A monumental malachite vase from Russia below. [portrait of Napoleon I on the wall]
In the late eighteenth and nineteenth centuries, most malachite came from mines in Russia owned by the noble Demidov family, who exploited hard stone quarries and metal deposits on their estates in the remote Ural Mountains.
Malachite is extremely brittle, and only small display objects can be cut from single blocks of this rock. Large objects require a core structure, to which the malachite can be attached in thin pieces. Russian craftsmen perfected a way of utilizing the stone’s natural pattern and a precision cutting technique to form a continuing ornament. This type of veneer, called "Russian mosaic," looks almost seamless.
The winged female figures in gilded bronze mounted on the body of the vase represent Fame. Their trumpets are shaped like handles—something of a paradox, since the object is far too heavy to be lifted like a cup.
A gilded bronze garland of laurel runs under the lip mount. This evergreen plant, Laurus nobilis, had been adopted by Lorenzo de’ Medici, who was also a lavish patron of the arts, as an emblem of his house, together with the motto "Ita ut virtus," or "Thus is virtue"— that is to say, virtue is evergreen. Evergreen too, is the precious stone that embellishes this vase. It seems that Coutn Demidov wished for his own family both virtue and an "evergreen" fortune.
TAPESTRY portrait of Napoleon I on the wall:
Wool, silk, silver-gilt thread (26-28
warps per inch, 10-12 per cm.); 88 × 58 in; gilded pine frame
Commissioned by Napoléon Bonaparte
(French, Ajaccio 1769–1821 St. Helena; designed 1805, woven 1808–11
In 1808, Napoleon ordered the imperial
tapestry works to execute a woven copy of his favorite portrait,
thereby aligning himself with the royal tradition of tapestry
patronage that extends back to the Middle Ages. A painted replica
could have been produced quickly and with little expense, but
tapestry was much more time-consuming and costly, and therefore
considerably more precious. Eight weavers worked for 3 full years
to make this tour de force.
FRENCH SILVER:
Here are some French silver, in group below followed by individual pics...
Ewer 1745–46:
A ewer with its accompanying basin was among the most important components of the washing and grooming ritual known in France as la toilette. The ewer would have held water; the basin served as a small, portable sink.
This ewer and basin are among the Museum's finest pieces of French Rococo silver. The sinuous lines of the ewer and its handle are a hallmark of the Rococo style, and the dolphin, appearing both in mask and finial form, was a frequently used motif.
The intended function of this ewer and basin is made clear by the aquatic motifs chosen to decorate them. Beneath the spout of the ewer is a dolphin mask framed by bullrushes, and the finial of the hinged cover is formed by a dolphin whose tail serves as a thumbpiece. Bullrushes also decorate the inner sides of the basin.
Tureen with cover 1757–59. It's the only French royal silver service that survives. Note the stag, hounds scene on the lid
This tureen and its mate (now in
the Musée du Louvre) were made by Edme-Pierre Balzac, one of the
preeminent silversmiths in Paris, who also contributed round tureens,
wine coolers, and cruet stands to the service in the years 1757–61.
the stag attacked by hounds atop this one
alludes to the type of stew the tureen might contain.
Coffeepot 1757, French, François Thomas
Germain
Germain, the son of a royal silversmith, was appointed "orfèvre du roi" in 1748. From then until about 1765 he was the most fashionable silversmith in Paris, with a workshop of more than 100 craftsmen executing commissions for the courts of France, Portugal, and Russia.
This coffeepot is one of six made as part of a large table service ordered in 1756 by Joseph I of Portugal.
Germain created an extraordinary impression of movement and surface brilliance through the spiral channeling of the body, the scrolled and foliate legs and feet, and the swirl of coffee leaves and berries at the base of the handle.
Tureen with cover and stand 1770–71,
This tureen and stand comprise one of 22 such tureens in the most extensive silver service of the
second half of the eighteenth century, numbering more than 3,000
items.
Catherine the Great commissioned it to be "made in the
latest fashion" in Paris. The empress was concerned with the
smallest details of the design and production.
Catherine,
born Princess Anhalt-Zerbst, had grown up in comparatively modest
circumstances, thus possessed an intense enthusiasm for an opulent
court life.
The silver service is one of the exuberant gifts that
Catherine showered on her lovers.
Count Gregory Orloff (1734–1783)
and his four brothers orchestrated the conspiracy of 1762 that
dethroned Peter III and brought Catherine to power.
In September
1772, Catherine presented the service to Orloff, who "retired"
shortly afterward and lived in Gatchina Palace until his death in
1783, after which the crown reacquired the service from Orloff's
heirs.
Aside from its bold Neoclassical appearance, a total
innovation was the omission of the elaborate centerpiece, or ménage,
that had hitherto dominated princely table decorations.
The space was
now occupied by large tureens on stands and candelabra. Such formal
table settings have been known in western Europe as services à la
russe.
Ewer 1784–85
The draped garlands below the rim, the
scrolling bands of arabesques in the middle, and the water leaves
above the foot of this ewer are standard Neoclassical motifs
typically found on late eighteenth-century French silver. The
unexpected feature of the ewer, however, is the handle in the form of
Narcissus emerging from a pedestal. The half bust of Narcissus is
placed so that he leans forward, gazing down at the undecorated but
highly reflective surface of the hinged cover. The three-dimensional
representation of the Narcissus story, very cleverly conceived,
distinguishes this ewer as an exceptional example of French silver of
the late eighteenth century.
Candelabra
Some more silver pieces
Standing cup with cover ca. 1700
On top of the lid sits winged Cupid,
the god of love, who may have played with his well-known (but here
lost) attribute, an arrow.
The stem statuette in the form of a boy
holding up an apple could refer to Adam and the biblical story of the
expulsion from Paradise.
Seen together, Cupid, the apple, and the
abundance of flowers and foliage signify vanity and the passing of
earthly pleasure.
Tankard, late 16th century
The tapering cylindrical body of this
tankard is embossed with female and male masks and a very dense
pattern of strap- and scrollwork and festoons.
Only the gadrooned
foot rim, undecorated frame of the lid, and plain finial offer a
moment of classical restraint.
Dessert service
Tray with arms of William Burrell
(1791–1847)1806/7
The tray, with its robust handles and broad rim of vine leaves and grapes naturalistically represented was part of a dessert service.
The large, boldly engraved coat of arms for a member of the Borrel family and the deeply cut engraved inner border of flowering acanthus scrolls reflect the technique of Walter Jackson (active 1801–34), an independent engraver
The fauns who crouch to make the four bracket feet evoke
the Greek god of wine, Dionysos, whose followers included the fauns,
nature-beings often depicted, as here, as half goat, half-man.
Teapot (part of a set)1813/14, Paul
Storr British
The arms of Anne McDonnell, countess of
Antrim, are engraved on each piece. The teapot is fashioned in the
form of an ancient Greek or Roman oil lamp.
Silver candle stands
Ewer. 1350–80, Jasper with silver gilded mounts, German or Rhenish
A document from the 1500s tells of a
search ordered by Emperor Charles IV (crowned at Rome 1355-died 1378)
for semiprecious stones in the mountains northwest of Prague.
A
distinctive type of deep-red jasper, with large inclusions of
amethyst and crystal, was found. Thousands of sheets of jasper still
decorate the walls of Saint Vitus Cathedral and the chapels at
Karlstejn castle built under the emperor's direction. Surviving from
the same period are fewer than twenty jasper vessels made for the
imperial court, among them this cup and ewer. The remains of the
medieval mines are now a protected site within the Czech Republic.
Religious Reliquaries....silver/gilded pieces holding relics of religious saints...
Reliquary ca. 1175–1200 (rock
crystal); early 19th century (setting)
The core of this opulent reliquary
contains a large late twelfth-century rock crystal with engraved vine
scroll patterns from the Meuse Valley (present-day Belgium). It was
said to have once held relics of Saints Margaret, Philip the Apostle,
and Catherine as well as of Bishop Valerius.
Stained glass panels of saints...
Here is a Chasse with the Crucifixion and Christ
in Majesty ca. 1180–90
IVORY:
Elephant tusks—exotic, rare, and
characterized by a pearly lustrous surface, were prized in medieval
Europe for carving into luxurious objects. Here are some lovely pieces
Altarpiece. 1390–1400, Italian:
The altarpiece depicts episodes from the life of Christ (central section), of Saint John the Baptist (left), and of Saint John the Evangelist (right). The appearance of Franciscan friars in the Crucifixion scene suggests that the altarpiece was originally commissioned for a Franciscan community. The Embriachi family, which ran successful workshops in Venice and Florence, produced numerous carvings in bone, ivory, and other materials.
Below is a set of ivory shrines followed by each separately
This is a Plaque with the Descent from the Cross 1320–40, French
The ivory figures are mounted on a sheet of whalebone. This plaque is part of a series of Passion carvings
Triptychca. 1250–75, North French, Portable ivory shrines. This miniature example echoes larger altarpieces or tabernacles, such as those from the abbey church of Saint-Denis outside Paris and the cathedral at Pisa. Images of the Crucifixion and the Glorification of the Virgin are the central focus. The figures are flanked by the personifications Church and Synagogue (above) and by Saints Paul and Peter (below).
A gilded bronze garland of laurel runs under the lip mount. This evergreen plant, Laurus nobilis, had been adopted by Lorenzo de’ Medici, who was also a lavish patron of the arts, as an emblem of his house, together with the motto "Ita ut virtus," or "Thus is virtue"— that is to say, virtue is evergreen. Evergreen too, is the precious stone that embellishes this vase. It seems that Coutn Demidov wished for his own family both virtue and an "evergreen" fortune.
TAPESTRY portrait of Napoleon I on the wall:
Wool, silk, silver-gilt thread (26-28
warps per inch, 10-12 per cm.); 88 × 58 in; gilded pine frame
Commissioned by Napoléon Bonaparte
(French, Ajaccio 1769–1821 St. Helena; designed 1805, woven 1808–11
In 1808, Napoleon ordered the imperial
tapestry works to execute a woven copy of his favorite portrait,
thereby aligning himself with the royal tradition of tapestry
patronage that extends back to the Middle Ages. A painted replica
could have been produced quickly and with little expense, but
tapestry was much more time-consuming and costly, and therefore
considerably more precious. Eight weavers worked for 3 full years
to make this tour de force.
FRENCH SILVER:
Ewer 1745–46:
A ewer with its accompanying basin was among the most important components of the washing and grooming ritual known in France as la toilette. The ewer would have held water; the basin served as a small, portable sink.
This ewer and basin are among the Museum's finest pieces of French Rococo silver. The sinuous lines of the ewer and its handle are a hallmark of the Rococo style, and the dolphin, appearing both in mask and finial form, was a frequently used motif.
The intended function of this ewer and basin is made clear by the aquatic motifs chosen to decorate them. Beneath the spout of the ewer is a dolphin mask framed by bullrushes, and the finial of the hinged cover is formed by a dolphin whose tail serves as a thumbpiece. Bullrushes also decorate the inner sides of the basin.
Tureen with cover 1757–59. It's the only French royal silver service that survives. Note the stag, hounds scene on the lid
the stag attacked by hounds atop this one alludes to the type of stew the tureen might contain.
Coffeepot 1757, French, François Thomas
Germain
Germain, the son of a royal silversmith, was appointed "orfèvre du roi" in 1748. From then until about 1765 he was the most fashionable silversmith in Paris, with a workshop of more than 100 craftsmen executing commissions for the courts of France, Portugal, and Russia.
Germain created an extraordinary impression of movement and surface brilliance through the spiral channeling of the body, the scrolled and foliate legs and feet, and the swirl of coffee leaves and berries at the base of the handle.
Tureen with cover and stand 1770–71,
This tureen and stand comprise one of 22 such tureens in the most extensive silver service of the
second half of the eighteenth century, numbering more than 3,000
items.
Catherine the Great commissioned it to be "made in the
latest fashion" in Paris. The empress was concerned with the
smallest details of the design and production.
Catherine, born Princess Anhalt-Zerbst, had grown up in comparatively modest circumstances, thus possessed an intense enthusiasm for an opulent court life.
Catherine, born Princess Anhalt-Zerbst, had grown up in comparatively modest circumstances, thus possessed an intense enthusiasm for an opulent court life.
The silver service is one of the exuberant gifts that
Catherine showered on her lovers.
Count Gregory Orloff (1734–1783)
and his four brothers orchestrated the conspiracy of 1762 that
dethroned Peter III and brought Catherine to power.
In September
1772, Catherine presented the service to Orloff, who "retired"
shortly afterward and lived in Gatchina Palace until his death in
1783, after which the crown reacquired the service from Orloff's
heirs.
Aside from its bold Neoclassical appearance, a total innovation was the omission of the elaborate centerpiece, or ménage, that had hitherto dominated princely table decorations.
Aside from its bold Neoclassical appearance, a total innovation was the omission of the elaborate centerpiece, or ménage, that had hitherto dominated princely table decorations.
The space was
now occupied by large tureens on stands and candelabra. Such formal
table settings have been known in western Europe as services à la
russe.
Ewer 1784–85
The draped garlands below the rim, the
scrolling bands of arabesques in the middle, and the water leaves
above the foot of this ewer are standard Neoclassical motifs
typically found on late eighteenth-century French silver. The
unexpected feature of the ewer, however, is the handle in the form of
Narcissus emerging from a pedestal. The half bust of Narcissus is
placed so that he leans forward, gazing down at the undecorated but
highly reflective surface of the hinged cover. The three-dimensional
representation of the Narcissus story, very cleverly conceived,
distinguishes this ewer as an exceptional example of French silver of
the late eighteenth century.
Candelabra
Some more silver pieces
Standing cup with cover ca. 1700
On top of the lid sits winged Cupid,
the god of love, who may have played with his well-known (but here
lost) attribute, an arrow.
The stem statuette in the form of a boy
holding up an apple could refer to Adam and the biblical story of the
expulsion from Paradise.
Seen together, Cupid, the apple, and the
abundance of flowers and foliage signify vanity and the passing of
earthly pleasure.
Tankard, late 16th century
Only the gadrooned
foot rim, undecorated frame of the lid, and plain finial offer a
moment of classical restraint.
Tray with arms of William Burrell
(1791–1847)1806/7
The tray, with its robust handles and broad rim of vine leaves and grapes naturalistically represented was part of a dessert service.
The large, boldly engraved coat of arms for a member of the Borrel family and the deeply cut engraved inner border of flowering acanthus scrolls reflect the technique of Walter Jackson (active 1801–34), an independent engraver
The fauns who crouch to make the four bracket feet evoke
the Greek god of wine, Dionysos, whose followers included the fauns,
nature-beings often depicted, as here, as half goat, half-man.
Teapot (part of a set)1813/14, Paul
Storr British
The arms of Anne McDonnell, countess of
Antrim, are engraved on each piece. The teapot is fashioned in the
form of an ancient Greek or Roman oil lamp.
Silver candle stands
Ewer. 1350–80, Jasper with silver gilded mounts, German or Rhenish
A document from the 1500s tells of a
search ordered by Emperor Charles IV (crowned at Rome 1355-died 1378)
for semiprecious stones in the mountains northwest of Prague.
A
distinctive type of deep-red jasper, with large inclusions of
amethyst and crystal, was found. Thousands of sheets of jasper still
decorate the walls of Saint Vitus Cathedral and the chapels at
Karlstejn castle built under the emperor's direction. Surviving from
the same period are fewer than twenty jasper vessels made for the
imperial court, among them this cup and ewer. The remains of the
medieval mines are now a protected site within the Czech Republic.
Religious Reliquaries....silver/gilded pieces holding relics of religious saints...
Reliquary ca. 1175–1200 (rock
crystal); early 19th century (setting)
The core of this opulent reliquary
contains a large late twelfth-century rock crystal with engraved vine
scroll patterns from the Meuse Valley (present-day Belgium). It was
said to have once held relics of Saints Margaret, Philip the Apostle,
and Catherine as well as of Bishop Valerius.
Here is a Chasse with the Crucifixion and Christ
in Majesty ca. 1180–90
IVORY:
Elephant tusks—exotic, rare, and
characterized by a pearly lustrous surface, were prized in medieval
Europe for carving into luxurious objects. Here are some lovely pieces
Altarpiece. 1390–1400, Italian:
Below is a set of ivory shrines followed by each separately
This is a Plaque with the Descent from the Cross 1320–40, French
The ivory figures are mounted on a sheet of whalebone. This plaque is part of a series of Passion carvings
Triptychca. 1250–75, North French, Portable ivory shrines. This miniature example echoes larger altarpieces or tabernacles, such as those from the abbey church of Saint-Denis outside Paris and the cathedral at Pisa. Images of the Crucifixion and the Glorification of the Virgin are the central focus. The figures are flanked by the personifications Church and Synagogue (above) and by Saints Paul and Peter (below).
This is a Polyptych with Scenes from Christ's Passion. 1350
French or German This particular choice of scenes is striking in its attention to Pontius Pilate, its depiction of both the raising of the cross and Jesus nailed to the cross, and its inclusion of the rare episode of the stripping and buffeting of Christ.
Last supper...
Below is a Bible and Book of Common Prayer, 1607, British.Satin embroidered with silk and metal thread
The front and back covers of this bible
are identical, both depicting Adam and Eve in the Garden of Eden,
standing by the Tree of Knowledge. Below the tree is the fountain
from which sprang four rivers, the Pison, the Hiddekel (or Tigris),
the Gihon and the Euphrates.
Arms and Armor:
There are sumptuously decorated armor
and weapons, including items made for the Electors of Saxony and
their bodyguard troops; a select group of English armors made in the
Royal Workshops at Greenwich, founded by Henry VIII; and a personal
armor made for Henry II, King of France..
Here;s the equestrian armor...
Here;s the equestrian armor...
Powder Flask, first half of the 19th
century, Bohemian
The central figure, possibly the
goddess of the hunt Diana or a representation of Fame, is surrounded
by scenes of hunters pursuing game on foot and horseback. The use of
ivory and the style of the ornament emulate earlier types of Baroque
powder flasks.
Pair of Flintlock Pistols of Empress Catherine the Great (1729–1796)1786, Russian
These pistols are part of a deluxe
garniture of ivory-stocked hunting arms made for Empress Catherine
the Great (reigned 1762–96), whose intial (E for Ekaterine) is on
the escutcheons of the grips.
The garniture, which originally consisted of these pistols, a fowling piece dated 1786 (National Museum, Warsaw), and a rifle (whereabouts unknown), was later given to her favorite, Prince Stanislas August Poniatowski (1732–1798), whom she backed as king of Poland (reigned 1763–95).
Firearms with ivory stocks, generally out of fashion in western Europe by the eighteenth century, were in vogue in the ostentatious Russian court during the last quarter of the century.
Sword (Kilij)hilt and guard, 19th
century; grip, 18th century; hilt and guard, Turkish; grip, Indian, Steel, gold, nephrite, ruby
Stained glass with musical instruments
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