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Imagines-Numero-4-Maggio-2020.Pdf
Imagines è pubblicata a Firenze dalle Gallerie degli Uffizi Direttore responsabile Eike D. Schmidt Redazione Dipartimento Informatica e Strategie Digitali Coordinatore Gianluca Ciccardi Coordinatore delle iniziative scientifiche delle Gallerie degli Uffizi Fabrizio Paolucci Hanno lavorato a questo numero 4 Andrea Biotti, Antonella Madalese, Gianluca Matarrelli, Patrizia Naldini maggio 2020 ISSN n. 2533-2015 indice n. 4 (maggio 2020) 6 EIKE D. SCHMIDT TRA SPECCHIO E SMARTPHONE. UNA PARTITA DA VEDERE 112 ISABELL FRANCONI “[…] RIDURRE A MAGGIOR PERFEZIONE E SOMIGLIANZA”? 10 Le modalità di ricezione degli autoritratti d’artista degli Uffizi FABRIZIO PAOLUCCI nel Museo Fiorentino e la definizione del termine “somiglianza” nel Settecento MARMORA AURATA L’uso della doratura nella statuaria classica delle Gallerie degli Uffizi: i risultati di un decennio di ricerche 134 ANNA MARIA PROCAJLO 54 LEOPOLDO DE’ MEDICI E LA SUA RICERCA SISTEMATICA SILVIA MALAGUZZI DEL “RITRATTO FATTO DI SUA PROPRIA MANO” RAFFAELLO E I GIOIELLI ALLE GALLERIE DEGLI UFFIZI Elisabetta Gonzaga, Maddalena Doni e la Velata 152 GIULIA COCO 76 “A DONATELLO NELL’ARTE RINASCENTE SCULTORE” GAIL FEIGENBAUM L’omaggio dell’Accademia del Disegno a cinquecento anni dalla nascita AN EVANESCENT CORPUS OF SELF-PORTRAITS BY ANNIBALE CARRACCI IN THE UFFIZI 180 GIANLUCA SPOSATO 98 GLI UOMINI ILLUSTRI DI ANDREA DEL CASTAGNO ANNALENA DÖRING ALLE GALLERIE DEGLI UFFIZI GLI ESPERIMENTI CROMATICI DI CARLO LASINIO Vicende conservative, collezionistiche e museografiche Eike D. Schmidt TRA SPECCHIO E SMARTPHONE. UNA PARTITA DA VEDERE Nell’evoluzione della specie umana, per milioni di anni il volto è stato il “punto cie- co” nella percezione delle proprie sembianze. Ancora poche migliaia d’anni fa, il ri- specchiamento di sé su una superficie riflettente – il fenomeno che nella mitologia greca si traduce nel caso tragico ed emblematico di Narciso – è stata un’esperienza impressionante e fuori dal comune, paragonabile per rarità al fenomeno acustico dell’eco che si verifica solo in rare situazioni. -
Indipendenza
ItinerariItinerari PIAZZE FFIRENZEIRENZE e 17th may 2009 nell’nell’800 MUSICA Piazza dell’Indipendenza The 19th Century Florence itineraries: Squares and Music ThTTheh brass band of the Scuola Marescialli e Brigadieri deddeie Carabinieri is one of the fi ve Carabinieri bands whwwhoseh origin lies in the buglers of the various Legions TheTh 19th19th CenturyC t FlorenceFl ititinerariesi i – 17th1717 h may 2009200009 of the Carabinieri, from which the fi rst bands were designed signifi cantly to coincide with Piazza later formed with brass and percussion instruments. the150th anniversary of the unifi cation of dell’Indipendenza, Today the Brass Band – based in Florence at the Tuscany to the newly born unifi ed state (1859 11.00 am-12.30 am School with the same name – is a small band with – 2009) – will take citizens and tourists on the a varied repertoire (symphonies, operas, fi lm sound discovery of the traces of a Century that left a Fanfara (Brass tracks as well as blues and jazz), especially trained for profound impression on the face of Florence. band) of the its main activity: the performance of ceremonies with The idea is to restore the role of 19th Century Scuola Marescialli assemblies and marches typical of military music. The band wears the so-called Grande Uniforme Speciale, a Florence within the collective imagination, e Brigadieri alongside the Florence of Medieval and very special uniform with its typical hat known as the Renaissance times. This is why one of the dell’Arma dei “lucerna” (cocked hat) and the red and white plume Carabinieri that sets it apart from the musicians of other units of Century’s typical customs will be renewed: the Carabinieri (red-blue plume). -
Horton's Antique Clocks
HORTON'S ANTIQUE CLOCKS JANUARY 2014 Sealed bid auction This is a blind, or sealed-bid auction. You submit a bid sheet with the maximum How does this work? price you wish to pay for an item by the close of the auction (February 2). If you are the high bidder you win the item! You will be notified if you have won the item at the close of the auction and will have 15 business days to make payment by check, credit card, money order, or Paypal. See the Detailed Instructions for more information. Who can I contact Carroll Horton, 3864 Wyse Square, Lexington, KY 40510 (859) 381-8633 FAX (866) 591-6616 with questions? email: [email protected] Website: Hortonclocks.com Horton’s Antique clocks – January 2014 Auction Visit Hortonclocks.com for more pictures 1. $275 the pendulum are the same. That is rare that the pendulum stayed with the clock for near 200 years. The porcelain dial is very dirty and "Birge, Peck & Co. / Bristol, Conn. / Extra Eight Day / the hairlines in the porcelain are dirty. A cleaning in an ultrasonic Rolling Pinion Steel Pivot / Brass Clocks", copied machine would get rid of the dirt and the hairlines would hardly from the complete paper label in this column and show. The clock is 19 inches wide and 13 inches high. The matching cornice shelf clock, ca 1849-1859. I have sold bush- urns are in excellent condition, just a little dirty. There are no chips, els of clocks in this style but this has to be one of breaks, or cracks, in the three pieces of marble. -
Ourishing Extravaganza Opens WUWHS 2016
FLORENCE, ITALY WUWHS 2016 27 September 2016 I wuwhs.org 5 Vox populi ... 10 Around 15 South Koreans are in town That means you! Florence Heart full of Seoul You have come to Poison of democracy Founded in 2002, the Florence from all over the Cellini’s beautiful Korean Society for world and our journalists statue of Perseus is an Wound Management are keen to get your allegory of aristocracy (KSWM) is a views, so we can share triumphing over the multidisciplinary them with your fellow evils of democracy. Not society, founded to delegates: don’t be shy relevant today, then ... exchange experiences ALLEVYN LIFE’s All-singing, flag- ourishing Mechanical performance in debridement wound care extravaganza opens WUWHS 2016 with Medaxis On Sunday evening at 17.15, an and prevention impressive and moving opening debritom+ ceremony heralded the opening of fi ve days’ intensive work on wound healing, as the 2016 Congress of the World Union of Wound Healing Societies (WUWHS) was offi cially opened. Delegates had already spent their Sunday in numerous meetings, run by WUWHS sister societies. The crowd cheered as the Japanese and Italian delegations together entered Medaxis staff demonstrating mechanical the aptly named Renaissance Hall water jet debridement system, Stand 211 Delegates fl ock to the Smith & Nephew at the historic Fortezza da Basso. It Debridement is the fi rst step of stand to see its latest offerings seemed fi tting that Florence, the city every wound care programme. We Musical welcome from Pisa University Choir (left) and then fl ag-wavers strut their stuff Hundreds of delegates swarmed of the Renaissance, be home to the have known for a long time that through the Smith & Nephew opening of WUWHS 2016. -
Giulia Coco “A Donatello Nell'arte Rinascente
GIULIA COCO “A DONATELLO NELL’ARTE RINASCENTE SCULTORE” L’omaggio dell’Accademia del Disegno a cinquecento anni dalla nascita in “Imagines”, n. 4, maggio 2020, pp. 152-179 n.4 | maggio 2020 Giulia Coco “A DONATELLO NELL’ARTE RINASCENTE SCULTORE” L’omaggio dell’Accademia del Disegno a cinquecento anni dalla nascita Donatello fu un vero innovatore, ardito e modesto, che seppe ricondurre l’arte della scultura all’eccellenza della migliore epoca greca, senza scompagnarla da uno studio più accurato e da una più fedele imitazione del vero. Ed oggi, guardando le di lui opere che ormai contano quattro secoli e mezzo di esistenza, si vede spirare da esso un sentimento di viva modernità che a pochi è dato imitare nonché raggiungere Ugo Pesci, Il centenario di Donatello, 1887 Il recupero del patrimonio artistico, spesso inteso solo in termini conservativi, è inve- ce da considerarsi anche come riacquisizione della memoria di vicende dimenticate e di opere che col tempo hanno perso il legame col proprio contesto d’origine. Rian- nodare i fili allentati o spezzati di queste storie permette, talvolta, di ricomporre tas- selli incompleti e di ricostruire episodi artistici dimenticati, come quello relativo alla commissione per un “ricordo” a Donatello nella basilica di Santa Croce che coinvolse gli accademici del Disegno. E proprio la scelta di collocare il cenotafio nel tempio del- le memorie dei grandi, dove riposano le “urne de’ forti”, riflette quell’idea di recupero e celebrazione, intesi come strumenti per eternare un glorioso passato, che a Firenze animò le onoranze donatelliane di fine Ottocento. Le feste per il quinto centenario della nascita di Donatello, avvenuta a Firenze nel 1386, si legarono alle celebrazioni per lo scoprimento della facciata del duomo fio- rentino di Santa Maria del Fiore, programmato per l’autunno del 1886. -
Prince Demidoff's Greek Slave
Helen A. Cooper Prince Demidoff’s Greek Slave Nineteenth-Century Art Worldwide 15, no. 2 (Summer 2016) Citation: Helen A. Cooper, “Prince Demidoff’s Greek Slave,” Nineteenth-Century Art Worldwide 15, no. 2 (Summer 2016), http://www.19thc-artworldwide.org/summer16/cooper-on-prince- demidoff-the-greek-slave. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Cooper: Prince Demidoff’s Greek Slave Nineteenth-Century Art Worldwide 15, no. 2 (Summer 2016) Prince Demidoff’s Greek Slave by Helen A. Cooper On December 15, 1843, the man who would become Hiram Powers’s most distinguished private patron visited the artist’s studio for the first time.[1] Anatole Demidoff, Prince of San Donato, one of the greatest collectors of the age, had come to see for himself the work of the much-talked-about American sculptor in Florence.[2] For Powers (1805–73), the visit by such a notable person would have been cause for excitement at any time, but at this moment it held special promise. Although Powers’s creative energy was at a high point, the state of his finances was precarious. He had orders for scarcely a half-dozen portrait bust commissions and none for a statue of an ideal subject. He was seriously considering abandoning his career and returning to his home in Cincinnati, Ohio.[3] Prince Demidoff had a taste for contemporary marble sculpture. He admired the nearly finished plaster model of The Greek Slave and saw the marble block that was already being prepared—no version had yet been carved—but to Powers’s great disappointment, he left without placing an order. -
Presentazione Del Restauro Del Monumento a Cosimo Ridolfi
Presentazione del restauro del monumento a Cosimo Ridolfi Firenze, 30 giugno 2009 Franco Scaramuzzi* Il monumento di fronte al quale ci troviamo raffigura Cosimo Ridolfi, colto in un atteggiamento riflessivo che esprime efficacemente l’immagine di una carismatica personalità. Un grande fiorentino, nato alla fine del ’700, dotato di ampia cultura e di spiccato ingegno. Emerse rapidamente in tutte le attività che lo videro impegnato, a cominciare dalla alfabetizzazione ed educazione del popolo, fino alla formazione professionale e tecnica (che impostò nella Sua azienda di Meleto) e alla istruzione superiore di livello universitario (che avviò a Pisa) nel settore agrario. Con spirito innovativo sperimentò e diffuse una moderna agricoltura, lasciando segni indelebili della Sua opera. Affrontò problemi della viabilità, della meccanizzazione, del commercio, del risparmio e della finanza, ecc., con eclettica competenza. Si impegnò in attività assisten- ziali, con esemplare dedizione. Si occupò con successo anche di politica e qui, come può sempre accadere, raccolse qualche amarezza, ma finì per riscuotere ammirazione. Oggi la storia gli tributa grandi riconoscimenti e gratitudine. Ricorderò solo due delle Sue benemerenze: quelle acquisite come Georgo- filo e come Fondatore della nostra Cassa di Risparmio. All’età di soli 19 anni lesse la Sua prima memoria nella nostra Accademia dei Georgofili. Nel 1842 ne divenne Presidente e conservò tale carica ininter- rottamente per 23 anni, fino alla Sua morte, nel marzo 1865. Impersonò una nuova figura di agronomo, universalmente riconosciuto per l’ampio orizzonte delle Sue idee. Aveva 25 anni quando, nel 1819, ufficialmente propose l’istituzione a Fi- renze della Cassa di Risparmio. Purtroppo non fu ascoltato e quel modello bancario associativo venne invece realizzato a Venezia (1822) poi a Milano * Presidente dell’Accademia dei Georgofili 430 Franco scaramuzzi (1823) ed a Torino (1827). -
Quartz Hand Assortment Our Most Complete Selection - Includes 5 Different Hour/Minute Hand Styles
Quartz Hand Assortment Our most complete selection - Includes 5 different hour/minute hand styles. 44 pair hour and minute. 24 pieces sweep second. Available in yellow, black, and silver. *-Esslinger & Co. Quartz Hand Assortment Refills BTL HOLE LENGTH STYLE BTL HOLE LENGTH STYLE Available 1 .195 13mm Lum S.S 13 65/110 13mm Baton Wht. Asst. #86.320 2 .195 10mm s.s 14 70/120 13mm Baton Yell. Asst. #86.340 3 .195 13mm s.s. 15 80/130 13mm Baton Blk. Asst. #86.330 4 .17 8mm S.S. 16 90/140 13mm Baton 5 65/110 12mm Lum/Biunt 17 90/150 13mm Baton 6 65/110 11mm Lum/Pointed 18 .17 13mm S.S. $4295 7 65/110 12mm Alpha 19 .18 13mm S.S. 8 65/110 10mm Alpha 20 .21 13mm S.S . (Reg. Price $49.95) 9 40/80 13mm Baton 21 70/120 13mm Lum Mercedes 10 45/90 13mm Baton 22 .195 13mm Lum Mercedes 11 50/100 13mm Baton 23 55/100 13mm Baton 12 60/110 13mm Baton 24 90/150 12.5mm Lum Mercedes ® Set of Broaches BERGEON LUMINOUS PASTE #5680Y (Yellow) .........$11.50 (Reg. Price #5680G (Green) .......... $11.50 $12.75) #5680W (White) ......... Set of 6 five sided cutter smoothed $17 .95 broaches with black plastic handles in a sizes from 0.60mm- 2.0mm For hands and dials. Available in green, yellow and in a plastic pouch. white. Compound is diluted with water to make paste. Hand Fitting Tools Hand Levers Thanks to their plastic ends, these tools are ideal to insert watch hands without scratching the dial. -
Diapositive 1
1 L’EPEE 1839 – the premier clock manufacture in Switzerland For over 175 years, L'Epée has been at the forefront of watch and clock making. Today, it is the only specialised manufacture in Switzerland dedicated to making high-end clocks. L'Epée was founded in 1839, initially to make music box and watch components, by Auguste L’Epée who set up the business near Besançon, France. The L’Epée hallmark was that all parts were made entirely by hand. From 1850 onwards, the manufacture became a leading light in the production of ‘platform’ escapements, creating regulators especially for alarm clocks, table clocks and musical watches. By 1877, it was making 24,000 platform escapements annually. The manufacture became a well-known specialist owning a large number of patents on special escapements such as anti-knocking, auto-starting and constant-force escapements and the chief supplier of escapements to several celebrated watchmakers of the day. L'Epée has won a number of gold awards at International Exhibitions. During the 20th century, L'Epée owed much of its reputation to its superlative carriage clocks and, for many, L'Epée was the clock of the influential and powerful; it was also the gift of choice by French government officials to elite guests. In 1976 when the Concorde supersonic aircraft entered commercial service, L'Epée wall clocks were chosen to furnish the cabins, providing passengers with visual feedback of the time. In 1994, L'Epée showed its thirst for a challenge when it built the world's biggest clock with compensated pendulum, the Giant Regulator. -
FINE CLOCKS Wednesday 13 December 2017
FINE CLOCKS Wednesday 13 December 2017 FINE CLOCKS Wednesday 13 December at 2pm 101 New Bond Street, London VIEWING BIDS ENQUIRIES CUSTOMER SERVICES Saturday 9 December +44 (0) 20 7447 7447 James Stratton M.R.I.C.S Monday to Friday 11am to 3pm +44 (0) 20 7447 7401 fax + 44 (0) 20 7468 8364 8.30am to 6pm Sunday 10 December To bid via the internet please [email protected] +44 (0) 20 7447 7447 11am to 3pm visit bonhams.com Monday 11 December Administrator As a courtesy to intending 9am to 4.30pm Please note that bids should be Vanessa Howson bidders, Bonhams will provide a Tuesday 12 December submitted no later than 4pm on + 44 (0) 20 7468 8204 written Indication of the physical 9am to 4.30pm the day prior to the sale. [email protected] condition of lots in this sale if a Wednesday 13 December New bidders must also provide request is received up to 24 9am to 12pm proof of identity when submitting hours before the auction starts. bids. Failure to do this may result This written Indication is issued SALE NUMBER in your bids not being processed. subject to Clause 3 of the Notice 24222 to Bidders. Bidding by telephone will only be CATALOGUE accepted on lots with a low Please see back of catalogue estimate in excess of £1,000 for important notice to bidders £20.00 Live online bidding is ILLUSTRATIONS available for this sale Front cover: Lot 116 Please email [email protected] Back cover: Lot 53 with “Live bidding” in the subject Inside front cover: Lot 102 line 48 hours before the auction Inside back cover: Lot 115 to register for this service. -
January 2014 Vol
JANUARY 2014 VOL. 33, NO. 6 Meeting Minutes, December 6, 2013 This Month HAPPY HOLIDAYS! SKELETONS! The meeting was called to order by This month, Paul Martyn will provide a program on Skeleton Clocks. Skel- Vice President Paul Martyn and we ton clocks can range from simple to greeted one guest, Jerry. Also visiting simply fantastic. The presentation were original members David and Jer- will briefly review the history of skel- ry, and long-time members Ray and eton clocks. Alvina Marsolek. Members provided Paul will show a refreshments; thanks to all of you! custom made fu- Upcoming Events: see skeleton clock with a passing GLAR will be held on January 30, 31 strike. and February 1st, 2014. The flyers are He will also bring available now and will also be pub- an English fusee lished in the Tic Talk Times. movement from a No, no, no! dial clock and dis- Note: Our next CH. 69 meeting will cuss how it could be converted to a be held on January 3rd, 2014. skeleton clock. Health & Welfare: Leon has assembled and re-assembled a cuckoo clock and Grandfather’s Clock sheet music from 1876 we salute his progress! Old Business: According to Bob Linkenhoker, the Symposium was “well Linkenhoker and seconded by Phyllis Ad- worth the time”. There were many ams. physicists who attended and total at- Bob Linkenhoker will also look into buy- tendance was over 300. ing the DVD’s of lectures. Epicyclic Train Strutt Skeleton Clock New Business: We need a new slate of Our program was presented by Dave officers for 2014. -
N° 61 JACQUES NÈVE Horloger D'art HUBERT SARTON (1748-1828)
N° 61 JACQUES NÈVE Horloger d’Art + 32 (0)477 27 19 08 - [email protected] - www.horloger.net HUBERT SARTON (1748-1828) EMPIRE-PERIOD TWIN DIAL SKELETON CLOCK Circa 1805 H. 23" (57cm), W. 11" (28cm), D. 4 ½" (12cm) REFERENCE BIBLIOGRAPHY Jacques Nève, Les pendules d’Hubert Sarton 1748-1828, Horloger-Mécanicien, Inventeur , mémoire présenté en 2009 à la Chambre Nationale des Experts spécialisés en Meubles, Tableaux, Estampes, Livres, Objets d’art et de Collection, Paris ; Florent Pholien, L’horlogerie et ses artistes au Pays de Liège, 1933 ; Ann Chevalier et André Thiry, L’âge d’or de l’Horlogerie Liégeoise , 2003. 1 2 3 4 5 EMPIRE-PERIOD TWIN DIAL SKELETON CLOCK BY HUBERT SARTON OF LIÈGE,CIRCA 1805 Double-D black marble base, ormolu turned feet and bezels, large enamel main dial with Arabic numerals for the hours, the 15-minute markers and the 31-day calendar. The subsidiary dial with Moonphase and age of the Moon. Both dial surrounds with night-blue colour and gold stars. Finely cut blued steel hands of a Lépine design, the center-sweeping seconds hand beating the half-seconds and doing a full turn in half a minute - a typical Sarton feature. Circular movement mounted on the two polished brass columns. Countweel hourly and half-hourly strike on a silvered bell mounted on top with a vertical hammer. Compensated pendulum with nine rods ending inside the bob. All wheels with very fine crossing-out, the external ones in a typical Sarton style. Pin-wheel escapement mounted upside-down and knife-edge suspension placed at the bottom of the movement.