Florentine artist (after Luca della Robbia?)
Virgin and Child with four Angels
Diameter: 18 cm
Berlin, Staatliche Museen, Skulpturensammlung, Inv. SKS 136.
Venice, Guggenheim (1887); Berlin, Skulpturensammlung/Altes Museum (1887-1896); Berlin, Skulpturensammlung/Neues Museum (1896-1904); Berlin, Skulpturensammlung/Kaiser-Friedrich-Museum (1904-1939); Berlin, storage (1939-1945); Merkers, storage (1945); Wiesbaden, Central Collecting Point (1945-1956); West Berlin, Skulpturensammlung/Museum Dahlem (1956-1990); Berlin, Skulpturensammlung/Museum Dahlem (1990-1997); Berlin, storage (1997-2006); Berlin, Skulpturensammlung/Bode-Museum (since 2006).
Bought in Venice in 1887 from the dealer Guggenheim.
The acquisition file (1235/89) is in the Zentralarchiv der Staatlichen Museen zu Berlin.
• London, Victoria and Albert Museum, Inv. 7694A-1861. Partially gilt bronze carved in relief. Reverse side of a mirror.
• Vienna, Liechtenstein collection.
• Formerly London, Christie’s, Winter 2005/Spring 2006 (as mentioned in the Victoria and Albert Museum’s website, consulted on 23 February 2016: collections.vam.ac.uk/item/O69613/virgin-and-child-with-angels-mirror-robbia-luca-della/).
Wilhelm Bode, Die italienischen Bronzen, 2nd edition, Berlin, Reimer, 1904, n. 430: Florentine artist related with Ghiberti and Luca della Robbia. (reference to be checked).
Paul Schubring, Donatello. Des Meisters Werke in 277 Abbildungen, Stuttgart and Leipzig, Deutsche Verlags-Anstalt, 1907, pp. 169, 201: close to a tondo in the Musée du Louvre, Paris (Inv. RF 943); follower of Donatello, perhaps Giovanni da Pisa.
E. F. Bange, Die Italienischen Bronzen der Renaissance und des Barock, Zweiter Teil: Reliefs und Plaketten, Berlin and Leipzig, Walter de Gruyter, 1922, p. 1 cat. 4: school of Donatello, ca. 1450.
Radcliffe and Avery 1976 ed. 1988
Anthony Radcliffe and Charles Avery, “The ‘Chellini Madonna’ by Donatello”, The Burlington Magazine, CXVIII, n° 118, June 1976, pp. 377-387 now in: Charles Avery, Studies in European Sculpture II, London, Chriestie’s, 1988, p. 46: close to the Fortnum Madonna by Luca della Robbia in the Ashmolean Museum, Oxford, dated 1428; most implausibly associated with Donatello about 1450, earlier and not far from Ghiberti’s bronze doors.
Anthony F. Radcliffe in Italian Renaissance Sculpture in the Time of Donatello, exh. cat. (Detroit, The Detroit Institute of Arts, 23 October 1985-5 January 1986), Detroit, The Detroit Institute of Arts, 1985, p. 152: the version in the Victoria and Albert Museum is the only one to have a negative image on its reverse. Besides the Berlin version, mentions also the Liechtenstein one.
Jeremy Warren, Medieval and Renaissance Sculpture. A Catalogue of the Collection in the Ashmolean Museum, Oxford. Volume 2. Sculptures in Stone, Clay, Ivory, Bone and Wood, Oxford, Ashmolean Museum Publications, 2014, p. 387: related to the Fortnum Madonna by Luca della Robbia in the Ashmolean Museum, Oxford.
The Virgin is seated in the center of the composition; it is impossible to distinguish her seat. Her son Jesus is standing on her thigh, his right arm flung around his mother’s neck. The central group is surrounded by two standing angels holding a garland and two kneeling musician angels playing the lute, all of them on clouds. Elements from the composition such as the wings of the standing angels or the cloak of the Virgin overlap the wreath framing the scene.
The works was first associated by Bode 1904 with Luca della Robbia and Lorenzo Ghiberti; it was reminiscent of the Fortnum Madonna in the Ashmolean Museum, Oxford, almost invariably attributed to Luca (see a derivation of it in Berlin: Inv. SKS 2303). Schubring 1907 thought that the work was by a follower of Donatello; thi
Entstehungsort stilistisch: Florenz