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A LARGE ITALIAN SILVERGILT COFFEE POT, BY GIUSEPPE VALADIER, ROMA, CIRCA 1804-1806 | A large italian silvergilt coffee pot, by Giuseppe Valadier, Roma, circa 1804-1806
估價
20,000 - 30,000 EUR
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招標截止
描述
- Haut. 42 cm ; 16 1/2 in. high ; 2000 g. ; 70, 5 oz.
on a circular base, with applied frieze of acanthus leaves, the body applied in low section with acanthus leaved and in the upper section with a large band of vegetal elements, crowned coat-of-arms, the spout shaped as a dragon's head link to the body by a ram's head, the finial shaped as an eagle, the scroll handle in wood with ivory lines
Condition
Some scratches at the surface in places. The wooden and ivory handle with some crackles near the silver-gilt junctions. Legible marks on footrim and cover rim. In overall really good condition. Large size, very nice and unusual pattern.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.
拍品資料及來源
The coat-of-arms engraved on the smooth part of the body ("silver bands with four red stripes depicting a leopard lion in red, appearing in the first band of silver, and six incense holders also in red, with three in the second band of silver, two in the third and one in the fourth ; with a golden band across the top featuring an eagle with a black crown")[i] belongs to the branch of the princely family that descended from Duke Livio Odescalchi (1652-1713), the nephew of Pope Innocent XI (1676-1689). As Odescalchi died without any direct heirs, his title and surname were passed on to the descendants of one of the pontiff's sisters. In 1689, Don Livio was appointed Prince of the Holy Roman Empire by Leopold I, with the title of Most Serene Highness, which could be passed down to heirs. This justifies the presence of the outer decorative elements ("coat of arms mounted on the chest of a black two-headed eagle wearing a golden prince's crown around its neck, and topped with the papal keys and golden papal banner ; the coat-of-arms appearing inside a red ermine-lined cloak, with two golden ropes hanging from the shoulders ; the prince's gem-encrusted crown surrounded in red to meet two pearl-lined arches supporting a small globe topped with a cross, all in gold"). The descendants of Innocent XI's family were not only assured one of Roma's most important titles in the late 17th century, but also a considerable financial inheritance. Part of the Roman aristocracy, they were related to the city's major families. The Odescalchi family enjoyed substantial wealth throughout the 18th century, as attested to by the many commissions in the accounts of Luigi Valadier that we have published. Even at the end of the century, one of the most important services known today was commissioned from Luigi's son, Giuseppe, and which belonged to Monsignor Antonio Maria Odescalchi[ii]. As the family's wealth gradually began to dwindle, Monsignor Odescalchi was eventually forced to sell the entire service to his cousin, Prince Corsini.
The silhouette of the piece is inspired by the coffee pot made by Luigi Valadier in 1777 for Prince Sigismondo Chigi[iii], but the oval shape of the body in this work is much more slender and rounded at the shoulder. Several drawings from deep within the workshop that once belonged to the Artemis Group in London could be considered related to this type of shape. The first (fig. 1) has a band at the top in a winding motif, one of the recurring features of the above-mentioned service for Monsignor Odescalchi. Like the first, the body of the second (fig. 2) is decorated with garlands hanging from studs, with a spout in the shape of a falcon-like protome. The third (fig. 3) displays a spout in the shape of a bird's head, not very different from the fantastic creature appearing on the coffee pot presented here. These drawings trace the development of the artistic career of Giuseppe Valadier, who drew largely on what he learnt from his father Luigi while also coming up with his own ideas, which can be categorized as a very special version of Italy's Empire Style.
The silhouette of the piece is inspired by the coffee pot made by Luigi Valadier in 1777 for Prince Sigismondo Chigi[iii], but the oval shape of the body in this work is much more slender and rounded at the shoulder. Several drawings from deep within the workshop that once belonged to the Artemis Group in London could be considered related to this type of shape. The first (fig. 1) has a band at the top in a winding motif, one of the recurring features of the above-mentioned service for Monsignor Odescalchi. Like the first, the body of the second (fig. 2) is decorated with garlands hanging from studs, with a spout in the shape of a falcon-like protome. The third (fig. 3) displays a spout in the shape of a bird's head, not very different from the fantastic creature appearing on the coffee pot presented here. These drawings trace the development of the artistic career of Giuseppe Valadier, who drew largely on what he learnt from his father Luigi while also coming up with his own ideas, which can be categorized as a very special version of Italy's Empire Style.