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Bedeutende frühe Commessoplatte mit der Ansicht von Florenz

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Bedeutende frühe Commessoplatte mit der Ansicht von Florenz - Bild 1 aus 3
Bedeutende frühe Commessoplatte mit der Ansicht von Florenz - Bild 2 aus 3
Bedeutende frühe Commessoplatte mit der Ansicht von Florenz - Bild 3 aus 3
Bedeutende frühe Commessoplatte mit der Ansicht von Florenz - Bild 1 aus 3
Bedeutende frühe Commessoplatte mit der Ansicht von Florenz - Bild 2 aus 3
Bedeutende frühe Commessoplatte mit der Ansicht von Florenz - Bild 3 aus 3
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Bedeutende frühe Commessoplatte mit der Ansicht von Florenz
Jaspis, Achate und Chalcedon auf rückseitig gefasster Schieferplatte, verbleite Eisenmontierung mit Zinnreparaturen. Als Steinintarsie gearbeitete detail- und farbenreiche Ansicht von Florenz über den Arno, im rechten Vordergrund ein am Ufer sitzender Angler. Montierung H 19,4, B 27 cm.
Cosimo Castrucci, Florenz oder Prag, um 1590 - 1600.

1592 wurde der Florentiner Steinschneider Cosimo Castrucci an den Prager Hof berufen. Kaiser Rudolf II. war ein großer Liebhaber des Steinschnitts, der Kameen und der Commessoplatten, ein Bewunderer der Kunstfertigkeit und wie viele seiner Zeitgenossen überzeugt von der heilenden Wirkung der Steine. So ist es verständlich, dass der Kaiser die beiden größten Meister ihrer Zeit, Cosimo Castrucci und Ottavio Miseroni für seinen persönlichen Bedarf verpflichten wollte.
Das erste von Cosimo Castrucci signierte und datierte Werk für den Prager Kaiserhof ist eine Tafel, die sich heute in der Kunstkammer des Kunsthistorischen Museums in Wien befindet (Inv.-Nr. KK 3037). Es handelt sich um eine kleine Tafel mit 18,3 x 24,5 cm Größe, die von Cosimo Castrucci stolz rückseitig signiert und datiert wurde. Das Museum besitzt noch drei weitere Tafeln, u.a. auch eine größere, die die Opferung des Isaac darstellt (KK 3411).

Der Zauber dieser Tafeln liegt zum einen in der leuchtenden Farbenpracht der ausgesuchten Halbedelsteine und zum anderen in der Präzision des Steinschnitts, der an kostbare Juwelierarbeiten denken lässt. Castrucci verwendete dafür Achate in verschiedenen Farben, böhmischen Jaspis und Chalcedon, die wie bei großen Commessoplatten auf Schiefer als Trägermaterial appliziert werden. Über seine Vorlagen ist viel gerätselt worden, und man war der Meinung, dass er sich in der kaiserlichen Kupferstich- und Gemäldesammlung vor allem von Werken Pieter Bruegels, Paul Brils, Pieter Stevens´ und Aegidius Sadelers hat inspirieren lassen. Da seine Technik sich so vollkommen von den malerischen unterscheidet, hat Castrucci sich vom Konzept der Kopie als Etude emanzipieren müssen. Die Wirkung der Steine und ihrer Farben war vordergründig, nicht das Motiv. Mit dieser besonderen Commessoplatte ist ihm trotz des eher kontemplativen Sujets und der Stadtkulisse im Hintergrund ein außergewöhnliches Kunstobjekt gelungen, das in einzigartiger Weise höfischer Repräsentation und Prachtentfaltung entspricht.

Nach Cosimo Castruccis Tod um 1602 hat sein Sohn Giovanni, der 1610 zum Kammeredelsteinschneider ernannt wurde, die Prager Werkstatt übernommen. Von ihm gibt es eine sagenhafte Commessoplatte mit Ansicht des Prager Hradschins, die sich gleichfalls in der Wiener Kunstkammer befindet. Die höfische Prager Steinschneidewerkstatt existierte wohl noch einige Jahre nach dem Tod des Kaisers 1612 weiter und wurde spätestens geschlossen, nachdem Ottavio Miseroni 1624 verstorben war.


Provenienz
Seit 1965 in belgischem Privatbesitz.

Literatur
Zur Manufaktur Castrucci s. Giusti, Pietres Dure and the Art of Florentine Inlay, London 2006, S. 117 ff, Abb. 93 ff.





An important early commesso panel with a view of Florence
Inlaid with jasper, agate, and chalcedony on a painted slate panel, in leaded iron mountings with soldered repairs. A detailed and colourful stone inlay depiction of an angler by the Arno river with a view of Florence. H with mountings 19.4, W 27 cm.
Cosimo Castrucci, Florence or Prague, c. 1590 - 1600.

In 1592, the Florentine stone carver Cosimo Castrucci was called to the court of Prague. Emperor Rudolph II was a great lover of stone carving, cameos and commesso work. He was an admirer of craftsmanship and, like many of his contemporaries, was also convinced of the healing properties of gemstones. So it is understandable that the Emperor wanted to engage the two greatest masters of their time, Cosimo Castrucci and Ottavio Miseroni, for his personal collection.
The first signed and dated work by Cosimo Castrucci for the Prague Imperial Court is a panel that is now housed in the Kunstkammer of the Kunsthistorisches Museum in Vienna (inv. no. KK 3037). It is a small panel measuring 18.3 x 24.5 cm, proudly signed and dated on the reverse by Cosimo Castrucci. The museum also owns three other panels, including a larger one depicting the sacrifice of Isaac (KK 3411).
The charm of these panels lies, on the one hand, in the bright colours of the selected semi-precious stones and, on the other hand, in the precision of the stone cutting, which is reminiscent of precious jewellery. Castrucci used agates in various colours, bohemian jasper and chalcedony, which are applied to a slate panel, as in larger commesso works. Many researchers have wondered about the prototypes of his designs, and it is believed that he sought his inspiration in the imperial engravings and paintings collection among the works of Pieter Bruegel, Paul Brils, Pieter Stevens and Aegidius Sadler. Because his technique was so different from that used by painters, Castrucci had to emancipate himself from the idea of the copy as an etude. The effect of the stones and their colours was the focus of his designs, not the motif itself. With this special commesso panel, he succeeded in creating an extraordinary work of art, despite the rather contemplative subject and the city scenery in the background, which corresponds in a unique way to courtly representation and splendour.
Following Cosimo Castrucci's death in around 1602, his son Giovanni, who was appointed royal gem cutter in 1610, took over the Prague workshop. From him there exists a legendary commesso panel with a view of Hradcany in Prague, which is also housed in the Vienna Kunstkammer. The Prague court stonecutting workshop probably continued to exist for several years after the death of the emperor in 1612 and was closed at the latest following the death of Ottavio Miseroni in 1624.


Provenance
In Belgian private ownership since 1965.

Literature
For more on Castrucci's workshop, cf.: Giusti, Pietres Dure and the Art of Florentine Inlay, London 2006, p. 117 ff, illus. 93 ff.





Bedeutende frühe Commessoplatte mit der Ansicht von Florenz
Jaspis, Achate und Chalcedon auf rückseitig gefasster Schieferplatte, verbleite Eisenmontierung mit Zinnreparaturen. Als Steinintarsie gearbeitete detail- und farbenreiche Ansicht von Florenz über den Arno, im rechten Vordergrund ein am Ufer sitzender Angler. Montierung H 19,4, B 27 cm.
Cosimo Castrucci, Florenz oder Prag, um 1590 - 1600.

1592 wurde der Florentiner Steinschneider Cosimo Castrucci an den Prager Hof berufen. Kaiser Rudolf II. war ein großer Liebhaber des Steinschnitts, der Kameen und der Commessoplatten, ein Bewunderer der Kunstfertigkeit und wie viele seiner Zeitgenossen überzeugt von der heilenden Wirkung der Steine. So ist es verständlich, dass der Kaiser die beiden größten Meister ihrer Zeit, Cosimo Castrucci und Ottavio Miseroni für seinen persönlichen Bedarf verpflichten wollte.
Das erste von Cosimo Castrucci signierte und datierte Werk für den Prager Kaiserhof ist eine Tafel, die sich heute in der Kunstkammer des Kunsthistorischen Museums in Wien befindet (Inv.-Nr. KK 3037). Es handelt sich um eine kleine Tafel mit 18,3 x 24,5 cm Größe, die von Cosimo Castrucci stolz rückseitig signiert und datiert wurde. Das Museum besitzt noch drei weitere Tafeln, u.a. auch eine größere, die die Opferung des Isaac darstellt (KK 3411).

Der Zauber dieser Tafeln liegt zum einen in der leuchtenden Farbenpracht der ausgesuchten Halbedelsteine und zum anderen in der Präzision des Steinschnitts, der an kostbare Juwelierarbeiten denken lässt. Castrucci verwendete dafür Achate in verschiedenen Farben, böhmischen Jaspis und Chalcedon, die wie bei großen Commessoplatten auf Schiefer als Trägermaterial appliziert werden. Über seine Vorlagen ist viel gerätselt worden, und man war der Meinung, dass er sich in der kaiserlichen Kupferstich- und Gemäldesammlung vor allem von Werken Pieter Bruegels, Paul Brils, Pieter Stevens´ und Aegidius Sadelers hat inspirieren lassen. Da seine Technik sich so vollkommen von den malerischen unterscheidet, hat Castrucci sich vom Konzept der Kopie als Etude emanzipieren müssen. Die Wirkung der Steine und ihrer Farben war vordergründig, nicht das Motiv. Mit dieser besonderen Commessoplatte ist ihm trotz des eher kontemplativen Sujets und der Stadtkulisse im Hintergrund ein außergewöhnliches Kunstobjekt gelungen, das in einzigartiger Weise höfischer Repräsentation und Prachtentfaltung entspricht.

Nach Cosimo Castruccis Tod um 1602 hat sein Sohn Giovanni, der 1610 zum Kammeredelsteinschneider ernannt wurde, die Prager Werkstatt übernommen. Von ihm gibt es eine sagenhafte Commessoplatte mit Ansicht des Prager Hradschins, die sich gleichfalls in der Wiener Kunstkammer befindet. Die höfische Prager Steinschneidewerkstatt existierte wohl noch einige Jahre nach dem Tod des Kaisers 1612 weiter und wurde spätestens geschlossen, nachdem Ottavio Miseroni 1624 verstorben war.


Provenienz
Seit 1965 in belgischem Privatbesitz.

Literatur
Zur Manufaktur Castrucci s. Giusti, Pietres Dure and the Art of Florentine Inlay, London 2006, S. 117 ff, Abb. 93 ff.





An important early commesso panel with a view of Florence
Inlaid with jasper, agate, and chalcedony on a painted slate panel, in leaded iron mountings with soldered repairs. A detailed and colourful stone inlay depiction of an angler by the Arno river with a view of Florence. H with mountings 19.4, W 27 cm.
Cosimo Castrucci, Florence or Prague, c. 1590 - 1600.

In 1592, the Florentine stone carver Cosimo Castrucci was called to the court of Prague. Emperor Rudolph II was a great lover of stone carving, cameos and commesso work. He was an admirer of craftsmanship and, like many of his contemporaries, was also convinced of the healing properties of gemstones. So it is understandable that the Emperor wanted to engage the two greatest masters of their time, Cosimo Castrucci and Ottavio Miseroni, for his personal collection.
The first signed and dated work by Cosimo Castrucci for the Prague Imperial Court is a panel that is now housed in the Kunstkammer of the Kunsthistorisches Museum in Vienna (inv. no. KK 3037). It is a small panel measuring 18.3 x 24.5 cm, proudly signed and dated on the reverse by Cosimo Castrucci. The museum also owns three other panels, including a larger one depicting the sacrifice of Isaac (KK 3411).
The charm of these panels lies, on the one hand, in the bright colours of the selected semi-precious stones and, on the other hand, in the precision of the stone cutting, which is reminiscent of precious jewellery. Castrucci used agates in various colours, bohemian jasper and chalcedony, which are applied to a slate panel, as in larger commesso works. Many researchers have wondered about the prototypes of his designs, and it is believed that he sought his inspiration in the imperial engravings and paintings collection among the works of Pieter Bruegel, Paul Brils, Pieter Stevens and Aegidius Sadler. Because his technique was so different from that used by painters, Castrucci had to emancipate himself from the idea of the copy as an etude. The effect of the stones and their colours was the focus of his designs, not the motif itself. With this special commesso panel, he succeeded in creating an extraordinary work of art, despite the rather contemplative subject and the city scenery in the background, which corresponds in a unique way to courtly representation and splendour.
Following Cosimo Castrucci's death in around 1602, his son Giovanni, who was appointed royal gem cutter in 1610, took over the Prague workshop. From him there exists a legendary commesso panel with a view of Hradcany in Prague, which is also housed in the Vienna Kunstkammer. The Prague court stonecutting workshop probably continued to exist for several years after the death of the emperor in 1612 and was closed at the latest following the death of Ottavio Miseroni in 1624.


Provenance
In Belgian private ownership since 1965.

Literature
For more on Castrucci's workshop, cf.: Giusti, Pietres Dure and the Art of Florentine Inlay, London 2006, p. 117 ff, illus. 93 ff.




Modernes Kunstgewerbe / Sammlung Dreßen / Kunstgewerbe / Abraham & David Roentgen

Auktionsdatum
Lose: 300 - 365
Lose: 600 - 795
Lose: 800 - 1231
Lose: 400 - 415
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

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