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Antique Pair of Framed Grand Tour Intaglios Early 19th Century

Antique Pair of Framed Grand Tour Intaglios Early 19th Century
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  • Antique Pair of Framed Grand Tour Intaglios Early 19th Century
  • Antique Pair of Framed Grand Tour Intaglios Early 19th Century
  • Antique Pair of Framed Grand Tour Intaglios Early 19th Century
  • Antique Pair of Framed Grand Tour Intaglios Early 19th Century
  • Antique Pair of Framed Grand Tour Intaglios Early 19th Century
  • Antique Pair of Framed Grand Tour Intaglios Early 19th Century
  • Antique Pair of Framed Grand Tour Intaglios Early 19th Century
  • Antique Pair of Framed Grand Tour Intaglios Early 19th Century
  • Antique Pair of Framed Grand Tour Intaglios Early 19th Century
  • Antique Pair of Framed Grand Tour Intaglios Early 19th Century
Ref:08716
Price: £825.00
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A decorative group consisting of a pair of framed plaster Grand Tour intaglios of various sizes dating from the early 19th Century.

The intaglios are beautifully mounted on a plush felt ground in a pair of oval giltwood glazed box frames.

They consist of a total of twenty shaped plaster intaglios of varying sizes depicting Classical figures, including the God Mercury, the rape of the Sabine Women, Emperor Marcus Aurelius, Cupid and Psyche and various Gladiatorial scenes.

Provenance: Contents of Carlton Manor, Scottland

Condition:

In excellent condition, please see photos for confirmation.

Dimensions in cm:

Height 28 x Width 23 x Depth 3

Dimensions in inches:

Height 11 inches x Width 9 inches x Depth 1 inch

The Grand Tour was the traditional trip around Europe, often lasting three to four years, undertaken by the wealthy upper-class English during the 16th and 17th century. Their prime interest was to visit cities that were considered major centres of culture; Paris, Rome, Venice, Florence and Naples were popular destinations.

During the 18th and 19th century, the opportunity to take the “Grand Tour” spread from the aristocracy to the new industrial and professional elites, tourist destinations such as Rome shifted their attention from the privileged class to meeting the travel needs of the monied middle-class, including a healthy souvenir trade.

Souvenir engravings of tourist attractions began to appear everywhere. In addition to albums of engraved views, “the Grand Tour offered another very popular type of travel souvenir, the now nearly forgotten cameos. The taste for these engraved antique gems was revived as part of the classical revival and later reproduced as miniature plaster casts. Mounted in faux book bindings, these plaster cameos provided a minutely detailed cabinet of neoclassical knowledge and art. 

Angelica Kauffman, RA (1741 - 1807)

was a Swiss-born Austrian Neoclassical painter who had a successful career in London and Rome. Though born as "Kauffmann", Kauffman is the preferred spelling of her name in English; it is the form she herself used most in signing her correspondence, documents and paintings.

While Kauffman produced many types of art, she identified herself primarily as a history painter, an unusual designation for a woman artist in the 18th century. History painting, was considered the most elite and lucrative category in academic painting during this time period. Under the direction of Sir Joshua Reynolds, the Royal Academy made a strong effort to promote history painting to a native audience who were more interested in commissioning and buying portraits and landscapes.

Despite the popularity that Kauffman enjoyed in British society and her success as an artist, she was disappointed by the relative apathy that the British had towards history painting. Ultimately she left Britain for the continent, where history painting was better established, held in higher esteem and patronized.

The works of Angelica Kauffman have retained their reputation. By 1911, rooms decorated with her work were still to be seen in various quarters. At Hampton Court was a portrait of the duchess of Brunswick; in the National Portrait Gallery, a self-portrait. There were other pictures by her at Paris, at Dresden, in the Hermitage at St Petersburg, in the Alte Pinakothek atMunich, in Kadriorg Palace, Tallinn (Estonia).

Satinwood

is a hard and durable wood with a satinlike sheen, much used in cabinetmaking, especially in marquetry. It comes from two tropical trees of the family Rutaceae (rue family). East Indian or Ceylon satinwood is the yellowish or dark-brown heartwood of Chloroxylon swietenia.

The lustrous, fine-grained, usually figured wood is used for furniture, cabinetwork, veneers, and backs of brushes. West Indian satinwood, sometimes called yellow wood, is considered superior. It is the golden yellow, lustrous, even-grained wood found in the Florida Keys and the West Indies.

It has long been valued for furniture. It is also used for musical instruments, veneers, and other purposes. Satinwood is classified in the division Magnoliophyta, class Magnoliopsida, order Sapindales, family Rutaceae.

Our reference: 08716

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