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20 décembre 2016

Flavio Sirletti (1683-1737), Intaglio with the Apollo Belvedere, mounted as a ring, Italian, Rome, circa 1720

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Lot 87. Flavio Sirletti (1683-1737), Intaglio with the Apollo Belvedere, mounted as a ring, Italian, Rome, circa 1720. Estimate 10,000 — 15,000 GBP. Lot sold 25,000 GBPPhoto: Sotheby's

dark brown sard, within a gold ring setting; intaglio: 25mm., 15/16 in.; intaglio and mount: 28mm., 1 1/16 in.; ring size: H½; exterior ring diameter: 22mm., 14/16 in.

ProvenanceBritish private collection, 1755 (see Lippert below); 
Charles Spencer, 3rd Duke of Marlborough (1706-1758) or George Spencer, 4th Duke of Marlborough (1739-1817), Blenheim Palace Oxfordshire; 
thence by family descent to John Winston Spencer-Churchill, 7th Duke of Marlborough (1822-1883), Blenheim Palace, Oxfordshire;
David Bromilow, Bitteswell Hall, Lutterworth, until 1898;
by descent to Julia Harriet Mary Jary (née Bromilow);
Christie, Manson and Woods London, Catalogue of the Marlborough Gems: Being a Collection of Works in Cameo and Intaglio Formed by George, 3rd Duke of Marlborough, 27 June 1899, lot 53;

LiteratureF. Vettori, Dissertatio glyptogragphica.., Rome, 1739, p. 93;
A. Guilanelli, Memorie degli intagliatori moderni in pietre dure, cammei…, Livorno, 1753, p. 61;
P.J. Mariette, Traite des Pierres Gravees, vol I, Paris, 1750, p. 140;
P. D. Lippert, Dactyliotheca Universalis signorum exemplis nitidis redditae, Leipzig, 1755-1762, p. 5 , no. 60;
M. Dolce, Descrizione Istorica del Museo di Cristiano Dehn dedicata alla Regia Società degli Antiquari di Londra per l'Abate Francesco Mario Dolce, 1772, p. 37, no. D23;
J. Tassie and R. E. Raspe, A Descriptive Catalogue of a General Collection of Ancient and Modern Engraved Gems, Cameos and Intaglios, Taken from the Most Celebrated Cabinets in Europe; and Cast in Coloured Pastes, White Enamel, and Sulphur, London, 1791, p. 201, no. 2878;
L.P. Biroli Stefanelli, La Collezione Paoletti II, 2010, p. 305, VIII, no. 298;
M. H. Story-Maskelyne, The Marlborough Gems, London, 1870, p. 9, no. 53;
J. Boardman, D. Scarisbrick, C. Wagner and E. Zwierlein-Diehl, The Marlborough Gems. Formerly at Blenheim Palace, Oxfordshire, Oxford, 2009, p. 258, no. 605:
D. Scarisbrick, C. Wagner and J. Boardman , The Beverley Collection of Gems at Alnwick Castle, 2016, p. 208, no. 194

NoteThis accomplished intaglio, hitherto incompletely studied, was described by Story-Maskelyne in 1870 as very beautiful and fine. It has evidently been long admired since it also appears in the most eminent gem connoisseurs catalogues of the 18th Century. Firstly in Daniel Lippert, 1755, who was curator of the antique collection in Dresden and drawing master for Meissen. Secondly in Cristiano Dehn, 1772, who worked first as an assistant to Baron Stosch (Rome, circa 1728), before establishing himself independently in Florence and Rome. His collection of casts, much admired by Goethe and Winckelmann, were eventually purchased by Tassie, in whose catalogue the gem also appears in 1791. Dehn describes the gem as by Flavio Sirletti (1683- Rome, 1737), a renowned engraver of the period, and this is indeed confirmed by Vettori in 1739, repeated in Guilanelli and Mariette, who record that Sirletti reproduced the celebrated antique statues of Rome on gems, including the Apollo Belvedere, and for example, the Laocoön on amethyst for the Duke of Beaufort (Vatican Museum). Guilanelli (op. cit.) also states that it was the use of diamond pointed tool that enabled Sirletti to achieve such high quality representations. Since its discovery in the 15th century, the Apollo, installed in the Vatican, has remained the most revered and inspiring of ancient sculptures. In the 18th century, Winckelmann described it as ‘the most sublime of all the statues of antiquity’, considering it the greatest example of the Greek aesthetic. Another later 18th Century example is in the collection of Duke of Northumberland, Alnwick Castle (see Scarisbrick, 2016, op. cit.).

Sotheby's. Old Master Sculpture and Works of Art Including Highlights from the Reinhold Hofstätter Collection, London, 06 Dec 2016

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