详情
Circular, the center chased with the Feast of the Gods, the cavetto applied with ribbon-tied fishes, the wide border chased with river gods and satyr masks, with egg and dentil border, marked on reverse
2478 in. (63.4 cm.) diameter
247 oz. 6 dwt. (7,691 gr.)
来源
The C. Ruxton and Audrey B. Love Collection: Magnificent Silver-Gilt including Russian Works of Art and Objects of Vertu; Christie's, New York, 19 October 2004, lot 241.
出版
A. Phillips and J. Sloane, exhibition catalogue, Antiquity Revisited: English and French Silver-Gilt, London, 1997, p. 44, no. 5.
展览
New York, Christie's, Antiquity Revisited: English and French Silver-Gilt from the Collection of Audrey Love, September 1997.
San Marino, Huntington Art Gallery, November 1998 - January 1999.
荣誉呈献

拍品专文

William Pitts was one of the first makers to produce silver objects in the historicist style for the Royal goldsmiths Rundell, Bridge and Rundell. The Royal Collection includes two sideboard dishes of this model, dated 1810 and 1812, and a tankard in the 17th century taste of 1811, all marked by Pitts.

The second of Pitts's two dishes made for the Prince Regent is described in Rundell's account of 1812 as follows: A richly chased sideboard dish, to match his Royal Highnesses, and with devices of the Feast of the Gods, from a design of Michael Angelo, with chased mosaic border, 284 oz. 15 dwt., fashion 12s.oz.=£291/17/4.; engraving crest and coronet, 9s; gilding all over dead and red, £96. (as quoted in E. A. Jones, The Gold and Silver of Windsor Castle, 1911, p. 114)

In spite of Rundell's attribution to Michelangelo, the central relief is based on a bronze plaque now attributed to Guglielmo della Porta (recent attribution by Anthony Radcliffe; see Carlton House: The Past Glories of George IV's Palace, 1991, p. 119). The direct design source for Rundell's, however, was almost certainly an engraving of the bronze plaque in Bernard de Montfaucon's L'Antiquitée expliquée, a highly influential publication of 1719. Montfaucon was a Benedictine scholar whose travels in Italy led to his ambitious compilation of all images of antiquities known at the time. The fact that the present relief was a Renaissance and not an ancient Roman work was unknown to Montfaucon. We can be almost certain that Rundell's owned a copy of this volume, as another engraving from Montfaucon provided the subject for a relief plaque on another dish in the Love Collection sold Christie's, New York, 19 October 2004, lot 236, designed by Thomas Stothard for Rundell's in 1813.

相关文章

Sorry, we are unable to display this content. Please check your connection.

更多来自
Orange Blossom珍藏:雕塑银器及工艺精品
参与竞投 状况报告 

佳士得专家或会联络阁下,以商讨此拍品,又或于拍品状况于拍卖前有所改变时知会阁下。

本人确认已阅读有关状况报告的重要通知 并同意其条款。 查阅状况报告