PIETRA DURA или PIETRE DURE
КАБИНЕТЫ, ШКАФЫ, СТОЛЫ И СТОЛЕШНИЦЫ,, ЛАРЦЫ, ШКАТУЛКИ,ЧАСЫ,ПАННО,КАРТИНЫ.
Pietra Dura – в переводе с итальянского языка – "поделочный камень" или "флорентийская мозаика".
Мебель с использованием Pietra Dura, пожалуй- самая красивая за всю историю мебельного искусства.
Она встречается сравнительно редко и найти хорошие картинки очень трудно.
Но красота невероятная! "Вживую" это видеть- вобще сказка.
Вот самый большой, роскошный и дорогой предмет мебели за всю историю:
GRAND DUCAL WORKSHOPS, FLORENCE (GALLERIA DEI LAVORI), BACCIO CAPPELLI, BRONZE FIGURES BY GIROLAMO TICCIATI
PIETRA DURA, EBONY AND ORMOLU CABINET - "BADMINTON CABINET"
На торгах Christie's 2004 года в Лондоне, было продано кабинетное бюро Badminton XVIII века за сумму в $36,8 млн.
Над созданием кабинета трудились как минимум 30 человек в течение 5–6 лет. (386 cm high and 232.5 cm wide!) С 1732 по 1990 год бюро находилось в семейном замке Бадминтон герцогов Бофорских.Его купил музей Лихтенштейна.
Подробно:http://libb.ru/6/
Названное так в честь резиденции герцогов Бофорских, поместья Бадминтон в Глостершире, кабинетное бюро «Бадминтон» было заказано третьим герцогом Бофорским и находилось в резиденции герцогов до своей первой продажи на аукционе Кристи в 1990 году (название игры в бадминтон также происходит от названия этого поместья).
Мастерские Великого герцога Тосканского во Флоренции работали над этим бюро до 1732 года.
Считается, что свыше 30 мастеров работали в великогерцогской «Галерея дей Лавори»
(Galeria dei Lavori). Они трудились над выполненным из чёрного дерева и позолоченной бронзы
и инкрустированном бюро, которое явилось вершиной их мастерства.
С богато позолоченным гербом Бофоров наверху, бюро содержит 10 сделанных из кедра ящиков,
инкрустированных изображениями птиц, цветов и листвы, и украшено панелями
из аметиста, кварца, рельефными полосами из лазурита, красной и зеленой сицилийской
яшмы, гирляндами цветов из позолоченной бронзы и халцедоновой львиной маской.
По четырем углам возвышаются четыре фигуры, символизирующие времена года. Высота бюро 3,8 метра, а ширина — 2,28 метра.
!!!!!!!!!!!!!!!!!!!!!!! Подробно весь кабинет можно посмотреть - ZOOM:
http://www.liechtensteinmuseum.at/en/pages/zoom.asp?img=/ass...
Executed in ebony, gilt-bronze and pietra dura, the Badminton Cabinet was commissioned by Henry Somerset, 3rd Duke of Beaufort, from the Grand Ducal workshops (Galleria dei Lavori) in Florence in 1726.
Standing 386 cm high and 232.5 cm wide, this monumental Cabinet is undoubtedly the greatest Florentine work of art of its time. It is also perhaps the most important work of the decorative arts to have been commissioned by a British patron in three hundred years. It is a triumph of the very best craftsmanship, a unique object that utilizes a broad combination of materials and forms. The Cabinet also incorporates an amazing wealth of materials, from lapis lazuli, agate and Sicilian red and green jasper, to chalcedony (calcedonio di Volterra), amethyst quartz as well as other superb hardstones.
Большая картинка:http://www.liechtensteinmuseum.at/en/pages/zoom.asp?img=/ass... ">
GIULIANO DI PIERO PANDOLFINI
PIETRA DURA CHEST
The technique of "Commesso di pietre dure", that of composing pictures using cut gemstones, dated back to Anitquity, and was taken to new heights of mastery in late sixteenth-century Florence. The significance of Castrucci’s Prague workshop in the history of commesso di pietre dure lay in its development of a special technique of representing its subjects. Typically, an idealized landscape is reproduced using flecks of colour and the natural markings of the stones as seen here in the splendid princely chest. The chest is on the Venetian model: it consists of a wooden core clad with commessi and is finished with gilded bronze. Architectural articulation in three axes imposes order on the differently shaped panels. The commessi were not originally all made for this chest, but were crafted over ten years. Karl I von Liechtenstein had probably started collecting commessi a few years before the chest was commissioned. The front bears his monogram and coat of arms, meaning that the chest can be dated between 1620 and 1623.
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Collector's Cabinet
Venice, 1565–80
Painted fruitwood (possibly pear) on a carcass of coniferous wood (possibly fir), poplar, and alder; amethyst, alabaster, lapis lazuli, and other hardstones; partly gilded and painted mother-of-pearl; and yellow-metal and iron hardware
Staatliche Museen zu Berlin, Stiftung Preussischer Kulturbesitz,
Мозаичные картины из камня обладают одним из наиболее ценных свойств
— они вечны, так как краски камней не тускнеют, не выцветают и не осыпаются.
Pietre dure cabinet-on-stand
Collector's Cabinet
Galleria dei Lavori, Florence, ca. 1690
Cabinet design attributed to Giovanni Battista Foggini
Ebony and other exotic woods on a poplar, pine, and walnut support, gilded-bronze and silver (?) mounts; 52 3/8 x 39 1/4 x 22 5/8 in. (133 x 99.5 x 57.5 cm)
Plaques probably by the Pandolfini workshop and successor, Florence, 1620s–30s and later Hardstones and marble
Cabinet Made for the Elector Palatine
Galleria dei Lavori, Florence, 1709
Design by Giovanni Battista Foggini; original lapidary work probably by Giuseppe Antonio Torricelli (several panels replaced in 1836)
Ebony, hardstones, gilded bronze, mother-of-pearl, and rock crystal; 9 ft. 2 1/4 in. x 63 3/4 x 21 1/4 in. (280 x 162 x 54 cm)
The Barberini Cabinet
Gallerie dei Lavori, Florence, ca. 1606–23
Ebony and other exotic woods on oak and poplar, marbles and hardstones; 23 1/4 x 38 1/8 x 14 1/8 in. (59.1 x 96.8 x 35.9 cm)
The Metropolitan Museum of Art, New York, Wrightsman Fund, 1988
Commode
Martin Carlin (ca. 1730–1785)
Paris, ca. 1778
Ebony on oak:marble top, gilded-bronze mounts; 37 7/8 x 59 7/8 x 23 in. (94.8 x 152.2 x 58.4 cm)
Front hardstone mosaic panels: Manufacture Royale des Gobelins, Paris, 17th century
Side hardstone mosaic panels: Galleria dei Lavori, Florence, early 18th century (?)
Stamped: CARLIN; signed on two fruit plaques: Gachetti
The Royal Collection, London, Lent by Her Majesty Queen Elizabeth II
Искусство флорентийской мозаики было популярно на протяжении 300 лет, начиная с 16 века по 19 век и было знаменито во всей Европе. Микеланджело, восхищаясь флорентийской мозаикой, называл ее «вечной картиной».
This cabinet was made for the diarist John Evelyn (1620-1706), and is an early example of a piece of furniture commissioned by a British visitor making the 'Grand Tour' of Europe. the cabinet was made to incorporate 19 pietre dure(hardstone) panels, which Evelyn had purchased in Florence from their maker, Domenico Benotti (active 1630-50), in 1644. The cabinet was then extended to accommodate bronze plaques, probably made by Francesco Fanelli (active 1610-42).
An Italian pietre dure, gilt-bronze-and gilt-copper-mounted mother of pearl inlaid ebony and ebonised cabinet, Florentine, 17th
История Флорентийской мозаики связана с одним из благородных семейств того времени – Медичи, которые всегда покровительствовали искусству и собирали различные коллекции. В частности Лоренцо Ил Магнифико и его предшественники собрали и реставрировали камеи, камни и вазы времен Древней Греции и Рима. Позднее сын Гранд Дюка I Флорентийского, Козимо, решил основать мастерскую, изделия которой смогли бы конкурировать с классическими произведениями искусства древних мастеров.
A black lacquer Cabinet opening with a two-door front, a lower drawer and an upper chest. The interior fitted with eight drawers around a central compartment. Provenance: collection of Liechtenstein Prince, Feldsberg Castel. XVIII° Period, Circa: 1720.
A portable altar from the 17th century
Для изготовления такой мозаики используются драгоценные и полудрагоценные камни: агат, аметист, голубой и зеленый авантюрин, сердолик, яшма, лазурит, малахит, содалит, тигровый глаз, змеевик, белая яшма, халцедон, гематит (красный железняк), мрамор.
Флорентийская мозаика — создание художественного изображения из сочетания поделочных камней разных цветов, оттенков и геометрических форм. Отличительная особенность флорентийской мозаики — тщательная, без швов, подгонка каменных пластинок, расположенных в одной плоскости. Художественный эффект флорентийской мозаики основан на идеальном подборе оттенков камней с использованием их естественного рисунка. При разработке эскиза мозаичного панно прежде всего учитывают декоративные возможности имеющихся камней. Чем разнообразнее окраска и природный рисунок, тем богаче палитра.
Cabinet with pietre dure mosaics
Year
c. 1660-70
Artist
Melchior Baumgartner
Technique
Various woods, ivory, lapis lazuli, pietre dure, gilt silver and copper, chrysoprase and touchstone Dimensions
81 x 68 x 39 cm
В конце 16 века во Флоренцию были приглашены умельцы из Милана, где изготовление предметов искусства из камня было очень популярным. В 1588 году Фердинандо I ди Медичи официально открывает мастерскую по изготовлению изделий из полудрагоценных камней, которая получает название «Галерея Деи Лавори». В этой мастерской помимо умельцев из Милана могли получить работу и мастера из Флоренции и из других североевропейских стран, желающие приобрести опыт, это делало семью Медичи еще более популярной и весомой в глазах всей общественности.
---------------кабинеты-англйских королей-"royal collection"------------------------------
Cabinet and stand
c.1660 (Stand, c.1690)
South German
Acquired before the reign of George III
большая картинка- Подробно весь кабинет можно посмотреть - ZOOM:
http://www.royalcollection.org.uk/eGallery/object.asp?catego...
Cabinet
1780
Adam Weisweiler
Acquired by George IV, when Prince of Wales
большая картинка- Подробно весь кабинет можно посмотреть - ZOOM:
http://www.royalcollection.org.uk/eGallery/object.asp?catego...
Cabinet
1803
Martin-Eloy Lignereux (1752-1809)
Acquired by George IV Подробно весь кабинет можно посмотреть - ZOOM:
http://www.royalcollection.org.uk/eGallery/object.asp?catego...
Cabinet
1820
Attributed to Robert Hume (1808-1840)
Acquired by George IV Подробно весь кабинет можно посмотреть - ZOOM:
http://www.royalcollection.org.uk/eGallery/object.asp?catego...
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Pietre dure cabinet, 1615–20
Court workshop of the grand dukes of Tuscany (Italian, Florence)
Various exotic hardwoods veneered on oak, with ebony moldings; plaques of hardstones and slate; pietre dure work of various hardstones, colored marbles, and rock crystal
Inlaid cabinet, Metropolitan Museum of Art, NYC
This cabinet is from a special exhibit, "Art of the Royal Court: Treasures in Pietre Dure from the Palaces of Europe," at the Metropolitan Museum of Art. Each panel of the cabinet tells a different story (I think that they are all Aesop's fables). I wanted to take more detailed photos because I love the little inlaid animals, but a guard told me to stop taking pictures. I love the salamander and the phoenix on either side of the main door.
Inlaid cabinet, Metropolitan Museum of Art
Стиль флорентийской мозаики получил название «commesso», что в переводе с итальянского «состыкованный», из-за того, что полудрагоценные камни, после придания им различных форм, складывались в единый рисунок так, что граница между ними была практически незаметна. Эта техника, столь полюбившаяся людям, использовалась для изготовления настенных панно, столешниц, шахматных досок, ювелирных коробочек и также для украшения различных элементов мебели и получила поэтическое название «каменная картина».
Большая картинка:http://www.liechtensteinmuseum.at/en/pages/zoom.asp?
Made in Augsburg by Melchior Baumgartner around 1650, this magnificent cabinet incorporates commessi di pietre dure which had been executed around twenty-five years earlier in the Galleria dei Lavori in Florence and which form the heart of this precious piece of furniture. Augsburg craftsmen often worked for the Medici, which led to close collaboration between Augsburg and Florence. One of the central figures in this intensive exchange of ideas and artworks was the Augsburg art dealer, collector, intellectual and diplomat Philipp Hainhofer (1578–1647). He fulfilled the function of an intermediary between the workshops in Florence, Augsburg and Prague and their clientele, to which almost all the European royal and princely houses belonged.
The elegant form of this piece of furniture is typical of the Augsburg workshops, which were without peer in the quality of the gold-, silverwork and ivory carving they produced during the 17th century.
Pietre dure cabinet
Made ca. 1620 in the Medici Grand Ducal Workshops; ebony, pearwood, alabaster, soft and hard stone inlay
(In the Detroit Institute of Arts)
Case by Guillaume Benneman, furniture worker; Gilt-bronze mounts after models by Gilles-François Martin, modeler
French, Paris, 1788
Oak veneered with ebony and lacquer; set with pietre dure plaques; solid ebony legs; gilt bronze mounts; bleu turquin marble top
Case by Guillaume Benneman
Case by Guillaume Benneman
The finely chased and gilded mounts were the most expensive part in the overall production of this cabinet. They show cockerels, the bird of France, liles, the national flower, and interlaced Ls, the monogram of Louis XVI.
Attributed to Adam Weisweiler
French, Paris, about 1810
Oak veneered with ebony and pewter; set with pietre dure plaques and micromosaic roundels; gilt bronze mounts; portor d'Italie marble tops
Attributed to Adam Weisweiler
French, Paris, about 1785
Oak veneered with ebony and pewter; set with pietre dure plaques; gilt bronze mounts; portor d'Italie marble tops
Развитие искусства флорентийской мозаики имело огромную поддержку со стороны Гранд Дюка Флорентийского, так как это был отличный шанс произвести впечатление на глав более крупных и более влиятельных государств, для семьи Медичи это также служило предметом отдельной гордости, так как финансирование производства предметов искусства «pietra dura» являлось доказательством их финансового величия. Позднее, начиная с 1737 года, после Медичи, развитие данного производства продолжалосьи во Франции, при поддержке Людовика 14. Однако, к сожалению, к концу 19 века этот вид искусства вышел из моды. Но окончательно ее не забыли, и в 19 веке тоже делалась мебель, правда, не такая грандиозная, как великолепные кабинеты 16-17 веков.
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Pietra Dura Ebonized Pier Cabinet
Signed by Pretot Scie, Paris
A rare and important Augsburg silver mounted, ebony Table Cabinet or Kabinettschrank inset with Florentine pietra dura plaques circa 1660, by Elias Boscher.
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Rennaisance Storage Cabinet
Rennaisance Storage Cabinet Detail
Rennaisance Storage Cabinet Detail
Rennaisance Storage Cabinet Detail
French oak veneer cabinet with hardstone panels 1810
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Florence; cabinet: Northern Europe; stand: England
Date: Pietre Dure: first half seventeenth century; cabinet: mid-seventeenth century; stand: c.1750
Materials: Pietre Dure, ebonised wood and gilt base
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Stipo fiorentino", legno ebanizzato con inserti in pietra dura, poggiante su consolle con gambe a torciglione, XVI sec.
Second Empire Ebonised, Gilt Bronze And Pietra Dura Side Cabinet, French, ca. 1870
the stepped cabinet with three doors each mounted with ten rectangular pietra dura panels depicting a variety of perching birds, the larger central panel of the middle door a vase of flowers, eleven panels in total, the whole raised on platform base with sun mask to centre, the cornice with acanthus leaf decoration, 123 x 183 x 44cm
Sold for $32,400
SIDEBOARD WITH "PIETRA DURA" AND "PIETRA PAESINA", Louis XIV style, the plaques partly from 17th/18th century, the sideboard cabinet from a master workshop, Paris circa 1840/1870.
Sold for CHF 210 000
Napoleon IIIrd Pietra Dura cabinet
Napoleon IIIrd Period Ebony & Ormolu Mounted 'Pietra Dura Cabinet' c.1860
AUD $16,985.00
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Altar frontal of Italian opera di commessi, (Cathedral, Dubrovnik)
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Unknown
Italian, Florence or Rome, about 1580 - 1600
Pietre dure and marble commesso (mosaic) top including breccia di Tivoli (or Quintilina), giallo antico, nero antico, breccia rossa, breccia cenerina, breccia verde, broccatello, bianco e nero antico, serpentine, alabaster fiorito and alabaster tartaruga, lapis lazuli, coral, rock crystal, and yellow and black jasper
Farnese Table
Palazzo Farnese workshop, Rome, ca. 1568-73
Design by Jacopo Barozzi da Vignola (1507-1573)
piers by Guglielmo della Porta (d. 1577);
Сочетание trompe-d-oeil - иллюзия "обьемности" рисунка.
pietre dure still life -At Florence's pietre dure museum.
Farnese Table
Palazzo Farnese workshop, Rome, ca. 1568-73
Design by Jacopo Barozzi da Vignola (1507-1573)
piers by Guglielmo della Porta (d. 1577);
A Highly Unusual George IV Ebonized And Gilt-Brass Mounted Center Table With Silver-Framed Specimen Hardstone And Marble Insets
A Magnificent Late Regency Giltwood And Gilt-Composition Side Table Designed To Support A Most Unusual Florentine Top Of Pietre Dure And Marbles
An Octagonal Tabletop In Pietre Dure And Marbles Depicting Masonic Symbols
A Giltwood and Gilt-Composition Neoclassical Side Table Almost Certainly Designed By Thomas Leverton To Support The Important Late Renaissance Tabletop of Pietre Dure and Marbles
A Regency Mahogany Center Table With Top Of Pietre Dure And Marbles Emblazoned With The Arms Of John Howard Galton Esq. Of Hadzor Hall
The arms of the Marquess of Londonderry on a ca. 1825 pietra dura marble top at Ronald Phillips Ltd.
An Ebonized and Brass-Inlaid Center Table In The Manner of Peters Of Genoa With Top Of Pietre Dure And Marbles
Louis XIV (1638-1715)-Людовик 14 распорядился мануфактуре Гобеленов производить мозаичную мебель, были приглашены флорентийские мастера.
Manufacture des Gobelins
Table
Table-top in marble and hardstone mosaic
Last quarter of the 17th century
Manufacture des Gobelins, Paris
Mosaic of various types of marble, jasper, agate, amethyst, lapis lazuli, smaragdite, serpentine, and mother-of-pearl; gilded wood base
L. 1.743 m; D. 1.328 m
Table
Louis XIV (1638-1715) ordered the Manufacture des Gobelins to open a hardstone mosaic workshop to compete with Florentine master mosaicists. The tabletop held in the Louvre was made in the Gobelins workshop. The mosaic forms the royal crown and coat of arms. This table, particularly the realism of the birds and landscapes, reflects the sheer quality of work being done in Paris by lapidaries (stone carvers).
http://www.liechtensteinmuseum.at/en/pages/zoom2.asp
Giovanni Giuliani
Wooden base for the pietra - dura table top by Piero Pandolfini, 1711
Carved lime, in 1847 the original green bronze gilding heavily gilded and silver gillt
height 82 cm, width 113 cm, depth 95 cm
Giuliano di Piero Pandolfini
Pietra dura table-top with the Coat-of-Arms of Prince Karl Eusebius von Liechtenstein, 1636
Tabletop Depicting Landscapes, Birds, and the Goddess Diana
Manufacture Royale des Gobelins, Paris, ca. 1670–80
Design by Charles Le Brun and his workshop; lapidary work by Horace and Ferdinand Megliorini, Philippe Branchi, or Jean Ambrogio Gachetti
Agate, amethyst, jasper, lapis lazuli, sardonyx, serpentine, smaragdite, and marble; 68 1/8 x 52 3/8 in. (173 x 133 cm)
Console Tabletop with Allegory of Water
Galleria dei Lavori, Florence, 1761
Design by Giuseppe Zocchi; lapidary work by Rubini; frame by Bombicci
Hardstones in a lapis lazuli ground, gilded-bronze frame; 26 x 41 3/4 in. (66 x 106 cm)
Inlaid marble table
This table is slightly less stunning because it was made in 1792 ... but only slightly less. I don't care if it was made yesterday, it's impressive work
Console Tabletop with Allegory of Air
Galleria dei Lavori, Florence, 1766
Design by Giuseppe Zocchi
Hardstones in an alabaster ground; gilded bronze frame; 26 3/8 x 41 3/4 in. (67 x 106 cm)
Musée du Louvre, Paris
Midfielder Italian Table
Exceptional center table carved and gilded, the uppers of pietra dura by a centered oval medallion depicting a vase of flowers, based on four curved feet surmounted by Nereides brought together by a spacer. Gilding old. Italy, XIXe.
Pietra Dura Table
Maker Unknown
Date: 17th century
Place Made: Probably Italy
Florentine Pietra Dura table
Florentine Pietra Dura Table Top Inlaid With Various Marbles And Lapis Lazuli Centred By A Display
Artist Christies Artist
A Circular Walnut Center Table Bearing An Extraordinary Scagliola Trompe L'Oeil Tabletop By Pierre Della Valle Probably Made For Enrico Gebhardt, Agente Generale To The King Of Bavaria
Очень рекий пример сочетания Trompe L'Oeil и мозаики, у меня подобные фото столиков были, но сайт этот сейчас недоступен.
Giltwood And Green-Painted Center Table Set With An Exquisite Scagliola Top Depicting A Scene From The Hunt
Kleiner Prunktisch mit Pietra dura-Platte nach der Restaurierung im Palais Liechtenstein. (© Sammlungen des Fürsten von und zu Liechtenstein, Vaduz – Wien.)
rosewood centre table with pietra dura top
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Louis XV Style Pietra Dura Gueridon
A Very Fine French 19th Century Louis XV Style Mahogany and Finely Chased Ormolu Mounted "Pietra Dura" Top Gueridon Side Table. The "Pietra Dura" inlaid marble top in the form of wreaths tied-up together by bows and centered with the emblematic symbol known as the four cardinal points or the four winds. Circa: 1870
Unique Pietra dura shaped centre table sitting on a beautifully carved walnut base. Marble inlay giving colourful ring of flowers. c. 1850.
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At Florence's pietre dure museum.
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An intarsia panel depicting the "rape of Hylas" (Hylas, a handsome youth, fell into the hands of lustful nymphs and never got away), from the Basilica of Junius Bassus, a late antique reception hall
Pietra-Dura-Platte im Florentiner Kabinett...
"Hey there's Elvis", inlaid artwork with bling, Metropolitan Museum of Art
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Panel Depicting a Vase of Flowers
Galleria dei Lavori, Florence, early 17th century
Probably by Romolo di Francesco Ferrucci del Tadda, after a design by Matteo Nigetti
Hardstones and marble; 52 3/8 x 30 3/8 in. (133 x 77 cm
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From the time of the first Medici Grand Duke, Cosimo I., there had been a great appreciation and demand for this kind of decorative stonework in Florence, a demand that at first had to be met by recruiting suitably skilled craftsmen from elsewhere in Italy, and even from as far afield as Flanders. Cosimo also encouraged local production, which was further cultivated by his successors Francesco I. and Ferdinando I., with the latter duke establishing an official workshop, known as the Galleria dei Lavori, at the end of the 1580s, ‘which immediately acquired an international reputation […] for its refined hardstone creations.’ Ferdinando’s workshop survives even to the present day, in the form of the Opificio delle Pietre Dure.
Several of the present images are in pairs: this is because many of the best reproductions in Giusti’s book fall across double-page spreads, and thus I was unable to scan them in full, so instead I scanned as large a portion of each facing page as I could. The first detail above shows part of a pietre dure panel based on a design by Baccio (or Bartolommeo) del Bianco (1604-1657), which could easily pass as one of Callot’s gobbi. The second shows the central portion of a tabletop completed by the grandducal workshop in 1604, after a design by Jacopo Ligozzi (1547-1627), a prolific painter, draughtsman and printmaker who was eventually appointed the Florentine workshop’s capomaestro.
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Reliquary Casket
Attributed to the workshop of Andrea del Verrocchio, Florence, 1480s or 1490s
Silver, gilded silver, and hardstones on wood; 13 x 10 1/4 x 6 in. (33 x 26 x 15 cm)
Della Rovere Jewelry Cabinet
Galleria dei Lavori, Florence, ca. 1669
Cabinetry by Cosimo Maures; statuettes by Damiano Cappelli, ca. 1667
Ebony and hardstones; gilded bronze statuettes and mounts; 29 1/8 x 21 5/8 x 20 in. (74 x 54.7 x 50.7 cm)
Bayerisches Nationalmuseum, Munich
Jewelry Box
Galleria dei Lavori, Florence, ca. 1720–30
Design by Giovanni Battista Foggini
Lapis lazuli, jasper, agate, chalcedony, and other hardstones; marble; and slate, oak and ebony frame; gilded-bronze mounts with semiprecious stones; 13 3/4 x 20 3/4 x 17 in. (34.9 x 52.7 x 43.2 cm)
Pietre Dure Casket
Pietre Dure Casket
Pietre Dure Casket
Prie-dieu Made for the Electress Palatine
Galleria dei Lavori, Florence, 1706
Design by Giovanni Battista Foggini; lapidary work by Giuseppe Antonio Torricelli; cabinetry by Adam Suster
Ebony and hardstones, gilded-bronze mounts; 36 1/4 x 26 7/8 20 1/2 in. (92 x 68 x 52 cm)
Appartamenti Monumentali, Palazzo Pitti, Florence,
Italian Mosaic Night Clock Foggini 1704
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