Micromosaic Plaque of the Goldfinch, signed and dated by Giacomo Raffaelli, 1784

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Micromosaic Plaque of the Goldfinch, signed and dated by Giacomo Raffaelli, 1784

About the Item

Micromosaic plaque of the Goldfinch This circular plaque is 3 inches in diameter, the micromosaic is set in copper. On the verso, the piece is signed in cursive script (deeply and clearly) Giacomo Raffaelli fece 1784 Roma. Translation: Giacomo Raffaelli made this. 1784 Rome. We have refrained from photographing the verso with the signature to prevent fraudulent practices. Giacomo Raffaelli (1753-1836) was one the most important artists of micromosaics, Indeed there are respected analysts who actually credit him with being an inventor of micromosaics. It is frustrating to most collectors that his pieces are rarely signed. We are aware of 13 that exist in the world. Six in The Hermitage (dated between 1796-1817), one in the renowned Gilbert Collection (dated 1801), one in The British Museum (the earliest known example signed and dated 1779) three held by different companies in the trade (dated 1787, 1790 and 1794), and this one (dated 1784). It should therefore be noted that this plaque is the secord earliest piece known to us. And, in the instant example, the subject matter is highly significant for this micromosaic is not just a portrayal of some inconsequential flora or fauna. Rather ours is a portrayal of The Goldfinch - 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. So ours 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. Therefore looking back from today, we are honored to offer here a true rarity in the field of micromosaic art - a signed and dated example 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, to desk objects such as paperweights to the smallest of brooches, one needs only to ask. All items sold are accompanied by a detailed Statement of Value. As always, we guarantee all of pieces to be exactly as represented. Over the decades of our stewardship as a small but exemplary purveyor of the jeweler's art, we have strived to offer a fine and authentic selection, in excellent condition, of collectible jewels from all highly sought time periods at competitive prices and even lower prices, if possible. In the process we have had the extraordinary good fortune of meeting remarkable people - some collectors, others just extremely interesting individuals who have taken the time and effort to examine their lives and select things that tend to make them smile, or admire, or just wonder at the exciting, endlessly creative and nuanced panoply of jeweled artifacts.

Creator:
Giacomo Raffaelli
Style:
Georgian
Place of Origin:
Italy
Period:
1780-1789
Date of Manufacture:
1784
Condition:
Seller Location:
Aspen, CO
Reference Number:
Seller: 11028431stDibs: LU19223547132

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