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Castellani and Italian Archaeological Jewellery Exhibition

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Castellani and Italian Archaeological Jewellery Exhibition Castellani and Italian Archaeological 1 Jewellery Exhibition Castellani and Italian Archaeological The Castellani family’s appreciation of the Jewellery, the first exhibition to explore in craftsmanship of ancient jewellery and their 2 depth the artistic and scholarly contributions to desire to improve contemporary Italian craft jewellery made by three generations of the and design drove them to pursue the rediscov- Castellani family in 19th century Rome, will ery of the ‘lost’ art of granulation: the tech- be staged by the Gilbert Collection, Somerset nique of applying tiny granules of gold to the House, London WC1, from early May until surface of an object, shown to its best effect on Sunday 18 September 2005. This landmark the gold Bacchus pendant (fig. 1). This quest exhibition was organised by The Bard absorbed the Castellani family for decades and Graduate Center for Studies in the Decorative the revival of this and other ancient techniques Arts, Design, and Culture, New York, where it was one of their greatest contributions to the made its debut. history of jewellery making. 4 6 Rome, in the second half of the 19th century, was a magnet for an ever-growing stream of international travellers. The city’s rich artistic and architectural heritage had made it an obligatory stop on the European Grand Tour in The Castellani single-handedly revived the the eighteenth century, but now Rome was fashion for micromosaics, tiny plaques created catering for the new bourgeois tourist from from hundreds of tesserae, minute pieces of Europe and America. Fashion-conscious ladies gold, silver or coloured glass, for which the headed for the Castellani shop near the Trevi Gilbert Collection is so celebrated. Fountain to purchase archaeological-style jew- Exceptionally fine examples are the gold and ellery as stylish souvenirs; wearing Castellani The London exhibition comprises more than enamel Medusa (fig. 9), griffin (fig. 12) and was in itself a statement which, at the same 150 objects, selected from the New York show, owl (fig. 10) brooches. An owl, the symbol of time, conferred on the wearer an appreciation on loan from private collections and major wisdom, is also the subject of a delightful gold of Classical and early Christian history. In public institutions including the Victoria and pin set with eyes of agate. In response to the John Murray’s ‘A Handbook of Rome and its Albert Museum and the British Museum, both fashion for all things Egyptian that had swept Environs’, published in 1869, the entry for patrons of Castellani. It explores the work and through Europe, the Castellani created Castellani states that ‘It is impossible to sur- legacy of the firm and illustrates the wide- Egyptian-inspired jewellery such as the spec- pass in taste and beauty some of his works, ranging aspects of the family’s artistic and cul- tacular gold and micromosaic necklace and unrivalled amongst the Roman jewellers’. tural activities. Outstanding Castellani jew- brooches set with Egyptian scarabs. From the local aristocracy to visiting celebri- ellery from the National Etruscan Museum at Villa Giulia and the Capitoline Museums in 7 Rome also features in the exhibition. 11 5 The exhibition presents the full range of Nineteenth century Rome was famous for its Castellani jewellery styles including Egyptian, cameo carvers. The Castellani introduced new ties, including the literary couple Robert and Classical, Medieval and Renaissance, many approaches to cameo jewellery, commission- Elizabeth Barrett Browning who purchased examples of which were made using the ing semi-transparent gems cut and mounted in jewellery from the firm in 1860 and 1863, the ancient techniques revived by the family. elaborate settings for their wealthiest clients. Castellani client list was a veritable ‘Who’s Archaeologically inspired jewellery includes Among the cameos and intaglios is a gold, Who’ of European and American society. The the ‘Cumae’ diadem (fig. 2), a faithful and agate, emerald and enamel brooch with a popularity of Castellani jewels was such that masterfully executed copy in gold, agate, cameo of a battle scene (fig. 15) and a parure Punch lampooned the style in a comic carica- pearls, glass and enamel of an exquisitely set with cameos (fig. 5) that was the gift of ture in July 1859 titled “A Young Lady on the beautiful piece supposedly excavated at King George I of Greece to the wife of the High Classical School of Ornament”. Cumae near Naples. French prime minister Emile Loubet. ANTIQUES INFO - July/August 05 1. Egyptian-style micromosaic brooch set with 8 Egyptian scarab, Castellani, Italy, c1860. 11 12 Gold, glass tesserae, faience scarab. 2. Bacchus pendant, attrib. to Castellani, Italy, Late 19th-Early 20thc. Gold. 3. Micromosaic pendant with head of Christ, Castellani, Italy, c1860. Gold, gold and glass tesserae, enamel. Castellani also responded to the revival of 4. Brooch with cameo of a battle scene, interest in the Gothic and Renaissance periods. Castellani, Italy, c1860. Gold, agate, enamel, A virtuoso example of his medieval revival 13 emeralds. designs displaying the technical mastery he achieved is a gold and enamel paperknife (fig. 5. Micromosaic brooch with owl, Castellani, 8) with a seated angel, possibly designed by Italy, 1866-1888. Gold, glass tesserae. Michelangelo Caetani. An elaborate parure 6. Etruscan fibula with a winged lion and two (fig. 14) with cameos representing biblical and ducks, Castellani, Italy, 19thc. Gold. mythological subjects set in gold with rubies, 7. Medieval micromosaic brooch with griffin, emeralds, pearls, onyx and enamel, epitomises Castellani, Italy, c1860. Gold, silver, glass his appreciation of 16th century Renaissance tesserae. jewellery. 8. Cumae diadem, Castellani, Italy, c1860. 9 Gold, agates, pearls, glass beads, enamel. 9. Great Bliznitza parure, composed of a Further Details fringe necklace and a pair of pendants, Castellani, Italy, 1864-1876. Gold. Opening hours: 10. Dogali pendant with brooch fitting, Open daily, 10.00 am to 6.00 pm, Castellani; intaglio by G. Girardet, Italy, Feb. last admission 5.15 pm 1887- June 1888. Gold, rubies, pearls, sap- phire, enamel. Admission: 11. Egyptian-style micromosaic necklace set Includes admission to permanent collection: with Egyptian scarabs, Castellani, Italy, Adult: £5.00 Concessions: £4.00 c1860. Gold, glass tesserae, faience scarabs. The passion that was ignited in the 19th centu- Under 18s, UK full-time students, unemployed, ry for Castellani jewellery is still going strong. disabled helpers, and Friends of the Courtauld 12. Renaissance-revival parure with cameos, Castellani ceased trading in 1927 but collec- Institute of Art Gallery: free Italy, 19thc. Gold, rubies, emeralds, pearls, tors, connoisseurs and trend-setters still prize Annual ticket: £20.00 onyx, enamel. Joint ticket with Hermitage Rooms or their jewellery today. This splendid exhibition 13. Micromosaic brooch with Medusa, Courtauld Institute of Art Gallery: £8.00 (con- offers a rare opportunity to rediscover and Castellani, mosaic by L. Podio, Italy, before cessions £7.00) appreciate the craftsmanship and scholarship 1888. Gold, glass tesserae, enamel. Private Joint ticket with both Hermitage Rooms and of the Castellani family who had an immense collection. Photo: S. Collins/Bard Graduate Courtauld Institute of Art Gallery: £12.00 influence not only on jewellery design but also Center. on the developing political and cultural institu- (concessions £11.00) tions of 19th century Rome. 14. Paperknife decorated with blue and green Gilbert Collection cloisonne enamel, Castellani, Italy, c1860. Somerset House, Strand, London, WC2R 0RN Gold and enamel. 10 Tel. +44 (0)20 7420 9400 15. Owl brooch, Castellani, Italy, c1860. Fax. +44 (0)20 7420 9440 Gold, agate. www.gilbert-collection.org.uk 16. Parure with cameos, Castellani, Italy, 14 before 1906. Gold, various hardstones. 16 15 ANTIQUES INFO - July/August 05 .
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