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Ptolemaic armillary sphere Charles-François Delamarche Paris, ante 1798 Wood and papier-mâché covered with printed and partly hand-colored paper It measures 15.55 in in height x Ø 10...

Ptolemaic armillary sphere Charles-François Delamarche Paris, ante 1798 Wood and papier-mâché covered with printed and partly hand-colored paper It measures 16.37 in in height x Ø 10.94 in (41.60 cm - Ø 27.80 cm) It weights 2.33 lb (1,058 g) State of conservation: consistent with its age and use, the paper shows some signs of use, stains and abrasions. The sphere is Ptolemaic, with the Earth placed at its center, surrounded by the Moon and the Sun mounted on two metal arms. The sphere is composed of six horizontal and two vertical rings (armillae), each bearing graduations and its own name. The first horizontal ring is illegible. The others, in descending order are: North Pole, Tropic of Cancer, Equator, Tropic of Capricorn, South Pole. The vertical rings consist of two double meridians. The sphere is then connected to the large meridian by two pins, a vertical ring inserted perpendicularly into the circle of the Horizon, in turn supported by four semicircles connected to the turned and black-stained wooden base. Each element is covered with printed paper. It contains various pieces of information: latitudes, length of days, names and zodiac symbols, calendar, wind directions, etc. The vertical circles mention the latitudes and longitudes of different cities: Rome, Bordeaux, Madrid, Boston, Batavia (Jakarta), Acapulco, etc. Even the small terrestrial globe is covered with printed paper: continents and oceans appear with numerous geographical markings indicating the most recent explorations. In the Pacific Ocean, west of South America bears the following inscription: GLOBE TERRESTRIAL à Paris chez Delamarche Géog Rue du Foin Jacques Au Collège de M.e Gervais The North American coasts are well delineated and California appears correctly as a peninsula - reports from Spanish explorers in the region had given rise to confusion as to whether it was connected to the mainland or not. The geographical nature of California was confirmed after the explorations of Juan Bautista de Anza (1774-1776). Alaska is not described and is only partially traced; it would become part of the United States in 1867. Various Pacific islands are indicated. Australia (the name definitely used from 1824) is called "Nouvelle Hollande." Tasmania is still represented as a peninsula and this is an important detail for the dating of our armillary sphere. The island is separated from Australia by Bass Strait, which was crossed by Matthew Flinders for the first time in 1798, showing that it was not a peninsula. Delamarche certainly would not have waited a long time to update such an important geographical datum: presumably he did so shortly after receiving the news. Charles-François Delamarche (1740-1817) founded his laboratory around 1770 and, in a few years, he became the most famous French cartographer and globe maker between the 18th and 19th centuries. After having acquired the laboratory of the late Didier Robert de Vaugondy (1723-1786; himself a renowned cartographer who continued the family business founded by his grandfather Nicolas Sanson in the seventeenth century) and after having purchased, between 1788 and around 1800, the businesses of Jean-Baptiste Fortin (1750-1831) and Jean Lattré (around 1750-1800), he began to call himself "Successeur de MM. Sanson and Robert de Vaugondi, Géographes du Roi and de M. Fortin, Ingénieur-mécanicien du Roi pour les globes et les sphères." Thus, at the end of the eighteenth century, Delamarche possessed the warehouse stocks, as well as the manufacturing skills of the globes of his main rivals in Paris. In addition to this aggressive acquisition policy, the key to its success also lay in the combination of high-quality cartography combined with extremely attractive globes and armillary spheres; and, of course, its famous red paint finishing touch. His laboratory was located on Rue de Foin St Jacques "au Collège Me. (or "Mtre") Gervais" in the Latin Quarter of Paris until around 1805, when he moved to rue du Jardinet No. 13. On the death of Charles-François in 1817, the reins of the company passed to his son Félix (1779-1835), who continued to publish, often in collaboration with the engraver Charles Dien, Sr. In 1835 the company first moved to rue du Jardinet No. 12 and a little later to rue du Battoir No. 7. Bibliography: Dekker, Elly, et al. Globes at Greenwich...

Center writing table Cassina Brothers (Francesco and Giuseppe) Milan, January 26, 1796 79.5 x 94 x 58.5 cm State of conservation: excellent The rectangular table features a minimall...

Greyhound - shaped glass sculpture Flavio Poli I.V.A.M. Murano, circa 1930 It measures 4.72 in in height x 12.59 x 3.74 (12 cm x 32 x 9.5) It weighs 2.42 lb (1.1 kg) State of conse...

Two small dishes Antonio Maria Coppellotti Manufacture Lodi, Circa 1740 High fire polychrome majolica They measure: diameter 7.08 in(18 cm) Weight: 0.37 lb (170 g) State of conservat...

Crucifix Lombardy, mid-17th century Bronze, iron, and wood Sculpture: 33 cm height x 35 cm width x 10 cm depth at the knees; Cross: 42.12 in height x 19.68 in width (107 cm x 50); Ba...

Majolica flower pot "crescent" decorated in manganese Pasquale Rubati Factory Milan, c. 1770 4.92 in x 8.66 in x 5,31 in 12.5 cm x 22 cm X 13.5 cm Weight: 2.29 lb (1039 g) State of conservation: intact with slight chipping due to use in relief parts A rare example of a flower pot "a mezzaluna" produced by the manufactory of the refined painter Pasquale Rubati, who opened a factory in Milan in 1756 to compete with Felice Clerici...

Maiolica flower pots “a mezzaluna” Samson & Fils Factory Montreuil-sous-Bois, France, late 19th century They measure 4.72 in in height x 8.66 x 5.03 (12 cm x 22 x 12,8) Weight: 1.88...

Majolica pitcher Antonio Maria Coppellotti Manufacture Lodi, circa 1735 Majolica decorated in cobalt blue monochrome It measures 7.36 in hight x 8.07 x 4.52 (h 18.7 cm x 20.5 x 11.5...

Pocket Globe Nicholas Lane London, post 1779 The globe is contained in its original case, which is covered in leather. The sphere measures 2.75 in (6.9 cm) whereas the case measure...

Inkwell Calamelli workshop (attr.). Faenza, second half of the 16th century Height 4.33 in; length 8.07 in; depth 2.95 in (11 cm; 20.5 cm; 7.5 cm) Weight: 0.800 lb (363 g) State of conservation: some chipping to the top of the mask around the mouth. Handle glued, without any restorations; minor chips in some raised areas. This object has the shape of a foot wearing Greek-style footwear, as can be seen in some raised areas. The foot is anatomically modeled with bare toes, while the ankle is partially covered by the footwear. On the heel, there is a small circular handle to support the object. The mouth of the container is shaped like a mask. The interior, completely enameled, suggests that the piece was intended to be used as an inkwell or to contain some other liquid. The base, however, is not enamelled. The painted decoration, scant and brief, consists of rapid cobalt blue shading between the toes of the foot, with more precise emphasis on the nails. It is accompanied by yellow citrine accents to enhance the forms. The mask is painted with the tip of the brush, to accentuate the tense nature of the eyes and to accentuate their outline. Thin strokes of yellow-orange line the interior of the mouth. Since the Renaissance, this decoration has been referred to as "compendiaria" and it characterizes the period of production extending from the mid-16th century to approximately the middle of the following century. It significantly influenced tastes at the time. It evolved from the polychrome style "istoriato" and transformed into a new style that "summarized" (compendia), or condensed, the ornamentation of the works into a few colors, placing greater prominence on the shapes. It was often inspired by metal specimens. Since the Renaissance, this decoration has been referred to as "compendiaria" and it characterizes the period of production extending from the mid-16th century to approximately the middle of the following century. It significantly influenced tastes at the time. It evolved from the polychrome style "istoriato" and transformed into a new style that "summarized" (compendia), or condensed, the ornamentation of the works into a few colors, placing greater prominence on the shapes. It was often inspired by metal specimens. This artwork finds parallels in similar objects all characterized by this refined style and produced in the city of Faenza and other Italian centers starting from the mid-16th century. The closest comparable example in majolica is a foot acquired by the British Museum in 2011 (inv. 2011, 8008.1). This was previously published by Carmen Ravanelli Guidotti in 1996 and later by Dora Thornton in 2016 during the conference on Renaissance ceramics...

Six maiolica “ambrogette” (tiles) Rampini manufactory, painter probably Siro Antonio Africa Pavia, 1693-1704 a) 6.88 x 5.51 in (17.5 x 14 cm); 0.55 lb (252 g) b) 7.08 x 5.70 in (18 x 14.5 cm); 0.51 lb (233 g) c) 6.88 x 5.70 in (17.5 x 14.5 cm); 0.54 lb (245 g) d) 6.81 x 5.51 in (17.3 x 14 cm); 0.50 lb (230 g) e) 6.88 x 5.51 in (17.5 x 14 cm); 0.50 lb (229 g) f) 7.08 x 5.70 in (18 x 14.5 cm); 0.51 lb (233 g) State of conservation: intact. These six ”maiolica fina” small “ambrogette” belong to a family of ceramic works considered among the finest produced between the 17th and 18th centuries. For a long time, this type of maiolica was attributed to the Venetian village of Angarano, but later it was definitively attributed to the pottery factories in Pavia. A fundamental study ascribed this production specifically to Pavia through an analysis of Lombard collections and a comparison with archaeological remains found near the two main manufacturing sites in the city. (E. Pelizzoni - M. Forni - S. Nepoti, La maiolica di Pavia tra Seicento e Settecento, Milano 1997). The six small oval tiles have rounded edges and are decorated with a historiated motif. They were created using high-fired polychrome technique, with a predominance of cool tones and a dominance of gray and blue, interspersed with manganese, citrine yellow, orange-yellow, and green. The six small “ambrogette” are characterized by the same stylistic features, with a similar decorative design. The first tile (a) depicts a female figure, holding a stiletto and sitting near a pedestal supporting a relief-decorated baluster vase. Behind her, a child is holding a chalice, while through the arches of a portico, a glimpse of a mountainous landscape can be seen in the background. The female figure could possibly be Lucretia, an example of virtue in ancient Roman culture. In the second “ambrogetta” b), the Biblical episode of Judith and Holofernes is depicted through canonical iconography: the decapitated body of Holofernes lies on the bed in the background, while the protagonist, Judith, is seen placing his head into a sack held by a maidservant. Through an archway a shining slice of the moon gives the perception of nighttime. Surprisingly, within the narrative, there is the presence of a basin in the shape of a large shell, closely resembling the products of Pavia's factories. The third small plaque (c) depicts a female figure standing on a plinth and framed by an architectural arch with a vast mountainous landscape in the background. The woman, with her breasts exposed, is accompanied by two children: one approaching her as if wanting to be picked up, and the other seated with an apple in his hand. The protagonist lends herself to different interpretations: perhaps she represents Rea Silvia with the two twin founders of Rome, or perhaps she is an allegory for the Pietà, a common theme depicted on maiolica. In the fourth tile (d), three characters are depicted near a column. The main figure is an old man with a sad expression, holding a cup, while a woman, wearing a turban on her head, also holds a cup in her right hand and a pitcher in her left. A second woman with her hair bound holds another pitcher behind the old man: at his feet a traveller's bag can be seen, along with some apples and a slice of cheese on a rectangular base. It is likely the sad Biblical episode of Lot and his daughters...