Bologna, Angelo Minghetti and Sons Artistic Ceramics Manufactory, The Madonna of the Olives. Polychrome “glazed” earthenware statuette with a decoration called “a fiori, frutti, a foglie” executed in low-fire enamels depicting, seated on a neo-Gothic chair with a high backrest covered with an olive branch, the Virgin Mary and the Child Jesus. On a step of the Throne, the painted label is titled: “Quasi Olivia Speciosa in Campi”. The hollowed-out back bears Angelo Minghetti’s signature painted in blue, composed of the three intertwined letters “A, M, F” inserted between a stylized star and brace. Circa 1896.
Seated enthroned on a raised chair covered in luxuriant fringed brocade, her piously melancholic face enclosed by a piece of the ample cloak that envelops her entirely, the Virgin Mary tenderly holds, with her hands with slender fingers, the Child Jesus sitting upright on her left knee. Draped in a fine fabric emphasizing his plump forms, the Divine child with his blond head noticeably inclined, his smiling gaze directed towards the Earth, carries in a gesture of gentleness his left hand on his bare chest and, with the other, holds an olive branch like an offering. Evoking, according to Christian iconographic tradition, certain episodes in the life of Christ - and, more particularly, that of his Prayer in the Garden of Gethsemane preceding his Sacrifice - this peace-giving symbol surrounds the top of the high molded back with its undulating foliage; In echo, one of the steps of the throne of grace is centered with a placard titled with a verse from the Old Testament: “Quasi Olivia Speciosa in Campi”.
Haloed in milky white, the fine and graceful figures are adorned with fabrics of subtle chromatism. Playing on the soft harmony of washed lapis blue, pink and yellow, it is enhanced with a mesh of stylized floral and ornamental motifs (ribbons, stars) in bright tones of purple, orange set with a delicate light green. Standing out against a nuanced olive green background, the narrow ochre band of the brocade decorated with scrolls, acanthus foliage, quadrilobed rosettes, and diamonds with brown outlines gives this piece, overall "varnished", richness and luminosity.
Composition endowed with a delicate eurythmy, chaste and gentle attitudes and expressions, search for a decorative elegance to which the fluid drapes of the fabrics dotted with suave floral motifs (decoration called "a fiori, frutti a foglie") give a certain preciousness, chromatic refinement adjusted to the sacredness of the subject distinguish this Madonna of the Olives endowed with a great poetic charm.
Like other Madonnas created around the years 1890-1910 by the Manufacture of "Ceramische Artistiche Angelo Minghetti e Figli" - of which few Bolognese interiors are devoid and highly sought after, rightly so, by an international clientele - our statuette, both by the clarity of its symbolism and by its refined aesthetics, its decorative qualities moves and enchants.
It also reflects the sensitivity of an era that was enamored of mysticism at the turn of the 1871th and 1940th centuries. This inclination is matched by eminent representatives of European decorative arts such as Angelo Minghetti - designer in collaboration with Arturo Colombarini (1883-1832) of this effigy - by combining the trends of these decades (Pre-Raphaelitism, Symbolism) with essential references (old models derived from the Quattrocento, Gothic Renaissance ornamental lexicon). Our Madonna has similarities with a canvas executed in 1891 by Nicoli Barabino (XNUMX-XNUMX) - Quasi Oliva Speciosa in Campis - whose composition, engraved by G. Cantagalli, was widely distributed in the Peninsula.
Italy, Bologna, late 19th-20th century.
Materials: Earthenware, polychrome enamelled decoration underglaze.
Dimensions: H.: 39,5 cm; L.: 17cm; Pr.: 15 cm.
– The Angelo Minghetti and Son Artistic Ceramics Factory (1858-1967).
In a century fond of "objects and High-curiosity" and, more particularly in love since the Romantic era with Italian Majolica of the Renaissance period, Angelo Minghetti (Bologna, 1822-1885) founded as an enterprising man around 1858 a small family business of "Ceramische Artistiche" in his hometown. Located near the Palazzo Pepoli, the workshops of his Manufacture were later transferred to via Zamboni (1864) then 87, porta San Vitale (1878).
Introduced to the art of Majolica as a worker and then collaborator with the Bucci Ceramic Factory in Imola (Emilia), for which he restored pieces of 1869th century Faenza or made copies of these famous "glazed earthenware" requested by antique dealers catering to the tastes of European customers, A. Minghetti presented his own creations in 1883 at the Industrial Exhibition in Bologna. Rewarded with a Silver Medal, these augured the career marked by national and international successes of this talented ceramist: silver medal (Rome, 1884; Turin, 1873), gold medal (Vienna, 1881; Milan, 1878), Honorable Mention (Paris, 1881) and Diploma of Honor (Turin, 1884). Committed to reviving a centuries-old art by drawing inspiration from the compositions of Della Robbia or by reinventing the sculptural forms and complex motifs of the Settecento, Minghetti was hailed at the Turin Exhibition (XNUMX) as the 'felice inovatore dell'arte ceramica italiano'.

Bologna, Manufacture of Artistic Ceramics Angelo Minghetti and son-, The Madonna of the Olives. Statuette in “glazed” polychrome earthenware with a decoration called “a fiori, frutti, a foglie” executed in small fire enamels depicting, seated on a neo-Gothic cathedra with a high backsplash covered with an olive branch, the Virgin Mary and the Child Jesus. On a step from the Throne, the painted cartel titled: “Quasi Olivia Speciosa in Campi”. The back, hollowed out, bears painted in blue the signature of Angelo Minghetti composed of the three intertwined letters “A, M, F” inserted between a star and a stylized brace. About 1896. Sitting enthroned on a raised cathedra lined with lush fringed brocade, her devoutly melancholy face encircled by a flap of the ample mantle that envelopes her entirely, the Virgin Mary tenderly maintains, with her slender-fingered hands, the Child Jesus seated upright on his left knee. Draped in a fine fabric emphasizing his chubby shapes, the Divine toddler with a blond head slightly inclined, with a smiling gaze directed towards the Earth, carries in a gesture of leniency his left hand on his bare chest and, with the other, maintains such an offering an olive branch. Evoking, according to the Christian iconographic tradition, certain episodes in the life of Christ – and, more particularly, that of his Prayer in the Garden of Gethsemane preceding his Sacrifice – this pacifying symbol halos with its undulating ramage the top of the high molded backrest ; echoing this, one of the steps of the throne of grace is centered on a label titled with a verse from the Old Testament: “Quasi Olivia Speciosa in Campi”. Haloed in a milky white, the slender and graceful figures are adorned with fabrics with a subtle chromaticism. Playing on the soft harmony of washed lapis blue, pink and yellow, it is enhanced with a mesh of stylized floral and ornamental motifs (ribbons, stars) in dazzling tones of purple and orange set with a delicate light green. Standing out against a nuanced background of olive green, the narrow ocher band of the brocade worked with scrolls, acanthus foliage, quatrefoil rosettes, lozenges with brown outlines give this piece, on its whole “glazed”, richness and brightness. Composition endowed with a delicate eurhythmy, attitudes and expressions chaste and soft, search for a decorative elegance to which the fluid drapes of the fabrics dotted with suave floral motifs (decor called “a fiori, frutti a foglie”) give a certain preciousness, chromatic refinement adjusted to the sacredness of the subject distinguish this Madonna of the Olives endowed with great poetic charm. Like other Madonnas created around the years 1890-1910 by the Manufacture de “Ceramische Artistiche Angelo Minghetti e Figli” – of which few Bolognese interiors are deprived and highly sought after, rightly, by an international clientele -, our statuette both by the clarity of its symbolism and by its refined aestheticism, its decorative qualities move and enchant. It also relates to the sensitivity of an era in love with the turn of the 19th-20th centuries of mysticism. To this inclination respond eminent representatives of the European decorative arts such as Angelo Minghetti – designer in collaboration with Arturo Colombarini (1871-1940) of this effigy – by combining the trends of these decades (Pre-Raphaelism, Symbolism) with essential referents (ancient models derived from the Quattrocento, Gothic Renaissance ornamental lexicon). Our Madonna presents similarities with a canvas executed in 1883 by Nicoli Barabino (1832-1891) – Quasi Oliva Speciosa in Campis – whose composition, engraved by G. Cantagalli, was widely distributed in the Peninsula. Italy, Bologna, late 19th-20th century. Materials: Earthenware, enameled polychrome decoration under glaze. Dimensions: H.: 39.5 cm; L.: 17cm; Depth: 15cm. – The Manufacture of Artistic Ceramics Angelo Minghetti et Fils (1858-1967). In a century keen on “objects and High-curiosity” and, more particularly in love with Italian Majolica from the Renaissance period from the Romantic period, Angelo Minghetti (Bologna, 1822-1885) founded as an enterprising man around 1858 a small business family of “Ceramische Artistiche” in his hometown. Located near the Pepoli Palace, the workshops of its Manufacture will then be transferred to via Zamboni (1864) then 87, porte San Vitale (1878). Introduced to the art of Majolica as a worker and then collaborator with the Bucci Ceramics Factory in Imola (Emilia) for which he restored 16th century Faenza pieces or made copies of these famous “glazed earthenware” requested by antique dealers catering to the tastes of European customers, A. Minghetti presented his own creations in 1869 at the Bologna Industrial Exhibition. Rewarded with a Silver Medal, these augur the career punctuated with national and international successes of this talented ceramist: silver medal (Rome, 1883; Turin, 1884) gold medal (Vienna, 1873; Milan, 1881), Honorable Mention (Paris, 1878 ) and Diploma of Honor (Turin, 1881).