Antichità Alberto Di Castro

12/09/2021

For generations in Rome, the Pichler family executed that era’s most important works in hardstone; engraved or in relief, their subject often took inspiration from the marvels of antiquity. Third son of Johann Anton Pichler (1697-1779), founder of the dynasty of gem engravers, Luigi Pichler earned recognition as member of the prestigious Accademia di San Luca, as well as the Academies of Florence, Milan and Venice. Fellow of the Vienna Academy from 1808, Luigi was appointed Professor of medal- and gem-cutting in 1818, a post he held till 1850. During these years, inspired by gems held in the Royal Collection, he executed works gifted by Emperor Francis I of Austria to Pope Pius VII.

In a period in which the art of engraving reached maximum expression, Luigi Pichler made significant contributions to the field. His ample production finds pride of place in that era’s penchant for the Classical. Even when his works were not copies of antique gems, they, nevertheless, found inspiration in that period, distinguishing themselves for refined elegance and softness of modelling. Following the fashion of those years, the artist often signed his works using Greek letters. Synonymous with refinement and culture, gems and cameos have always been popular as jewellery: wearable art.

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Discover more at TEFAF Online (9-13 September 2021)
Tefaf.com

LUIGI PICHLER (Rome, 1773 - 1854)

Diana
Agate intaglio
2.9 x 2.2 x 0.5 cm; 11/8 x 5/6 x 1/5 in.

Signed: Λ. ΠΙΧΛΕΡ
Provenance: Esmerian Collection, New York

Bibliography: Incisori in pietra dura a Piazza di Spagna, exhibition catalogue (Rome, Alberto e Alessandra Di Castro), edited by L. Pirzio Biroli Stefanelli with F. Leone, Florence 2009, a.h.v. TEFAF

https://youtu.be/bIslPM6fdBw

09/09/2021

Long fascinated by the use of hard stone and polychrome marble in decorative art, we have chosen to present an early 17th century, ebony and hard stone miniature altar; an early 18th century, ebony and hard stone jewellery casket; a first-half 1800s agate intaglio. Prised works, all three are stunning examples of what that era’s finest artists were able to create with astounding mastery as they employed materials notoriously difficult to fashion. The cutting, polishing and engraving of hard stones required a particular set of skills based on techniques that few artists were able to master, fewer still to attain this level of virtuosity.

To discover more about the history of these extraordinary objects, contact us and register at tefaf.com. And of course, if you are in Rome, visit us at Piazza di Spagna 5 to admire the artworks up close!

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Pietre Dure: A Look Behind the Curtain
TEFAF Online 2021
September 9-13 2021



TEFAF

https://youtu.be/zBOXzeKU_qs

01/05/2021

14/02/2021

To commemorate the Telegraph chess match played in 1897 between the members of London’s House of Commons and Washington DC’s House of Representatives, Carlo and Arturo Giuliano were commissioned the ex*****on of a gilded bronze tower, embedded with a piece of the original Telegraph wire that passed under the Atlantic Ocean. A very similar piece is found in the Victoria and Albert Museum. This was a truly epic undertaking!

06/02/2021

The painting portrays the magnificent stone intarsia in memory of Cardinal Leandro Colloredo (1639-1709), placed in the chancery of Rome’s Chiesa di Santa Maria in Vallicella, or rather, Chiesa Nuova. On 4 June 1710, only a few short months after the unexpected death of the cardinal, the prelate’s nephews, Fabio, Girolomo and Rodolfo Colloredo, decided upon the ex*****on of this splendid composition in coloured marble.
In all likelihood, it was Fabio – inheriting the larger portion of the Cardinal’s legacy – who was mostly responsible for this priceless work of art.
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Painter active in Rome, first half 18th century
Coat-of-arms of Cardinal Leandro Colloredo (1639 - 1709) in the chancery of Rome’s Chiesa Nuova
Oil on canvas, 52 x 87 cm; 201/2 x 341/4 in framed: 65 x 100 cm; 25 19/32 x 39 3/8 in

30/01/2021

Portrait of a man identified as Rabbi Abraham Eliezer ha-Levi. Born 1758, Jerusalem; died 21 November 1825, Trieste – son of Zevi ben Netanel ha-Levi and grandson of that Netanel who was head of the Modena and Padua Rabbinical Court in the first decades of the 1700s, a figure often cited by Izhaq Lampronti in his rabbinic encyclopedia Paħad Yitzħak.

Wearing a white turban wrapped around a black cap, he holds a closed volume in his left hand, its spine clearly visible; in the foreground, a ring with a red stone worn on the little finger of that same hand.

Writing in Hebrew on the spine (in part illegible) and on the cover of the volume.
The inscription in black ink on the cover has, in fact, rendered the identification portrait’s subkecy possible:
‎...ל התורה ועל העבודה תוך אמוני עם סגלה
‎...יע"א אברהם אליעזר הלוי נר"ו
Translation: [provost responsible for] the Torah, in divine service to the faithful of the chosen
people Abraham Eliezer ha-Levi.

20/01/2021

Granite intaglio and gold mounted brooch by the Castellani - 19th century jewelers who invented an internationally acclaimed jewelry movement known as Archaeological Revival Jewelry. Based in Rome, they were active throughout the 19th century. The Castellanj signature was an intertwined double C, as can be seen on the verso of our brooch.
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You can discover more on this topic by reading my daughter Denise Di Castro’s most recent publication, “The Castellani Jewelry Workshop. An Approach Under the Lens of Archival Material”.

13/01/2021

Throughout the 17th and 18th centuries, ebony caskets embellished with flat or relief work in semi-precious stones were the most popular luxury items in the range manufactured by the ancient and prestigious Medici manufactory in the grand ducal Galleria dei Lavori – this, especially when, during Grand Duke Cosimo III's long reign (1670–1723) the Galleria's activities experienced an extraordinary surge in productivity. These sophisticated gifts would often contain essences and medicaments with the most unusual and evocative names, such as "fiery unguent", "essence of ambra", or "jasmine balsam".
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Medicea Galleria dei Lavori
Details from the ebony casket with semi-precious stone panels in relief, amethyst and gilded bronze

trimming and olive wood interior
26 (h) x 38.5 x 46 cm [10.2 (h) x 15.2 x 18.1 in ]

Florence, end 17th century
Under the supervision of Giovan Battista Foggini (Florence, 1652 – 1725)
Bears an old inventory number on the bottom 1444 and a second Russian inventory number inside:
2566.

Provenance:
Two ink stamps with characters in the Cyrillic alphabet can be seen on the olive wood lining inside.
These stamps suggest that this precious item may come from an important Russian collection.

25/12/2020

Season’s greetings from Antichità Alberto Di Castro!
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Painter active in Rome in the early 17th century
Oil on alabaster
John the Baptist Baptizing Jesus with two Angels
On the lower part, the form of the marble recalls the Jordan River. The alabaster’s forms radiate light and divine mystery.

09/12/2020

Jewish Book Binding
Siddûr, prayer book, Aškenazi rite
Rotterdam, first half 18th century
Tortoiseshell with clasps in embossed gold
17.2 × 10.5 × 3.7 cm. (6 ¾ × 4 ⅛ × 1 ½ in.)

Literature
Di Castro, A., Melasecchi, O., Spagnoletto, A., Jewish Book Bindings, Rome, 2013, pp. 52, 116-117.

Hallmarks
The Jewish book binding contains three hallmarks: hallmark of the City of Rotterdam; hallmark of the silversmith: the letter Z in a circular field; unidentified hallmark depicting a lion moving towards the left set in a rectangular frame.

Visit our London Art Week viewing room to learn more about this object - link in bio!

01/12/2020

We are pleased to welcome you to our online exhibitor’s page! For this London Art Week Digital edition, we will feature two rare drawings by Antonio Canova. Head over to our link in bio to register.
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Antonio Canova
(Possagno, 1757 – Venice, 1822)
Christ heals an elderly woman

1799- 1800 circa
Pencil on paper
105 x 150 mm (4.1 x 5.9 in) London Art Week