Colnaghi
Skip to main content
Menu
Baptism of Fire
Terracotta Masterpieces Spanning Three Millennia

Baptism of Fire: Terracotta Masterpieces Spanning Three Millennia

Current viewing_room

Terracotta is the name given to naturally sourced clays rich in iron oxides which, when fired in a kiln, become durable and usually take on the distinctive orange/brown colour for which they are noted. It has been used since ancient times for both domestic utensils as well as for artistic expression.  In this latter capacity, terracotta has been prized by artists for its malleability and the way in which it can be used to create unique works of art, as well as multiples that can be cast from a mould. It is particularly useful as a medium through which artists can easily resolve compositional difficulties before transferring to the more expensive medium of bronze or marble.

 

During the Renaissance and Baroque periods, there was a growing appreciation of many of these terracotta modelli as works of art in their own right. For a number of connoisseurs, the spontaneity of the terracotta model had a freshness which was often lacking in the finished product. This immediacy continues to fascinate collectors, who recognise an important direct link between the work of art and the artist’s creative process. The present exhibition attempts to show the versatility of the medium, as well as its enduring appeal spanning millennia.

 

Click on the image below to access our catalogue
 

 

 

 

 

    • SOUTH ITALIAN GREEK, Fragmentary Head of a Panther, South Italian Greek, c. late 5th century BC
      SOUTH ITALIAN GREEK, Fragmentary Head of a Panther, South Italian Greek, c. late 5th century BC
      View more details
    • SOUTH ITALIAN GREEK, Fragmentary Head of a Bearded God, South Italian Greek, c. 4th century BC
      SOUTH ITALIAN GREEK, Fragmentary Head of a Bearded God, South Italian Greek, c. 4th century BC
      View more details
  • HEAD OF A VEILED WOMAN, ETRUSCAN, LATE 4TH TO EARLY 3RD CENTIRY BC

    HEAD OF A VEILED WOMAN

    ETRUSCAN, LATE 4TH TO EARLY 3RD CENTIRY BC
    Wearing a veil, a fillet adorned with roses, and with abundant curly hair, this head of a woman is a rare example of works of art that display a fusion of Italian and Etruscan stylistic elements.  Closely related to a half-length figure in the Metropolitan Museum of Art in New York (acc. no. 16.141), it almost certainly once formed part of a larger figure, and may have adorned a sanctuary in Lavinium, an Etruscan city eighteen miles south of Rome.  With its rounded face, curved brows and long, straight nose, the subject reflects a tranquil, classicising beauty.  The fact that the rosettes appear to have been applied by hand, and there are indications that the hair was worked with a stylus prior to firing, reflect the individual nature of this head and its importance to the sculptor and their patron. 
    VIEW MORE DETAILS
  • DONATO DI NICCOLÒ DI BETTO, KNOWN AS DONATELLO, BUST OF SAINT LAWRENCE, CIRCA 1440

    DONATO DI NICCOLÒ DI BETTO, KNOWN AS DONATELLO

    BUST OF SAINT LAWRENCE, CIRCA 1440
    The present bust depicts Saint Lawrence – a deacon who was martyred in Rome in the 3rd Century – in all his youthful beauty.  It is one of the few completely new additions made this century to the catalogue of works by Donatello, considered to be the greatest among all Renaissance sculptors. First commissioned in circa 1440 to adorn a lunette above the west door of the Church of San Lorenzo in the Mugello area of north Florence, it was purchased in the late 19th century by the famed art dealer Stefano Bardini, who promptly sold it to one of the most important connoisseurs of his day, Johan II, Prince of Liechtenstein.  It remained in the Liechtenstein collection until 2003 when it was sold, overpainted and unrecognised, as a 19th century work in Renaissance style.  Painstaking research by art historian Francesco Caglioti has now re-established its illustrious origins, and it takes its place as a masterpiece by Donatello, the artist who did so much to re-establish the reputation of sculpture executed in terracotta. 
    VIEW MORE DETAILS
  • GUIDO MAZZONI

    PAIR OF BUSTS OF PRINCELY CHILDREN, CIRCA 1496-1497
    • 08 Rev
    • VIEW MORE DETAILS

      VIEW MORE DETAILS

    • 08 E
  • LUISA ROLDAN, CALLED LA ROLDANA, VIRGIN OF THE IMMACULATE CONCEPTION, CIRCA 1690-1706

    LUISA ROLDAN, CALLED LA ROLDANA

    VIRGIN OF THE IMMACULATE CONCEPTION, CIRCA 1690-1706
    This delicate vision of the Virgin of the Immaculate Conception is rendered in polychrome terracotta, a medium particularly favoured in Spain and the entire Iberian peninsula.  It is from the hand of Luisa Roldan – known as ‘La Roldana’ – a rare example of a celebrated female sculptor, who worked in Spain during that country’s ‘Golden Century’.  Trained by her father, who was also a sculptor, she would become an influential figure in the sculptural community of Spain in the second half of the 17th century.  Although she was eventually appointed court sculptor to Philip V, she struggled financially throughout her life and died in relative poverty.  The iconography of the present group stems from the idea that the Virgin, as the mother of God, was herself free from sin.  The imagery of a demure woman, clothed in a white tunic and a blue mantle and standing on a crescent moon, was particularly influential in Spain from the middle of the 17th century.  Although many depictions of this subject reflect a more animated ethos, the present figure has a restrained and contemplative nature. 
    VIEW MORE DETAILS
  • FRANCESCO MORATTI

    TWO ANGELS KNEELING IN ADORATION, EARLY 18TH CENTURY
    • VIEW MORE DETAILS

      VIEW MORE DETAILS

    • Cg 0026 Image

        

  • JEAN-ANTOINE HOUDON, GREYHOUND (LEVRIER), EARLY 19TH CENTURY

    JEAN-ANTOINE HOUDON

    GREYHOUND (LEVRIER), EARLY 19TH CENTURY
    This charming depiction of a greyhound, with its elegant and slightly wistful expression, comes from the hand of Jean-Antoine Houdon.  Probably the most important French Neo-classical sculptor, Houdon was particularly noted for his sensitive portraits of royalty and European aristocracy, although he also had important ties to the new world, and famously depicted American statesmen including Thomas Jefferson, Benjamin Franklin, and George Washington.  Within his oeuvre, Houdon had a significant ‘sub-section’ depicting animals, both wild and domesticated.  The present terracotta figure was included in the retrospective exhibition held on the centenary of Houdon’s death in 1928.  It has been suggested, on the basis of a painting of Houdon in his studio by Louis-Leopold Boilly of circa 1804, that the present terracotta actually depicts Houdon’s own dog.  In the foreground of the painting there is a sleeping greyhound.  The fact that the dog does not wear a collar suggests to most scholars that the dog belonged to Houdon’s own family, and that the present terracotta is therefore a tribute to a much-loved family pet.  
    VIEW MORE DETAILS
    • CHARLES ADRIEN PROSPER D’EPINAY, Portrait of Sarah Bernhardt as Hermione, c. 1903
      CHARLES ADRIEN PROSPER D’EPINAY, Portrait of Sarah Bernhardt as Hermione, c. 1903
      View more details
    • VINCENZO GEMITO, The Siren Fountain (La Fontana della Sirena), 1920
      VINCENZO GEMITO, The Siren Fountain (La Fontana della Sirena), 1920
      View more details
  • PABLO PICASSO, LE DÉJEUNER SUR L'HERBE (A. R. 517), 1964

    PABLO PICASSO

    LE DÉJEUNER SUR L'HERBE (A. R. 517), 1964
    This edition of Le déjeuner sur l'herbe (A.R. 517), conceived in 1964, is a rare unnumbered example from Picasso's limited edition of 50. Stamped 'Madoura Plein Feu / Empreinte Originale de Picasso,' it features engraved terracotta with a black engobe finish. The designation Exemplaire Éditeur indicates that it is a 'Publisher's Copy,' set apart from the standard edition, making this work quite rare and with added importance.
    VIEW MORE DETAILS
  • (Larger version of this image opens in a popup).
    (Larger version of this image opens in a popup).
    (Larger version of this image opens in a popup).
    (Larger version of this image opens in a popup).
    (Larger version of this image opens in a popup).
    (Larger version of this image opens in a popup).
    (Larger version of this image opens in a popup).
    (Larger version of this image opens in a popup).
    (Larger version of this image opens in a popup).
    (Larger version of this image opens in a popup).
  •  

     

      

     

     

     

     

     

     

    Exhibiting At:

    26 Bury Street

    London SW1Y 6AL

     

    Opening Hours:
    Opening Preview: November 29,  10 am - 6pm

    Monday - Friday, 10 am - 6pm 

Manage cookies
Copyright © 2025 Colnaghi
Online Viewing Rooms by Artlogic

This website uses cookies
This site uses cookies to help make it more useful to you. Please contact us to find out more about our Cookie Policy.

Manage cookies
Accept

Cookie preferences

Check the boxes for the cookie categories you allow our site to use

Cookie options
Required for the website to function and cannot be disabled.
Improve your experience on the website by storing choices you make about how it should function.
Allow us to collect anonymous usage data in order to improve the experience on our website.
Allow us to identify our visitors so that we can offer personalised, targeted marketing.
Save preferences