Ref: 2673
Price : 7,400 €
Dactylioteca
Giovanni Liberotti
Ref: 2673
Price : 7,400 €
Dactylioteca
Giovanni Liberotti
Circa 1830 - 1840
Exhibition: National Library in Paris, the Hermitage, the Uffizi, the Kunsthistorisches Museum in Vienna, Naples and The Hague.
Literature: Gertrud Seidmann, "The Grand Tourist's Favorite Souvenirs: Cameo and Intaglio," RSA Journal, vol. 144, no. 5475 (December 1996), p. 65
Valentin Kockel, Daniel Graepler (eds.): Dactyliotheken. Gods & Caesars from the Drawer. Ancient Gems in 18th and 19th Century Print Collections. Biering & Brinkmann, Munich 2006
Valentin Kockel, Daniel Graepler (eds.): Dactyliotheken. Gods & Caesars from the Drawer. Ancient Gems in 18th and 19th Century Print Collections. Biering & Brinkmann, Munich 2006
Description: Giovanni Liberotti
Fine miniature plaster reliefs mounted in a four-box index card. Various shapes and sizes, displaying ancient works as well as works from the Renaissance and Neoclassical periods.
The individual cameos are mounted on colored silk. The card card case is bound in fine black smooth leather and inscribed "Liberotti Impronte Dactyliothek."
A dactyliothek (Greek: daktyliothekē, ring container, ring box) was originally a collection of antique (signet) rings. Later, the term was primarily used for a collection of impressions of carved jewelry or precious stones (gems or cameos), although the collection may also contain originals. In the 18th century, replicas and impressions in plaster, sealing wax, sulfur, or wax of glyptic products—that is, products made by the sculptural processing of gemstones and precious stones, rock crystal, and similar types of stone using cutting and grinding tools—enjoyed increasing popularity. They were less expensive than the originals, which were of higher material value and, due to their rarity, also possessed high collector value. These replicas were valued primarily for their informative value about the art and culture of the respective era. In the enlightened bourgeois world of the second half of the 18th century and the beginning of the 19th century, owning a collection of originals or replicas of glyptic works was, in a sense, a testament to belonging to the educated social class.
Fine miniature plaster reliefs mounted in a four-box index card. Various shapes and sizes, displaying ancient works as well as works from the Renaissance and Neoclassical periods.
The individual cameos are mounted on colored silk. The card card case is bound in fine black smooth leather and inscribed "Liberotti Impronte Dactyliothek."
A dactyliothek (Greek: daktyliothekē, ring container, ring box) was originally a collection of antique (signet) rings. Later, the term was primarily used for a collection of impressions of carved jewelry or precious stones (gems or cameos), although the collection may also contain originals. In the 18th century, replicas and impressions in plaster, sealing wax, sulfur, or wax of glyptic products—that is, products made by the sculptural processing of gemstones and precious stones, rock crystal, and similar types of stone using cutting and grinding tools—enjoyed increasing popularity. They were less expensive than the originals, which were of higher material value and, due to their rarity, also possessed high collector value. These replicas were valued primarily for their informative value about the art and culture of the respective era. In the enlightened bourgeois world of the second half of the 18th century and the beginning of the 19th century, owning a collection of originals or replicas of glyptic works was, in a sense, a testament to belonging to the educated social class.
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Dactylioteca