Giovanni Della Robbia (1469-1529) Italian, Florence, circa 1520

R. Dionigi (ed.), Stemmi Robbiani in Italia e nel Mondo: per un catalogo araldico, storico e artistico, Florence, 2014, p. 303, no. 401

Given the age of the roundel, the terracotta and polychromed glazed surface are in good condition, with minor dirt and wear to the surface consistent with age. The roundel is composed in sections and joints are visible. The joints have been strengthened with the use of plaster fill, both at the front and the back, and an iron frame has been put around the whole to strengthen the sides. It is possible that the different segments have been detached and put back together at some point. There is a restored fracture running horizontally through the coat of arms. There are several chips to the coat of arms, in particular to the centre and left point at the top, and to the left side. There are various small losses and chips to the glazes, including to the edges of the scalloped white background. There are areas of restoration to the garland frame, in particular at the joints of each segment. There is particular restoration to the fruit and flowers of the bottom sections, in particular to the brown fruit at the bottom of the frame. There are further restorations to the glaze, including to the purple fruit at the centre top of the frame. In addition there are losses to the terracotta itself, including to the tips of some of the leaves, such as at the left side of the frame. There is considerable plaster fill to the reverse, particularly at the joints and at the centre. Oxidation staining at the centre may indicate the use of iron dowels internally. There is a loss to the terracotta at the edge of the bottom section. There are various small lacunae in the plaster fill. There is oxidation to the iron frame.
"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."

The vibrantly coloured and decorated heraldic tondi produced by the Della Robbia family created an insatiable demand among the Florentine elite of the 15th and 16th centuries. According to Gentilini (op. cit., p. 64), the earliest of such roundels in glazed terracotta, representing the Stemma della Marcanzia on the Orsanmichele, Florence, was made around 1440-1445 by the founding father of the workshops, Luca della Robbia. His successors Andrea, and later Giovanni, continued to model these powerful status symbols for Tuscany's foremost noble families. 

The present and the following lot have both been published with an attribution to Giovanni della Robbia, the most distinguished son of Andrea, who took over the running of the workshop in 1525. Compare Giovanni's Stemma of the Gaetani and Minerbetti in the Museo Nazionale in Florence (Marquand, op. cit., fig. 24). 

RELATED LITERATURE
A. Marquand, Giovanni della Robbia, Princeton, London and Oxford, 1920; G. Gentilini, I Della Robbia e l'arte nuova della scultura invetriata, exh. cat. Florence, 1998

A Thermoluminescence Analysis Report conducted by Oxford Authentication (Sample No.: N117b98) stated that the date of last firing from the samples taken from this roundel was 'Between 300 and 600 years ago'. The report is available on request.