A GERMAN ORMOLU AND PIETRA DURA-MOUNTED MAHOGANY AND WHITE MARBLE CASKET EARLY 19TH CENTURY
Details
The top and sides inset with pietra dura plaques depicting landscapes with houses and a coastal scene with boats and figures, the front inset with a plaque depicting oriental figures, the stones including pietra paesina, Arnese, lapis lazuli and verde antico on a black Belgian marble ground, set within a modern casket, the lid mounted with putti heads, the front angles with marble columns with ionic capitals, the sides with ormolu fluted pilasters, on a shaped square plinth, the plaques with ormolu bead-and-reel borders, assembled in its present form in the 21st century 141⁄2 (37 cm.) high; 18 in. (45.5 cm.) wide; 10 in. (25.5 cm.) deep
Provenance
The plaques sold The Blair Charitable Trust, removed from Blair Castle, Blair Altholl, Scotland; Christie's, London, 30 April 2015, lot 182.
Lot Essay
THE GRAND DUCAL WORKSHOPS The Medici passion for hardstones and intarsia began under Cosimo I Medici (1519-1574) who acquired numerous works in pietra dura from Rome, the centre of lapidary production in the 16th century. While there were artisans of pietra dura in and around Florence from around 1550, it was only under Cosimo's sons Francesco I (1541-1587) and Fernando I de Medici (1539-1609) that Florence was able to compete with and eventually exceed the output of the Eternal City. Fernando I founded the Grand Ducal pietre dure manufactory, known as the ‘Galleria dei Lavori', in 1588. The workshops would provide works of art in hardstones and porphyry not only for Grand Ducal commissions but also for foreign princes and collectors and from its early stages it distinguished itself from the Roman lapidaries for its varied production and particularly its specialism in scenes uniting nature, art and science. While Florentine pietra dura utilised stones occurring naturally in Tuscany, such as pietra paesina and Alberese, the workshops also imported valuable and costly stones from across Italy and Europe, including Sicilian jasper, Bohemian agate and black marble from Flanders. Plaques to be incorporated into cabinets, caskets, clocks, tabletops and panels for display produced by the Florentine workshops depicted complex images including birds, vases of flowers, landscapes, narrative scenes and trophies which differed from the geometric patterns favoured in Rome. The Grand Ducal Workshops attracted skilled artisans and designers from across Italy and Europe including gem-cutters from Milan and cabinetmakers from Germany and the Low Countries. Superintendents of the Galleria dei Lavori included celebrated draughtsmen and designers like Jacopo Ligozzi (1547-1627) and Giovanni Battista Foggini (1652-1725), the latter who, under the auspices of Cosimo III (1670-1723), originated rich baroque designs often incorporating flowers and birds on black paragone grounds, the culmination of which can be considered the famous Badminton Cabinet. The death of Gian Gastone (d. 1737), the last Medici Grand Duke did not spell the end of the Grand Ducal Workshops but from the mid-18th century the baroque repertoire of the manufactory, now under Habsburg control, was exchanged for realistic figures and landscapes based closely on formal paintings by artists like Giuseppe Zocchi (fl. 1750-67) and eventually for neoclassical compositions with the approach of the 19th century, by which point the workshops were known as the Opificio delle pietre dure, the name it retains to this day.
Details
The top and sides inset with pietra dura plaques depicting landscapes with houses and a coastal scene with boats and figures, the front inset with a plaque depicting oriental figures, the stones including pietra paesina, Arnese, lapis lazuli and verde antico on a black Belgian marble ground, set within a modern casket, the lid mounted with putti heads, the front angles with marble columns with ionic capitals, the sides with ormolu fluted pilasters, on a shaped square plinth, the plaques with ormolu bead-and-reel borders, assembled in its present form in the 21st century 141⁄2 (37 cm.) high; 18 in. (45.5 cm.) wide; 10 in. (25.5 cm.) deep
Provenance
The plaques sold The Blair Charitable Trust, removed from Blair Castle, Blair Altholl, Scotland; Christie's, London, 30 April 2015, lot 182.
Lot Essay
THE GRAND DUCAL WORKSHOPS The Medici passion for hardstones and intarsia began under Cosimo I Medici (1519-1574) who acquired numerous works in pietra dura from Rome, the centre of lapidary production in the 16th century. While there were artisans of pietra dura in and around Florence from around 1550, it was only under Cosimo's sons Francesco I (1541-1587) and Fernando I de Medici (1539-1609) that Florence was able to compete with and eventually exceed the output of the Eternal City. Fernando I founded the Grand Ducal pietre dure manufactory, known as the ‘Galleria dei Lavori', in 1588. The workshops would provide works of art in hardstones and porphyry not only for Grand Ducal commissions but also for foreign princes and collectors and from its early stages it distinguished itself from the Roman lapidaries for its varied production and particularly its specialism in scenes uniting nature, art and science. While Florentine pietra dura utilised stones occurring naturally in Tuscany, such as pietra paesina and Alberese, the workshops also imported valuable and costly stones from across Italy and Europe, including Sicilian jasper, Bohemian agate and black marble from Flanders. Plaques to be incorporated into cabinets, caskets, clocks, tabletops and panels for display produced by the Florentine workshops depicted complex images including birds, vases of flowers, landscapes, narrative scenes and trophies which differed from the geometric patterns favoured in Rome. The Grand Ducal Workshops attracted skilled artisans and designers from across Italy and Europe including gem-cutters from Milan and cabinetmakers from Germany and the Low Countries. Superintendents of the Galleria dei Lavori included celebrated draughtsmen and designers like Jacopo Ligozzi (1547-1627) and Giovanni Battista Foggini (1652-1725), the latter who, under the auspices of Cosimo III (1670-1723), originated rich baroque designs often incorporating flowers and birds on black paragone grounds, the culmination of which can be considered the famous Badminton Cabinet. The death of Gian Gastone (d. 1737), the last Medici Grand Duke did not spell the end of the Grand Ducal Workshops but from the mid-18th century the baroque repertoire of the manufactory, now under Habsburg control, was exchanged for realistic figures and landscapes based closely on formal paintings by artists like Giuseppe Zocchi (fl. 1750-67) and eventually for neoclassical compositions with the approach of the 19th century, by which point the workshops were known as the Opificio delle pietre dure, the name it retains to this day.
