Workshop of Andrea Della Robbia (1435–1525) Italian, Florence, circa 1490

with Galleria d'Arte Frediano Farsetti
Bruno Botticelli, Florence

R. Dionigi, Stemmi Robbiani in Italia e nel Mondo, Florence 2014, p. 165, no. 130 (as Workshop of Andrea Della Robbia).

Minor chipping around edges, surface abrasions. Restoration to right arm of shield and two corners of central arm. Minor pitting from firing
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

In 15^th century Florence, the Pitti family enjoyed considerable wealth and influence in their native city, a direct result of Luca di Bonaccorso Pitti's (1395-1472) close relationship with Cosimo de' Medici (1389-1464). In addition to his mercantile background, Luca was a politican fiercely loyal to Cosimo, who in 1458 appointed him to Gonfalonier of Justice. Because of this relationship between the two most powerful families in Florence, Luca was able to commission and construct the Palazzo Pitti, the largest private residence in that city which still stands today and is now one of Italy's most prestigious museums.

Stemmi, or coats of arms, were visible and tangible reminders of the enormous influence that aristocratic families shared. They were often made of glazed terracotta, a surprisingly durable medium pioneered by Andrea della Robbia's uncle Luca della Robbia, and were commonly mounted on the façades of civic buildings, private residences, and courtyards belonging to patrician Tuscans.

The present stemma is distinctly Tuscan in its shield-like shape common in the late work of Andrea and pervasive in Giovanni's work. The size indicates it was most likely used above a doorway within a private Pitti residence. It may have been surrounded by a decorative wreath of vegetation ( fig. 1) also modeled in glazed terracotta.

RELATED LITERATURE: 
A. Marquand, Robbia Heraldry, Princeton 1919

This lot is sold with a copy of a Thermoluminescence Analysis Report from Oxford Authentication dated 25 September 2014 stating that a sample N114j53 was last fired between 300 and 500 years ago (between 1514 and 1714).