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- Auction 32
- 66 Madonna of the Rosary and Child. SESTO FIORENTINO, early ...
Los Nr. 66 - Auction 32
67Beschreibung
Madonna of the Rosary and Child.
SESTO FIORENTINO, early period of the Carlo Ginori Manufactory (1737–57), majolica after a model by Girolamo Ticciati; mid-18th century. High-relief majolica on large plate in contemporary black and gilded double wooden frame. Painted in polychrome on white ground.
35 x 52 cm.; frame 64 x 80 cm.; < 10-15 cm.> . Condition: excellent.The wax model for this beautiful Madonna and Child is in the Museo di Doccia where it is attributed to Girolamo Ticciati (1676 – 1744), a sculptor of some renown in Tuscany, whose marble work graces various churches in the region. Ticciati, like other artists of his era, produced various wax models for the Ginori manufactory for potters to translate into ceramic. In this case, the potter made minimal variations and additions to the original, adding the rosary crown (possibly on commission), a symbolic small plant, angels and some rockery, although on the whole he tended to comply with the original model. The work has been dated to the early years of the manufactory which Carlo Ginori opened in Doccia, in Sesto Fiorentino, in 1737.
SESTO FIORENTINO, early period of the Carlo Ginori Manufactory (1737–57), majolica after a model by Girolamo Ticciati; mid-18th century. High-relief majolica on large plate in contemporary black and gilded double wooden frame. Painted in polychrome on white ground.
35 x 52 cm.; frame 64 x 80 cm.; < 10-15 cm.> . Condition: excellent.The wax model for this beautiful Madonna and Child is in the Museo di Doccia where it is attributed to Girolamo Ticciati (1676 – 1744), a sculptor of some renown in Tuscany, whose marble work graces various churches in the region. Ticciati, like other artists of his era, produced various wax models for the Ginori manufactory for potters to translate into ceramic. In this case, the potter made minimal variations and additions to the original, adding the rosary crown (possibly on commission), a symbolic small plant, angels and some rockery, although on the whole he tended to comply with the original model. The work has been dated to the early years of the manufactory which Carlo Ginori opened in Doccia, in Sesto Fiorentino, in 1737.
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