finger der rechten Hand umfassen den Fuß des Knaben. Der Dialog von Mutter und Sohn wird nicht nur im Blickkontakt der innigen Zuneigung ausgedrückt, sondern auch mit der Gestik der linken Hand, mit der das Jesuskind zum Schleier an der Brust der Mutter greift und sich dadurch stärker zu ihr wendet. Die Verspieltheit in der bildhauerischen Ausführung ist nicht nur in der Komposition der Figurengruppe wiedergegeben, sondern auch im Faltenwurf und dem Herausragen aus dem Mittelfeld des Tondo in den Rahmen hinein. Bei letzterem handelt es sich um einen raumgreifenden Trick, der Maria und Kind aus der Bildfläche stärker heraustreten lässt. Die gesamte Form der Sitzhaltung sowie der herausschauende Fuß Marias verweisen noch auf die ausklingende Spätgotik, während die dynamische Drehung der Figuren zueinander bereits die Renaissance verkörpert.Diese Art von Madonnenreliefs wurde meist in einem architektonischen Rahmen präsentiert und war für private Andacht bestimmt, die in den weniger öffentlichen Räumen der Residenz, wie beispielsweise dem Schlafzimmer, in Nischen aufgestellt war. Daher wurde dieses Werk vermutlich für einen adeligen Auftraggeber geschaffen. Bei der Madonna handelt es sich um ein populäres Motiv, das sich auf italienischen Reliefs des 15. Jahrhunderts häufig finden lässt. Besonders traf dies für die Stadt Florenz und deren Umgebung zu. Hier wurde gerne die Jungfrau in fürsorglicher Rolle als ideale Mutter präsentiert. Die beliebte Gestik der Figuren schafft eine intime Atmosphäre und enge körperliche Nähe: Maria greift mit ihren manieristisch gelängten Fingern nach dem rechten nackten Fuß des Kindes; hierbei wird die Menschlichkeit Christi sowie die Mutterliebe hervorgehoben. Der taktile Aspekt der Berührung der Fußsohle mit der Hand unterstreicht diese Werte zusätzlich und kann auch mit der Berührung eines Heiligenbildes durch den Gläubigen gleichgesetzt werden. Das dreidimensional anmutende Andachtsbild zeigt den Betrachtern die Verehrung Christi durch physische Interaktion vor. Damit wird nicht nur der Sehsinn mit der ästhetischen Wertschätzung des Kunstwerks, sondern auch der Tastsinn und die daraus resultierende religiöse Erfahrung des Gläubigen veranschaulicht. Dieser zusätzliche Erfahrungswert verdeutlicht das wichtige visuelle Charakteristikum von Andachtsbildern der Renaissance.Angesichts der besonderen Beliebtheit von derartigen Madonnendarstellungen lässt sich ein kompositorischer Ursprung geografisch fassen; stilistisch kann es aufgrund der komplexen Bildhauermeister Beziehungen und deren Werkstätten nicht eindeutig zugeordnet werden. Vollrunde Madonnendarstellungen dieser Art wurden zunächst von Filippo Brunelleschi (1377-1446) und Lorenzo Ghiberti (1378-1455) gefertigt. In der Forschung wird allerdings auch Jacopo della Quercia (1374-1438) als Schöpfer dieser Bilder genannt. Jedoch sei Ghiberti der erste Florentiner Meister, der die Verwendung von Materialien wie Alabaster, Stuck oder Ton für derartige Andachtsbilder perfektionierte. Michelozzo di Bartolommeo (1396-1472) schuf Madonnenreliefs mit verspielten Dialogen zwischen Mutter und Kind. Auch Donatello (1386-1466) kreierte Tondi wie die Madonna del Perdono und die Piot Madonna mit einer Büstendarstellung Marias und dem Kind im Arm. Hier ist auch Andrea del Verrocchio (1435-1488) zu nennen, der ausdrucksvolle, halbfigurige Darstellungen mit stark belebtem Faltenwurf schuf. Besonders bekannt für Tondi sind die Werkstätten des Lucca della Robbia (um 1400-1481) und Andrea della Robbia (1435-1525), die in Florenz wirkten. Sie forcierten mit der Produktion von Güssen (die verwendeten Knochenleim Formen konnten zwei- bis dreimal verwendet werden), die Herstellung von Tondi, Lünetten oder Altarbildern, für den privaten Gebrauch derartiger Kunstwerke. Stilistisch vergleichbar ist die um 1450/60 datierte Madonna del Roseto oder Madonna col Bambino tra due Angeli von Luca della Robbia, der unter anderem in Donatellos Werkstatt sein Handwerk erlernte.Ein Tondo mit ähnlicher Rahmung und derselben Berührung des Fußes findet sich auch bei einer Auktion von Sotheby’s im Jahr 2007, welches Lucca della Robbia zugeschrieben und um 1440 datiert wird. Es erzielte einen Bruttopreis von USD 375.000,-.Der voluminöse Faltenwurf sowie die dynamische Haltung der Figuren des hier beschriebenen Kunstwerks sind eindeutige Merkmale für die Herstellung aus der Übergangsphase zwischen internationaler Gotik und der Renaissance, die in Italien schon zu einem sehr frühen Zeitpunkt im 15. Jahrhundert erfolgte. Dadurch lässt sich dieses Tondo eindeutig in die Zeit um 1440/50 einordnen. Durch die ausführende Arbeitsweise und das Verwenden eines Alabaster-Sand Gemisches, welches in einem Knochenleim Model geformt wurde, wird die zeitliche Datierung eindeutig bestätigt. Der Zustand der monochromen, Marmor imitierenden Fassung auf der Oberfläche ist ebenfalls ein spannendes Indiz; genauso wie die beiden Vertiefungen links und rechts am unteren Rand. Diese beiden Mulden und die eisernen Stummel der ehemaligen Montierungsstangen am Rand auf der Rückseite des Tondos untermauern die Herkunft und das Alter des Kunstwerkes. Vorallem wird durch die Befestigungsvorrichtungen die These einer Aufstellung in einer Nische eines toskanischen Palazzo verdeutlicht.All diese technischen und kunsthistorischen Fakten untermauern die internationale Bedeutung dieses musealen Kunstwerkes aus der Hochblüte der Florentiner Renaissance in der Mitte des 15. Jahrhunderts.

A DELLA ROBBIA POTTERY VASE of bottle shape, with relief decoration of blue flowers on a brown ground, incised mark to base and number 273, indistinct blue painted marks, 22cm high  Condition Report:crazed, no chips, cracks or restoration

A Carlo Mansoni Minerva Art Ware tin glazed dish, painted in Della Robbia style, with a cherub within a stylised border, incised marks to base, No 46, 27cm diameterCondition report: Crazing to the glaze. Hairline to rim and chips to border.

A DELLA ROBBIA EARTHENWARE BOTTLE VASE, early 20th century, decorated by Lizzie Wilkins with stiff leaf shoulders over a green, yellow and brown stylised foliate body, painted mark and initialled in green, 7 3/4" high (Est. plus 21% premium inc. VAT)No chips, cracks or restoration.  Glaze crazed, small flaw to cream of everted rim

Two large sections from an antique Italian Majolica pottery door arch, modeled with fruits and cherub heads in the Florentine Renaissance style of Della Robbia. (the largest section being 22'' x 12'')

John Fogo (attributed) for Della Robbia, an art pottery tazza and another, sgraffito decorated with leaves, in terracotta on a green ground, incised marks, F, the other plain turquoise glazed, 21cm diameter (2)

Della Robbia Dutch vase, incised possibly by Jessie Sinclair and painted by Annie Smith, with scrolling leaf patterns.13cm highCondition report: Overall crazing and small glaze chips to the rim and foot. No restoration or significant damage.

A Della Robbia vase, circa 1900, decorated with foliate designs, incised marks and ELL 697 to base, 13cm highCondition report: Broken through the body and glued

Liza Wilkins for Della Robbia, dated 1898 - Vase decorated with blue flower heads and green leaves on red ground, with incised factory mark and No.381, and painted artist's mark and date, 5.25ins high

An early twentieth century Della Robbia pottery bowlsgraffito decorated with stylised flowers and vines on a green ground, designed by Tom Hall and decorated by Alice Louisa Jones bearing both makers marks to the basediameter approx. 13cmCondition: Overall the bowl is in good condition for its age, with no major cracks, some wear and fritting to the inside of the bowl rim

Wyn R Chalker (British 20th century) after Luca della Robbia (Italian 1400-1482): 'Children Singing' and 'Children with Cymbals' - frescos from the Cantoria of Florence Cathedral, pair watercolours signed, 24cm x 21cm (2)

DELLA ROBBIA & CHARLES VYSE. 'Della Robbia Birkenhead 1894-1906-An Interim Report' published by Metropolitan Borough of Wirral & the exhibition catalogue 'Charles Vyse-1882-1971' Richard Dennis 1974. Condition good, both clean inside, binding tight, covers with light wear & marks from use.  Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING.  The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase

Continental pottery plaque, 20th century, in the Della Robbia-style, applied with a scantily draped figure, a bull's head and a horse's head, on circular plaque, moulded and applied with fruiting vine, enriched in yellow, blue and green glazes, 36cm diameter (with damage) 

A Della Robbia twin handled vase decorated by Ruth Bare with foliate and flower decoration circa 1900 bears inscribed mark to base 33 cm high CONDITION REPORTS Areas of glaze missing, crazing throughout. In need of a good clean. General wear and tear to include some heavy surface scratches etc, firing faults, general wear and tear conducive with age and use - see images for more details

A Della Robbia stylised gourd shaped vase decorated by Cassandra (Cassie) Annie Walker with stylised relief decoration bearing inscribed mark and "CW" No'd 118 to base 21.5 cm high CONDITION REPORTS Has all over crazing, some areas of discolouration, some areas of glazing have chipped off. Otherwise wear and tear conducive with age and use to include surface scratching, firing marks etc. In need of a good clean - see images for more details

An Arthur E Bells for Della Robbia gourd shaped vase in turquoise inscribed and initialled "ADS 1896 to base" 22.5 cm high CONDITION REPORTS Has all over crazing as well as some scratch marks, chips to the base, dirty and in need of a clean. Has some losses to the glaze especially to the rim edge. Various small pinhead losses to the glaze and various firing faults throughout. General wear and tear conducive with age and use - see images for more details

A Della Robbia rectangular tile depicting two children either side of a smoking fire 13 cm x 24 cm bears "Della Robbia" mark to back CONDITION REPORTS Craquelure to the glaze particularly to the white areas. Several areas of chipping to the rim. Otherwise basically sound.

A Della Robbia Birkenhead Pottery vase of mallet form by Charles Collis decorated with stylised leaf motifs by Annie Jones bears marks to base 19 cm high CONDITION REPORTS Has crazing variously and some surface scratches. Otherwise firing faults etc, wear and tear conducive with age and use - see images for more details

BIRKENHEAD DELLA ROBBIA POTTERY TWO HANDLED AMPHORA FORM VASE, HP INCISED TO BASE

Hannah Jones for Della Robbia, a twin handled art pottery vase, shouldered form with elongated neck, sgraffito decorated with leaf cartouches in ogee borders, and wedges of graduated beads, painted monogram, 28cm high

Liza Wilkins for Della Robbia, an art pottery twin handled vase, baluster form, slip decorated with ogee vignettes of floral specimens, the handles modelled in relief as lions, incised and painted marks, 26cm high

Della Robbia-WerkstattGLASIERTE TERRAKOTTABÜSTE „MADONNA MIT DEM KIND“ Höhe: 53 cm.Breite: 73 cm.Tiefe: ca. 11 cm.Florenz.In hellem Ton geformt und weiß glasiert. Die jugendliche Maria in Halbfigur, der Oberkörper leicht nach links, dem stehenden Kind entgegengerichtet. Das Kleid mit Kordel und Schleife gegürtet, der glatt gearbeitete Mantel wird durch ein schmales Band über der Brust zusammengehalten. Die linke Hand der Mutter liegt dem Knie des Kindes auf, das Kind hält in der rechten Hand einen Vogel, die Linke ist zum Segensgestus erhoben. Die Nimben beider Figuren in Form flacher Scheiben gearbeitet. Insgesamt im Dreiviertel-Hochrelief geformt, die Rückseite unglasiert, der helle gebrannte Ton weist durch Stege getrennte Vertiefungen auf, um das Werk beim Brand zu festigen. Der Bildhauer Luca della Robbia (1400-1482) war neben Ghiberti (1378-1443) und Donatello (um 1386-1466) Mitbegründer der Florentiner Frührenaissance. Er war auch der erste jener Künstlerfamilie, die sich nach Arbeiten in Marmor ganz der Terrakottatechnik verschrieben hatten. Seine wesentliche Neuerung bestand um 1442 in der Erfindung der „terra invetriata“, der mit Bleizinnglasur überzogenen Terrakottaplastik. Die von ihm gegründete Werkstatt in Florenz war nun in der Lage, die teure Produktion von Marmorwerken durch schnell zu fertigende, preisgünstigere Arbeiten zu substituieren. So waren auch kleine Gemeinden, Pfarreien und Privatleute in der Lage, künstlerisch höchstwertige, plastische Bildwerke zur Ausstattung von Kapellen, als Andachtsreliefs an Gebäuden etc. zu erwerben. Dazu kommt, dass auch mehrere Abformungen nach einem Modell gefertigt werden konnten. Der Erfolg des Familienunternehmens blieb nicht aus. Andrea della Robbia (1435-1525), Neffe des Luca, übernahm die Werkstatt. Mit Giovanni della Robbia (1469-1529) wirkte bereits die dritte Generation. Lediglich Girolamo della Robbia (1488-1566) jüngster Sohn des Andrea und Bruder des Giovanni, zog nach Frankreich, um für Franz I zu arbeiten. Die Werke der über ein Jahrhundert wirkenden Bildhauerfamilie lassen sich nicht immer leicht zuordnen. Noch im 19. Jahrhundert wurden nach alten Formen Werke erneut gefertigt. Bei dem hier vorliegenden Werk zeigt die plastische Gestaltung überwiegend die Handschrift des Andrea della Robbia. Einige wenige, altersbedingte Glasurabsplitterungen, vor allem am Handrücken des Kindes. A. R.Literatur: Vgl. Giancarlo Gentilini, Della Robbia, Luca, in: Massimiliano Pavan (Hrsg.), Dizionario Biografico degli Italiani (DBI). Bd. 37: Della Fratta – Della Volpaia, Rom 1989. Vgl. Paul Schubring, Luca della Robbia und seine Familie, Bielefeld 1905. (1290846) (1) (11)Della Robbia workshopGLAZED TERRACOTTA BUST “THE VIRGIN AND CHRIST CHILD”Height: 53 cm. Width: 73 cm. Depth: ca. 11 cm.Florence, possibly 16th century.The sculptor Luca della Robbia (1400-1481) was a pioneer of Early Renaissance in Florence alongside Ghiberti and Donatello. He was also the first of his family of artists devoted entirely to the terracotta technique after working in marble initially. His main innovation in ca. 1442 was the invention of the so called “terra invetriata”, terracotta sculpture covered with lead-tin glaze.Andrea della Robbia (1435-1525), Luca´s nephew, took over his workshop followed by Giovanni della Robbia (1469-1529) in third generation. Only Girolamo della Robbia (1488-1566), the youngest son of Andrea and brother of Giovanni, moved to France to work for King Francis I. It is not always easy to discern the works of this family of sculptors, who were active for more than a century. Works were still being made using old moulds as late as the 19th century. The sculptural design of the present work predominantly shows the signature of Andrea della Robbia. With a few, age-related glaze chips, especially on the back of the Child´s hand. Literature:cf. Giancarlo Gentilini, Della Robbia, Luca, in: Massimiliano Pavan (ed.), Dizionario Biografico degli Italiani (DBI), vol. 37: Della Fratta-Della Volpaia, Rome 1989.cf. Paul Schubring, Luca della Robbia und seine Familie. Künstler Monographien, Bielefeld 1905.

Della RobbiaApple jam pot, 1894Glazed earthenware.19 cm highProduced by Della Robbia Pottery, Birkenhead, England.Underside incised with ship mark, date and K1, interior painted in blue SS and underside of lid SB.Footnotes:LiteraturePeter Hyland, The Della Robbia Pottery, Birkenhead 1894-1906, Suffolk, 2014, p. 66For further information on this lot please visit Bonhams.com

glazed terracotta, impressed mark and date 190629.5cm x 49cm (11 1/2in x 19 1/4in)Footnote: Literature: The Studio, Vol. 13, 1898, p. 190 (similar example illustrated), titled 'Della Robbia panel Melody Designed by Miss Rope and painted by Miss E.M. Wood'.

glazed terracotta, each painted Della Robbia/ B’head with monogram HR, incised marks, later oak frames19cm x 33cm (7 1/2in x 13in) high and 19.5cm x 34cm (7 1/2in x 13 1/2in)Provenance:Richard Dennis, March 1989.Note:The designs for the panels are attributed to Ford Madox Brown.

Two Della Robbia type plaques, together with three items of faience comprising an ink well, two candlesticks and a Greek icon Madonna and Child (6)Condition report: Major damage to half circle, glued together, major cracks, etc.Religious figure candle holder, head stuck back on, chipped.Madonna & child, dentedOther candlestick, two small chips on rim.Minor chip on small plaque.Enamel chipped around ink well rim.Please view additional images via our website.

A Della Robbia Jug . By Cassandra Annie Walker. Dated 1903. The polychrome glaze with Arabesque decoration. 22cm high.

A DELLA ROBBIA POTTERY SLENDER BOTTLE VASE, decorated by Charles Collis and Hannah Jones, incised with yellow roses with trailing heart shaped leaves between three vertical brown bands, green rims, the base with incised Della Robbia galleon mark with 'C' above, incised .255 and painted HJ monogram, height 38.5cm (condition: crazing visible in the cream glaze, minor glaze scuffs around the bottom edge)

A glazed terracotta lunette depicting The Annunciation after Andrea Della Robbia, 19th century, modelled in white relief on a lavender-blue ground, 25cm high, 42.5cm wide. PROVENANCE: Lord Brownlow, Belton; Christie's House Sale, 2 May 1984, lot 784 (£140). A reduction of the original in the Ospedale di S. Maria degli Innocenti, Florence Condition Report: unmarked, fritting and glaze loss to margins and to raised details, reverse with some chips to lower corners and edges- old paint traces to margins, original piercings to top for wire suspension/hanging Condition Report Disclaimer

A late 19th / early 20th century polychrome decorated circular pottery wall plaque in the style of Luca della Robbia; the central white glazed framed angel in high relief against a blue ground and a framed garland of lemons, apples and grapes (41cm diameter)

glazed earthenware, inscribed verso DR/ 54/ AEA/ 1897, later framed52.5cm x 47.5cmFootnote: Literature: Jeremy Cooper Ltd., The Birkenhead Della Robbia Pottery 1893-1906, 1980, front cover illustrationHyland, P., The Della Robbia Pottery Birkenhead 1894-1906, ACC, 2014, p.209, pl.225Note: A prominent sculptor and artist based in London, Ellen Mary Rope never worked at the Della Robbia Pottery, however she did supply a significant number of designs from 1897 until the factory’s closure in 1906. After studying at the Slade, she quickly gained a solid reputation and received a number of important commissions, including one to produce four panels for the Woman’s Building at the 1893 Chicago Exhibition. At the same time, Rope also wanted her work to be more accessible to a wider market; her charming designs and traditional working methods, very much in keeping with Arts & Crafts ideology, appealed to Harold Rathbone, who was in need of a talented designer and sculptor to replace Carlo Manzoni and Conrad Dressler.Her designs for the pottery were an instant success, and featured heavily in the 1896 catalogue, as well as in exhibitions at the Walker Art Gallery in Liverpool. One of Rope’s most popular designs is arguably the present lot, which she titled ‘Mother and Child’. The figures, modelled with simplicity, have a certain classical aura about them and their delicate treatment offers a graceful and tender interpretation of the relationship between them. Often seen on large square bas-relief panels, as in the present lot, this particular design was also reproduced by the pottery as small medallions by Marion de Clawé.