Showing posts with label Pietra Dura. Show all posts
Showing posts with label Pietra Dura. Show all posts

Tuesday, July 15, 2014

Her Majesty's Furniture: The Birley-Randell Marble Table, 1862




The Victoria & Albert Museum



The International Exhibition of 1862 in London revisited some of the artistic triumphs of the Great Exhibition of 1851. Manufacturers and artists from across the world sought to show their skills. S. Birley of Derbyshire made this table for the Exhibition. The magnificent work of pietra dura won prizes in the furniture and the mining classes.

Samuel Birley was known for gorgeous inlaid marble objects which imitated the Italian mosaic inlaying technique that had been prized for centuries since being developed for Italy’s powerful Medici family. This is one of Birley’s most exceptional pieces--thin polished slices of hardstone and semi-precious stone have been used to create a brilliantly colored, naturalistic pattern of flowers and foliage. The design, much admired by Queen Victoria, was created by Birley’s associate, J. Randell.

Matthew Digby Wyatt, in judging the group, compared Birley's table with the pietra dura exhibited by the Italian firms in attendance. He said, “Many very good samples of the usual imitations of flowers, &c., inlaid in black marble for table tops and cabinets, are contributed by various Florentine manufacturers, amongst whom the jury specially noted the houses of Barzanti, Betti, and Rinaldini. In the same class of goods the table top exhibited by our solitary producer in the same line, Mr. Samuel Birley, of Ashford, Derbyshire, was much admired. Observations were, however, made upon the inequality of scale in which the centre group of flowers and the surrounding wreath had been worked out.”






Wednesday, April 30, 2014

Gifts of Grandeur: The Caroline of Naples Tiara, 1808


The Caroline of Naples Tiara
Italy, 1808
The Victoria & Albert Museum
This gold tiara set with four lapis lazuli plaques inset with shells and pearls in pietre dure mosaic is believed to have belonged to Caroline Murat (1782-1839), Queen of Naples. Part of an impressive parure, the tiara shows the fine workmanship of its maker, Real Laboratorio of Naples, known for impressive suites of jewelry such as this. The parure is still kept in its original leather box which is stamped with a crowned “C” in gold. 


Some historians contend that the pietre dire panels were produced by the Opificio delle Pietre Dure in Florence while the gold work was finished in Naples. The Grand Ducal Workshop, Opificio delle Pietre Dure, was founded in 1588 and still operates today under the Italian Ministry for Cultural Heritage.

The suite consists of a matching necklace, earrings and comb in addition to the magnificent tiara.


Saturday, March 22, 2014

Her Majesty’s Furniture: King George IV’s Bath Cabinet



Bath Cabinet
Morel & Seddon, 1828
Made for King George IV
The Royal Collection

Once King George IV had finished redecorating Carlton House, he turned his attention to refurbishing the Royal apartments at Windsor Castle. The first order of business was to redo his bedroom and bath. The trouble with George IV was that he had so many passions and so many tastes that combining his desires into one cohesive interior design was somewhat complicated if not impossible. George IV wanted his bedroom and bath to be hung with blue silk—like a tent in the Persian style—into which mirrored alcoves would be inset for his bed and bath.

To this end, this bath cabinet was made from panels from a cabinet built in 1810. The three-sided casket of purplewood, satinwood, pietra dura and gilt bronze was set on casters. It opened at the top to allow access to the bathtub. By all accounts it was strange and awkward to use—being at once difficult to get into and out of and quite sloppy to transport. The King quickly grew tired of the cumbersome tub and its preventative case and had the thing put in storage soon after it was introduced to him in 1828.

Later, Prince Albert, being an industrious and frugal sort of chap, came upon the bath cabinet in storage and thought it would make a nice folio cabinet. He had the bathtub removed and the back closed-in so that the piece would have some degree of usefulness.


Sunday, February 16, 2014


Gifts of Grandeur: The Castrucci Cabinet, 1610



Castrucci Cabinet
1610
The Victoria & Albert Museum


I could use one of these. But, then I’d be afraid to put anything in it and it would be a collected cabinet as opposed to a collector’s cabinet. Here, we see, a collector's cabinet with a pyramidal roof, which sits on four lion's paw feet. The front and sides are set with seven pictorial pietre dure panels which illustrate landscapes, buildings and a Venetian canal scene.

The pictorial panels are attributed to the Castrucci workshop. For contrast, these are flanked by plain jasper panels. The Castrucci family were celebrated for their selection of hardstones which they were able to manipulate into amazing scenes. They claimed to have been inspired by the paintings of Flemish artists based in Prague around 1600.

This cabinet dates to 1610. Small cabinets such as this were quite fashionable at the time and were employed to house valuable objects, potions and pills, and sometimes personal grooming items.

Sunday, June 9, 2013

Unusual Artifacts: Return from Market, 1928



Click on image to get snowed.
"Return from Market"
Pietre Dure
Italy, 1928
The Victoria & Albert Museum


This pietre dure (or pietra dura, if you prefer) scene of hardstone and marbles depicts a monk with two elderly men and a young woman. They’re accompanied by a group of animals as they journey home from market in a snowstorm.

Made in 1928 in Florence Italy—long known for its elegant works of pietre dure—the piece shows the enduring beauty of this technique. Each stone has been carefully chosen to create movement and texture in the scene. The veins of the marbles and the crystals of the other hardstones have been set in such a way as to emulate the look of a painter’s brushstrokes.

The work is attributed to Mario Montelatici, a well-known master of pietre dure in his own right and the son of the famed Giovanni Montelatici whose workshop in the Via Amolfo in Florence produced many an award-winning work. The piece is composed of white and bardiglio marble, onyx, gabbro and albarese. It is set in a gilt wood frame.



Her Majesty’s Furniture: King George IV’s Bath Cabinet


Bath Cabinet
Morel & Seddon, 1828
Made for King George IV
The Royal Collection

Once King George IV had finished redecorating Carlton House, he turned his attention to refurbishing the Royal apartments at Windsor Castle. The first order of business was to redo his bedroom and bath. The trouble with George IV was that he had so many passions and so many tastes that combining his desires into one cohesive interior design was somewhat complicated if not impossible. George IV wanted his bedroom and bath to be hung with blue silk—like a tent in the Persian style—into which mirrored alcoves would be inset for his bed and bath.


To this end, this bath cabinet was made from panels from a cabinet built in 1810. The three-sided casket of purplewood, satinwood, pietra dura and gilt bronze was set on casters. It opened at the top to allow access to the bathtub. By all accounts it was strange and awkward to use—being at once difficult to get into and out of and quite sloppy to transport. The King quickly grew tired of the cumbersome tub and its preventative case and had the thing put in storage soon after it was introduced to him in 1828.

Later, Prince Albert, being an industrious and frugal sort of chap, came upon the bath cabinet in storage and thought it would make a nice folio cabinet. He had the bathtub removed and the back closed-in so that the piece would have some degree of usefulness.

Object of the Day, Museum Edition: A Pietra Dura Table Cabinet, 1680


Table Cabinet
Italian, 1680
Purchsed in Rome, 1760 by
Queen Charlotte and King George III
Pietra Dura, Ebony, Oak, Ormolu
The Royal Collection

This table cabinet, now denuded of its stand, is really nothing more than a means of cleverly displaying thirteen masterful petra dura panels depicting scenes of birds, florals and landscapes. The Florentine panels are set into frames of ebony, oak and gilt bronze.


King George III and Queen Charlotte purchased this cabinet while visiting Rome in 1760. Queen Charlotte has a well-documented enthusiasm for the art of hardstone peitra dura and collected several pieces of furniture similar to this one. Her affection for the medium seems to have been inherited by her son who purchased the cabinet at the 1819 auction of Queen Charlotte’s belongings while he was still Prince Regent. As King George IV, he displayed this cabinet proudly in his private apartments.

Thursday, April 25, 2013

Her Majesty's Furniture: The Birley-Randell Marble Table, 1862



The Victoria & Albert Museum



The International Exhibition of 1862 in London revisited some of the artistic triumphs of the Great Exhibition of 1851. Manufacturers and artists from across the world sought to show their skills. S. Birley of Derbyshire made this table for the Exhibition. The magnificent work of pietra dura won prizes in the furniture and the mining classes.

Samuel Birley was known for gorgeous inlaid marble objects which imitated the Italian mosaic inlaying technique that had been prized for centuries since being developed for Italy’s powerful Medici family. This is one of Birley’s most exceptional pieces--thin polished slices of hardstone and semi-precious stone have been used to create a brilliantly colored, naturalistic pattern of flowers and foliage. The design, much admired by Queen Victoria, was created by Birley’s associate, J. Randell.

Matthew Digby Wyatt, in judging the group, compared Birley's table with the pietra dura exhibited by the Italian firms in attendance. He said, “Many very good samples of the usual imitations of flowers, &c., inlaid in black marble for table tops and cabinets, are contributed by various Florentine manufacturers, amongst whom the jury specially noted the houses of Barzanti, Betti, and Rinaldini. In the same class of goods the table top exhibited by our solitary producer in the same line, Mr. Samuel Birley, of Ashford, Derbyshire, was much admired. Observations were, however, made upon the inequality of scale in which the centre group of flowers and the surrounding wreath had been worked out.”






Saturday, April 20, 2013

Her Majesty’s Furniture: A Russian Pietra Dura Table, 1844



Pietra Dura Table
Carl Johan Tegelstein, 1844
The Royal Collection
Pietra Dura—a mosaic of hard stone—has long been a popular medium for Russian artists. This heavily carved, bas relief Pietra Dura tabletop was a gift from Tsar Nicolas I to Queen Victoria upon the occasion of his official state visit in June of 1844. The table’s gilt bronze base comes from the high-end English Shop of Nichols and Plincke in St. Petersburg. The top--designed by Carl Johan Tegelstein--depicts a floral composition surrounded by a "Greek Key" border.


Recently, a similar table by the same artist from The Winter Palace sold at auction for £916,000 (about $1.4 million). The top of that table is pictured below.







Wednesday, April 10, 2013

Gifts of Grandeur: The Castrucci Cabinet, 1610



Castrucci Cabinet
1610
The Victoria & Albert Museum


I could use one of these. But, then I’d be afraid to put anything in it and it would be a collected cabinet as opposed to a collector’s cabinet. Here, we see, a collector's cabinet with a pyramidal roof, which sits on four lion's paw feet. The front and sides are set with seven pictorial pietre dure panels which illustrate landscapes, buildings and a Venetian canal scene.

The pictorial panels are attributed to the Castrucci workshop. For contrast, these are flanked by plain jasper panels. The Castrucci family were celebrated for their selection of hardstones which they were able to manipulate into amazing scenes. They claimed to have been inspired by the paintings of Flemish artists based in Prague around 1600.

This cabinet dates to 1610. Small cabinets such as this were quite fashionable at the time and were employed to house valuable objects, potions and pills, and sometimes personal grooming items.



Thursday, January 31, 2013

Her Majesty’s Furniture: The Tulip and Crown Cabinet, 1780



Cabinet
French
Gobelins Workshop, Adam Weisweiler
1780
The Royal Collection
From the Gobelins (an interesting name) Workshop in Paris, this remarkable hardstone inlay cabinet is the work of famed cabinet maker Adam Weisweiler. An intricate puzzle of Oak, ebony, hardstones, tortoiseshell, brass, pewter, mahogany, boxwood, purplewood, gilt bronze, brocatello marble, this handsome cabinet caught the eye of King George IV while still the Prince of Wales.


It is said that the Prince of Wales was drawn to the pattern of tulips and crowns. However, it’s more likely that he was attracted to the cabinet because of his love of French craftsmanship. Regardless of his reasons, it was a smart purchase, and though it was packed away for many years, it now is one of the centerpieces of the furniture exhibit of The Royal Collection.

Tuesday, December 11, 2012

Gifts of Grandeur: The Waterfall Snuffbox, c. 1810

Snuffbox of hardstones
Pietra Dura Panel, 1810
Chalcedony Case, 1819-1832
This and all related images from
The Victoria & Albert Museum





The hardstone panel which surmounts this snuffbox is thought to have been created by Giovanni Morelli in Rome around 1810. The panel features a rocky landscape in the Romantic style, depicting ruins, towers, and a swan near a waterfall.

The panel was set into this snuffbox cover between 1819 and 1832 by Parisian goldsmith Gabriel-Raoul Morel whose masterful works we’ve studied previously. This box shows Morel’s talent for working with a variety of media. The body of the box is crafted from pale chalcedony which creates the perfect background for the pietra dura cover.

This box was collected by Sir Arthur and Rosalinde Gilbert who donated their important collection of precious object and silver to the V&A.


Tuesday, November 27, 2012

Precious Time: Napoleon Bonaparte’s Pietre Dura Clock, 1804



Triumphal Arch Clock
Raffaelli and Breguet, 1804
The Victoria & Albert Museum
This magnificent clock wants to be studied. An impressive combination of various stones and gilt bronze, the clock takes the form of a Triumphal Arch of red and white antique marble with shimmering columns of amethyst topped by gilt bronze Corinthian capitals.


The two panels which flank the arch show micromosaic, pietre dure panels depicting military trophies. These pietre dure ornaments as well as other decorative inlays consist of amethyst, lapis lazuli, malachite, labradorite, jasper, agate, marble, and glass.

The whole of the clock case—designed by Giacomo Raffaelli—is surmounted by gilt bronze figures of Victory and Fame while the niche in the archway protects a statuette of Mars. Raffaelli and clockmaker Abraham-Louis Breguet worked together to create this gorgeous timepiece, hoping it would find its way into a prominent home. And, it certainly did.

Pope Pius VII had entrusted Venetian Sculptor Antonio Canova with the task of finding suitable gifts to present to Napoleon Bonaparte on the event of his coronation. The “Triumphal Arch Clock” (as it is known) was among the items selected by Canova for the occasion.

The Empress Josephine was said to have favored the clock and kept it as the centerpiece of her collection. Later, the clock was sold to pay off mounting debts. Purchased by Sir Arthur Gilbert and his wife Rosalinde in 1976, the clock was added to their impressive collection of decorative arts—considered one of the world’s greatest such collections. Gilbert loaned the clock to the Victoria & Albert Museum in 1996 where it remains on loan to this day.


The Home Beautiful: The John Jones Table, 1870



Center Table
c. 1870
The Victoria & Albert Museum
Celebrated for its beautiful hardstone work, this narrow, rectangular center table is supported by four tapering legs and is veneered in Mozambique rosewood and ebony on a structure of oak. The sides are set with plaques of hardstone and with one plaque of porcelain. The whole is adorned with mounts of gilt bronze


John Jones, an avid British collector of French 18th-century furniture and porcelain, bought this table between about 1870 and 1880, thinking that the table was already an antique. But, inspection of the table has proven otherwise. This table is narrower than most Eighteenth-Century tables. Furthermore, the combination of hardstones (pietre dure) with owed more to the tastes of the 1870s than the 1770s.

The table was most likely made shortly before John Jones purchased it. However, the hardstone panels of Marble, Alabaster, Chalcedony, Agate, Carnelian, Lapis-lazuli, Amethyst, Jasper, Carrara marble, Sainte Ann marble, and Belgium marble were probably made in Florence between about 1660 and 1690. So, at least a portion of it was antique. Nevertheless, Jones was quite proud of the table, and, if you wait long enough, anything can be an antique.


Tuesday, October 23, 2012

Her Majesty's Furniture: Commode à Vantaux, 1778-1788

Commode
Martin Carlin, c. 1778
Pietre Dure Panels, c. 1670
Purchased for King George IV

Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II



Martin Carlin (1730-85) served as the cabinet maker for this gorgeous work of marquetry and pietre dure which was completed between 1778 and 1788. This commode was crafted of oak, ebony, gilt bronze and marble with the lush pietre dure panels set-in at the very last.

The piece was originally made for the wild Parisian opera singer Marie-Josephine Laguerre from whose estate it was purchased in Paris for King George IV in May of 1828 by François Benois, the King’s personal baker, for £375. Laguerre’s famously dissolute life led her to an early grave and left her posh collection of furnishings to be picked over by the curious wealthy. 


The sumptuous pietre dure panels were just the sort of thing that King George IV loved most of all. The seven panels are carved in deep relief, creating realistic still-life scenes of fruit. It’s speculated that the pietre dure panels pre-date the creation of the commode. In fact, it’s believed that the panels were originally made in the Royal workshops at the Gobelins for a massive set of cabinets commissioned by French King Louis XIV. Two of the panels are signed by Gian Ambrogio Giachetti, a Florentine lapidary working at the Gobelins between 1670 and 1675. At the start of the Eighteenth Century, those cabinets were destroyed as the palaces were altered. The pietre dure panels, however, were saved as precious curiosities in their own right. Some were sold to collectors. That seems to be what’s happened with these panels who, like many others from the French Royal palaces, ended up being sold over and over until they were introduced into a neoclassical piece of furniture. 

Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Tuesday, October 9, 2012

Unusual Artifacts: Return from Market, 1928

Click on image to get snowed.
"Return from Market"
Pietre Dure
Italy, 1928
The Victoria & Albert Museum


This pietre dure (or pietra dura, if you prefer) scene of hardstone and marbles depicts a monk with two elderly men and a young woman. They’re accompanied by a group of animals as they journey home from market in a snowstorm.

Made in 1928 in Florence Italy—long known for its elegant works of pietre dure—the piece shows the enduring beauty of this technique. Each stone has been carefully chosen to create movement and texture in the scene. The veins of the marbles and the crystals of the other hardstones have been set in such a way as to emulate the look of a painter’s brushstrokes.

The work is attributed to Mario Montelatici, a well-known master of pietre dure in his own right and the son of the famed Giovanni Montelatici whose workshop in the Via Amolfo in Florence produced many an award-winning work. The piece is composed of white and bardiglio marble, onyx, gabbro and albarese. It is set in a gilt wood frame.




Monday, January 23, 2012

Her Majesty's Furniture: The Birley-Randell Marble Table, 1862

The Victoria & Albert Museum



The International Exhibition of 1862 in London revisited some of the artistic triumphs of the Great Exhibition of 1851. Manufacturers and artists from across the world sought to show their skills. S. Birley of Derbyshire made this table for the Exhibition. The magnificent work of pietra dura won prizes in the furniture and the mining classes.

Samuel Birley was known for gorgeous inlaid marble objects which imitated the Italian mosaic inlaying technique that had been prized for centuries since being developed for Italy’s powerful Medici family. This is one of Birley’s most exceptional pieces--thin polished slices of hardstone and semi-precious stone have been used to create a brilliantly colored, naturalistic pattern of flowers and foliage. The design, much admired by Queen Victoria, was created by Birley’s associate, J. Randell.

Matthew Digby Wyatt, in judging the group, compared Birley's table with the pietra dura exhibited by the Italian firms in attendance. He said, “Many very good samples of the usual imitations of flowers, &c., inlaid in black marble for table tops and cabinets, are contributed by various Florentine manufacturers, amongst whom the jury specially noted the houses of Barzanti, Betti, and Rinaldini. In the same class of goods the table top exhibited by our solitary producer in the same line, Mr. Samuel Birley, of Ashford, Derbyshire, was much admired. Observations were, however, made upon the inequality of scale in which the centre group of flowers and the surrounding wreath had been worked out.”




Tuesday, November 1, 2011

Mastery of Design: The Castrucci Cabinet, 1610

Castrucci Cabinet
1610
The Victoria & Albert Museum
I could use one of these. But, then I’d be afraid to put anything in it and it would be a collected cabinet as opposed to a collector’s cabinet. Here, we see, a collector's cabinet with a pyramidal roof, which sits on four lion's paw feet. The front and sides are set with seven pictorial pietre dure panels which illustrate landscapes, buildings and a Venetian canal scene.

The pictorial panels are attributed to the Castrucci workshop. For contrast, these are flanked by plain jasper panels. The Castrucci family were celebrated for their selection of hardstones which they were able to manipulate into amazing scenes. They claimed to have been inspired by the paintings of Flemish artists based in Prague around 1600.

This cabinet dates to 1610. Small cabinets such as this were quite fashionable at the time and were employed to house valuable objects, potions and pills, and sometimes personal grooming items.

Tuesday, September 13, 2011

Gifts of Grandeur: The Caroline of Naples Tiara, 1808

The Caroline of Naples Tiara
Italy, 1808
The Victoria & Albert Museum
This gold tiara set with four lapis lazuli plaques inset with shells and pearls in pietre dure mosaic is believed to have belonged to Caroline Murat (1782-1839), Queen of Naples. Part of an impressive parure, the tiara shows the fine workmanship of its maker, Real Laboratorio of Naples, known for impressive suites of jewelry such as this. The parure is still kept in its original leather box which is stamped with a crowned “C” in gold.

Some historians contend that the pietre dire panels were produced by the Opificio delle Pietre Dure in Florence while the gold work was finished in Naples. The Grand Ducal Workshop, Opificio delle Pietre Dure, was founded in 1588 and still operates today under the Italian Ministry for Cultural Heritage.

The suite consists of a matching necklace, earrings and comb in addition to the magnificent tiara.

Tuesday, March 8, 2011

Her Majesty’s Furniture: A Pietra Dura Table Cabinet, 1680

Table Cabinet
Italian, 1680
Purchsed in Rome, 1760 by
Queen Charlotte and King George III
Pietra Dura, Ebony, Oak, Ormolu
The Royal Collection
This table cabinet, now denuded of its stand, is really nothing more than a means of cleverly displaying thirteen masterful petra dura panels depicting scenes of birds, florals and landscapes. The Florentine panels are set into frames of ebony, oak and gilt bronze.


King George III and Queen Charlotte purchased this cabinet while visiting Rome in 1760. Queen Charlotte has a well-documented enthusiasm for the art of hardstone peitra dura and collected several pieces of furniture similar to this one. Her affection for the medium seems to have been inherited by her son who purchased the cabinet at the 1819 auction of Queen Charlotte’s belongings while he was still Prince Regent. As King George IV, he displayed this cabinet proudly in his private apartments.