A Transylvanian Baroque parcel gilt silver rosette clasp
A Transylvanian Baroque parcel gilt silver rosette clasp
Round, solid silver buckle formed from two concentric repoussé rings decorated with finely chased floral borders and sumptuous relief appliqués. Symmetrically divided by 12 stylised fleur de lys motifs, spiralling sea snail motifs and acanthus foliage. Richly encrusted with 29 coloured gemstones and 18 natural pin-set freshwater pearls. The fleur de lys motifs each decorated with a table cut faceted garnet, emerald or clear rock crystal gemstone in a high, screw-mounted bezel setting. Alternating with foliate rosettes picked out in green enamel, each accentuated by a pearl in the centre. The centre of the buckle set with an octagonal glass paste (pâte de verre) cameo with a portrait of a man in profile facing left surrounded by pearls and prong-set garnet and turquoise cabochons. The back of the piece with a hook and eye clasp, the hinged pin of which with a cord motif appliqué. The green enamel only fragmentarily conserved. Diameter 11.1 cm, weight 340 g.
Marks of Hermannstadt (Nagyszeben), Hungary, Paulus Kirtscher, circa 1600.
This magnificent and well conserved vermeil rosette brooch is a typical example of Hungarian goldsmith's work of the time around 1600. The so-called “heftel” or “chest heftel” formed part of the jewellery worn by patrician women in the Transylvania region during feast days. The jewellery has a long history: From the Medieval to the Baroque eras, these pectoral brooches were used to fasten women's cloaks. However, from the 18th century onwards, the rosettes began to be worked in gold filigree, which made them a lot lighter and that enabled them to be used as corsage brooches, forming part of the traditional Transylvanian festive costume.
Literature
Cf. the maker's mark in Elemér, Merkzeichen der Goldschmiede Ungarns vom Mittelalter bis 1867, 1936, p. 243, no. 1359. Cf. Fodor, Baroque Splendor, The Art of the Hungarian Goldsmith, 1994, p. 162, no. 120; p. 163 no. 121; p. 166 no 132. For illustrations of three stylistically similar rosette clasps housed in the Museum Magyar Menzeti in Budapest. Two of the clasps are also illustrated in the exhib. cat. "Schätze des ungarischen Barock", Deutsches Goldschmiedehaus Hanau 1991, no. 151 and 152, the second on the title page of the catalogue. A rosette brooch from Hermannstadt by the goldsmith M.O. Johannes II Süßmilch was auctioned Christie's New York, 17 May 2011, lot 112.
Exhibitions
„Vers Désir“, TREMA Musée des Arts ancien du Namurois, October 2020.
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A Transylvanian Baroque parcel gilt silver rosette clasp
Round, solid silver buckle formed from two concentric repoussé rings decorated with finely chased floral borders and sumptuous relief appliqués. Symmetrically divided by 12 stylised fleur de lys motifs, spiralling sea snail motifs and acanthus foliage. Richly encrusted with 29 coloured gemstones and 18 natural pin-set freshwater pearls. The fleur de lys motifs each decorated with a table cut faceted garnet, emerald or clear rock crystal gemstone in a high, screw-mounted bezel setting. Alternating with foliate rosettes picked out in green enamel, each accentuated by a pearl in the centre. The centre of the buckle set with an octagonal glass paste (pâte de verre) cameo with a portrait of a man in profile facing left surrounded by pearls and prong-set garnet and turquoise cabochons. The back of the piece with a hook and eye clasp, the hinged pin of which with a cord motif appliqué. The green enamel only fragmentarily conserved. Diameter 11.1 cm, weight 340 g.
Marks of Hermannstadt (Nagyszeben), Hungary, Paulus Kirtscher, circa 1600.
This magnificent and well conserved vermeil rosette brooch is a typical example of Hungarian goldsmith's work of the time around 1600. The so-called “heftel” or “chest heftel” formed part of the jewellery worn by patrician women in the Transylvania region during feast days. The jewellery has a long history: From the Medieval to the Baroque eras, these pectoral brooches were used to fasten women's cloaks. However, from the 18th century onwards, the rosettes began to be worked in gold filigree, which made them a lot lighter and that enabled them to be used as corsage brooches, forming part of the traditional Transylvanian festive costume.
Literature
Cf. the maker's mark in Elemér, Merkzeichen der Goldschmiede Ungarns vom Mittelalter bis 1867, 1936, p. 243, no. 1359. Cf. Fodor, Baroque Splendor, The Art of the Hungarian Goldsmith, 1994, p. 162, no. 120; p. 163 no. 121; p. 166 no 132. For illustrations of three stylistically similar rosette clasps housed in the Museum Magyar Menzeti in Budapest. Two of the clasps are also illustrated in the exhib. cat. "Schätze des ungarischen Barock", Deutsches Goldschmiedehaus Hanau 1991, no. 151 and 152, the second on the title page of the catalogue. A rosette brooch from Hermannstadt by the goldsmith M.O. Johannes II Süßmilch was auctioned Christie's New York, 17 May 2011, lot 112.
Exhibitions
„Vers Désir“, TREMA Musée des Arts ancien du Namurois, October 2020.
Estimate
Time, Location
Auction House
