A recent rediscovery has shed light on a Madonna and Child terracotta sculpture from the collection of Elia Volpi, a Florentine collector, dealer, and key figure in the early 20th-century restoration of Palazzo Davanzati. The sculpture’s history, movements through Florence’s museums, and surprising origins have brought fresh attention to its significance.
Illustrated catalogue of the exceedingly rare and valuable art treasures and antiquities formerly contained in the famous Davanzati Palace
A Complex Museum Journey
The Madonna and Child sculpture entered Florence’s public collections in 1914 and has since been housed in multiple locations. It was initially displayed at the National Museum of the Bargello before moving to the Museum of San Marco and the Horne Museum. It later returned to the Bargello, where it remained in storage from 1982 until 2022. Its recent placement at Palazzo Davanzati brings it back to a space closely tied to Volpi’s vision of Renaissance Florence.
Unexpected Origins
Long considered a 16th-century work, the sculpture was thought to align with the Renaissance ambiance of Palazzo Davanzati. However, recent research conducted as part of the Bargello collection cataloging project, led by Professor Francesco Caglioti and scholar Luca Annibali, revealed new findings. The Madonna and Child is now believed to date to the early 17th century and to have originated in Bologna, making it a unique addition to the Renaissance-themed Palazzo Davanzati.
A New Perspective on Art and History
The rediscovery of the Madonna and Child offers fresh insight into Elia Volpi’s role in shaping Florence’s cultural heritage. As a collector and restorer, Volpi preserved and showcased many works of art in Palazzo Davanzati, creating a space that reflected Renaissance life. This sculpture, with its updated attribution, adds a new dimension to the story of Volpi’s collection and Florence’s art history, connecting visitors to an evolving understanding of the city’s artistic legacy.
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