Giacomo Raffaelli Micromosaic Box

An octagonal box crafted from Yamsk Jasper, with each side featuring two layers of green and brown agate, set in a silver gilt mount. The front is adorned with a cameo of Achilles, his helmet embellished with a dragon motif. weight: 50.49 g dimensions: 2 x 6 x 3.8 cm The Yamsk Jasper cameo snuff box, depicting Achilles in profile on the lid, is attributed to the Yekaterinburg Russian Imperial Lapidary, established in 1751, known for producing exquisite hardstone objects, many now part of the State Hermitage Museum's collection. The Russian Imperial Cabinet, responsible for overseeing Imperial family properties, managed lapidary production using precious stones from the Ural Mountains. The craftsmanship, material, and dimensions of the snuff box, along with its similarity to other Hermitage pieces, suggest it likely originated from the Yekaterinburg workshop. It was later fitted with 19th-century Russian snuff box components. The cameo likely draws inspiration from a model created by the renowned gem engravers Charles and William Brown, who also worked for Catherine the Great. A good visual comparison is offered by a modern cameo brooch...

A 'vinaigrette' in the shape of a small tobacco box. In 18- carat, two- colored, gold (rose and green), it is studded with flower decorations. Marked with two eagles, warranty mark f...

A highly attractive and rare floral Grand Tour micromosaic jewelry or trinket box made by Cesare Roccheggiani in Rome, Italy, c. 1875. This is a beautifully detailed micro-mosaic box. The panel in the lid depicts a lush bouquet of spring flowers, including roses, forget-me-nots, daffodils, buttercups and crocus, amongst others. These are described in brightly coloured stone micromosaic inlaid into a black surround, lending the piece wonderful contrast. The more common subjects for similar micro mosaic boxes are architectural views of Rome; floral examples such as this are much harder to find. The panel is mounted in a box gilded in 24 carat gold. Another distinctive feature is the granulated finish around the lid and to the underside of the box: it is most unusual and lends the piece a lovely texture. A hand-painted champlevé enamel frieze wraps around the central body of the gilt metal box, depicting scrolling turquoise vines blooming with red berries along with blue, green and yellow vine leaves. The interior is lined in the original silk and in very good original condition. The maker’s name ‘C. ROCCHEGGIANI ROMA’ is emblazoned in gold to the interior of the lid beneath the motif of a cross surmounted by a crown. The lining of both the lid and body are bordered with a ropetwist detail. The lid closes with hooked clasp, and the hinge is in good condition. Cesare Roccheggiani was one of the most successful mosaicists in the late 19th century in Rome. He probably worked in Michelangelo Barberi’s workshop, and was in all likelihood related to Lorenzo Roccheggiani, a late eighteenth-century master mosaicist at the Vatican whose work included the altarpiece, Crucifixion of St. Peter after Guido Reni, and Nicolo Roccheggiani who worked on the Achilles Shield tabletop commissioned by Napoleon Bonaparte, and later gifted to Charles X of France, now in the collection of the Louvre. Cesare Roccheggiani opened his premises on Via Condotti in Rome in 1874, and ran a production workshop including mosaicists, goldsmiths and other craftsmen. He was renowned as a source for fine quality Grand Tour mosaics...

18th Century micromosaic plaque of a Goldfinch, Rome, c. 1785, attributed to Giacomo Raffaelli (1753-1836). A micromosaic plaque of a goldfinch, looking left, perched on a red flowering tree branch, two inches in diameter. The ground line is parallel and low. The foreground is of different colors of grass and fallen berries and leaves. The background is a light blue with parallel lines of square tesserae. The goldfinch has both square and oblong tesserae as does the foreground. The border of a decorative pattern in white in black circles and further with a rim of yellow oblong tesserae create a colorful frame for this well executed micromosaic which is backed with copper. There is a pinstem and "c" clasp (this type of clasp is seen both in the 18th and 19th centuries), both are not gold. This assembly could have been put on at the time of purchase or slightly later so the plaque could be worn as a brooch. We have dated this piece as being at the end of the 18th century and attributed to Giacomo Raffaelli. This micromosaic has all of the established 18th century characteristics of micromosaics executed by Giacomo Raffaelli: 1. Each tesserae possesses one color. 2. The tesserae are either oblong or square. 3. The background is parallel horizontal rows of square tesserae, and 4. The addition of an identical border or millefiori around the edge. See page 32 of "The Gilbert Collection Micromosaics by Jeanette H. Gabriel. Philip Wilson Publishers. Giacomo Raffaelli (1753-1836) is one the most important artists of micromosaics, his signed pieces are almost nowhere to be found - unless in museums and important collections of the world. We know of nine that exist in the world. Two in the Hermitage, two in the renowned Gilbert Collection, one in the British Museum, three held by different companies in the trade, and one held by Pierre/Famille ( for sale on this platform). Raffaelli was considered the finest mosaicist in Rome. Indeed, when Napoleon I wanted to sponsor a mosaic version of The Last Supper, in roughly 1810, he chose Raffaelli, this too added much to his fame. A very similar plaque, also attributed to Raffaelli, can be seen in the above referenced book on page 56. This plaque is part of The Gilbert Collection. The permanent collection is on view at the Victoria & Albert Museum in London. Raffaelli is known for his very realistic depictions of birds - especially the Goldfinch. While his naturalism is among the finest of mosaicists at this time, Raffaelli chose to display his extraordinary talent featuring the goldfinch in many of his works. Raffaelli was probably aware of the significance of the goldfinch to the Catholic Church. Afterall, it is one of the most poignant stories in the Passion of Christ. On the road to Golgotha, Christ was forced to carry the cross upon which he would be crucified. He was also made to wear a brutal crown of thorns. It was said that a simple Goldfinch, having alighted on the Savior's shoulder, flew to his head and plucked a thorn that had been making Christ bleed; whereupon this blood was transferred to the finch, which to this day, still wears it. This is but one example as to how mosaics permitted the Church to teach important lessons or parables. Why was this not done by traditional art forms such as paintings? Why was this done instead by mosaics? From its initial conception at approximately 319 AD, the Church sought to locate St. Peter's Basilica at the site of the apostle's martyrdom. On its face such a decision would seem rational, if not appropriate. St. Peter however was executed in a marshy area on a side of the Tiber in the already quite humid city of Rome. Housed in the early St. Peters with its exposure for so many centuries of very high humidity most of the Basilica's artwork was beyond the help of the rudimentary preservation and restoration of the period. By about 1750 to which the "new" St. Peters dates it had therefore lost many oil and watercolor paintings as well as wood, bone, and tortoise sculptures, frames and other artifacts. What could the Church do? Enter the "new" age of Roman micromosaics in which tiny pieces of colored stone or glass when set with grout would prove to be impervious to the debilitating effects of humidity. By the early 1700's the Church would begin the process of establishing a school of instruction in mosaics. It would sponsor research and experimentation in developing especially glass tesserae and would encourage students to select damaged oils, paintings or watercolors as appropriate subjects for duplicative efforts in micromosaics. Gifted instructors and successful students both frequently had their work promulgated by the Church. And it was from this pool of recently praised practitioners that fame, and special commissions paralleled each other. By about 1780 one mosaicist in particular separated himself from most all the others. Giacomo Raffaelli became one of the most feted mosaicists in all of Rome. Indeed when Napoleon I wanted to sponsor a mosaic version of the Last Supper in roughly 1810 he chose Raffaelli. This selection itself added to the already high reputation of Raffaelli. This micromosaic is in very good condition and probably executed by one of the greatest of mosaicists of all time, and done on a work of art symbolically significant to the early Catholic Church. We have one of the largest collections of micromosaics offered for sale. If our reader is searching for a particular motif, we would be happy to list it here for your consideration. From very large wall hangings...