Maiolica Madonna basrelief with Child "Robbiana"

This model was present in the Cantagalli catalog, reference number 284, with other similar works. This is the descriptive caption in the old catalog:
284. Madonna che adora il bambino: da un esemplare della bottega di
       Andrea della Robbia (1922, Marquand, n. 125) già alla Galleria
       dell'Accademia e quindi al Museo del Bargello. Modello Lelli (1985,
       Gipsoteca, n. 129). Cm. 41 x 62 x L. 50

Brief note on the Cantagalli Manufacture and its creator, the scholar Ulisse Cantagalli:
Ulisse Cantagalli was born into a historic family of potters, whose working origins date back to the end of the fifteenth century, and continued at the end of the seventeenth century with the construction of a furnace, thanks to which they intensified their production, even with exports abroad. Ulysses was born to Giuseppe and Flavia Franceschi, and since 1872 he directed the family business. Ulysses was a scholar of all the techniques of ancient majolica, moreover he also traveled a lot abroad to get to know the most important manufactures and seek contacts with important ceramologists, such as the C.D.E. Fortnum, J.Lessing, W. von Bode and H. Wallis. In little more than a decade he specialized in the manufacture of art majolica, exhibiting in various exhibitions in Italy and abroad, obtaining recognition and notoriety. At the industrial exhibition in Milan in 1881, his firm proved to be among the most appreciated for the manufacture of decorative majolica, obtaining the gold medal both for the stylistic quality and for the very cheap prices. He received other honors following the exhibitions in Antwerp, Paris and London. Among the works of the Cantagalli manufacture we can mention the Robbian-style decorations of the building of the Cassa di Risparmia in Pistoia, the friezes and windows of the E. Bona institute in Biella, the Persian-type tiles in the rooms of the Palazzo delle post offices and telegraphs in Florence, the new floors of the Borgia apartments in the Vatican and the room of Cain and Abel in the Pitti palace in Florence and the viceroy palace in Cairo. His production was characterized by the influence of ancient majolica from Gubbio, Urbino, Faenza, Cafaggiolo, Savona; [2] he was also inspired by Hispano-Arab and Persian ceramics, applying gilding and metallic luster. Ulysses died on March 29, 1901 in Cairo, where he had gone both for health reasons and to tile some rooms of the viceroy's palace.