{"id":4998,"date":"2017-02-10T18:46:05","date_gmt":"2017-02-10T23:46:05","guid":{"rendered":"http:\/\/www.georgeglazer.com\/wpmain\/?post_type=product&p=4998"},"modified":"2017-07-02T21:44:30","modified_gmt":"2017-07-03T01:44:30","slug":"decorative-arts-designs-giardini-chalice-engravings-italian-18th-century","status":"publish","type":"product","link":"https:\/\/www.georgeglazer.com\/wpmain\/product\/decorative-arts-designs-giardini-chalice-engravings-italian-18th-century\/","title":{"rendered":"Design Art, 17th-18th Centuries, Giardini Chalices, Italian Antique Prints, c. 1750"},"content":{"rendered":"
\n

Giovanni Giardini was a draughtsman, silversmith, gem-carver and bronze caster.\u00a0 After an apprenticeship to the silversmith Marco Gamberucci, he became qualified as a master silversmith.\u00a0 He soon became an esteemed member of the silversmiths’ guild with a successful business, in which he was joined by his brotherAlessandro in 1680.\u00a0 In 1698, he was named bronze-founder for the papacy, completing important commissions for the papal court, including objects which are today in the Victoria and Albert Museum in London and the Kunsthistorische Museum in Vienna, as well as St. Peter\u2019s in Rome.\u00a0\u00a0 His influential collection of designs for sacred and secular objects originally published as Disegni Diversi<\/strong> (1714) and later reissued in Rome by Fausto Amideo as Promptuarium artis argentariae<\/strong> (1750) is considered the finest 18th-century collection of patterns for silversmiths.<\/p>\n

Maximilian Joseph Limpach was a Czech engraver born in Prague, active in the early 18th century.\u00a0 He worked in Rome for the Vatican printshop.\u00a0 His best-known works are the 100 plates he engraved after Giovanni Giardini for Disegni Diversi<\/strong> (1714).<\/p>\n

Condition: Generally very good with the usual overall minor toning.\u00a0 Some scattered discoloration, staining, confined to margins, some wear to outer margins, can be matted out.\u00a0 Some with faint plate numbers by hand in ink.<\/p>\n

References:<\/p>\n

B\u00e9n\u00e9zit, E. Dictionnaire critique et documentaire des Peintres, Sculpteurs, Dessinateurs et Graveurs.<\/em>\u00a0 France: Librairie Gr\u00fcnd, 1966.\u00a0 Vol. 5, p. 585.<\/p>\n

\u201cGiovanni Giardini.\u201d\u00a0 The Grove Dictionary of Art.<\/em> New York: Macmillan. 2000. Artnet.com.\u00a0 <\/em>http:\/\/www.artnet.com\/library\/03\/0320\/T032096.asp (27 August 2004).<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Giovanni Giardini (1646-1721) (after)
\nMaximilian Joseph Limpach (engraver)
\nChalice Designs<\/strong>
\nfrom Promptuarium artis argentariae [Repository of the Art of Silver]<\/strong><\/em>
\nFausto Amideo, Rome: 1750
\nCopperplate engravings
\n10 1\/4 x 15 1\/4 inches, sheet
\n6 x 11 3\/4 inches, plate mark
\n$375 each<\/p>\n

Prints from the finest 18th-century collection of secular and eccesiastical designs for silversmiths and goldsmiths by Giovanni Giardini, a leading artisan in Rome. First published in Prague in 1714 under the title Disegni Diversi [Various Designs]<\/strong>, the prints include vases, candelabra, tables and various ornaments in a style influenced by late Italian Baroque art and design, especially the work of sculptor Gian Lorenzo Bernini (1598-1680) and architect Francesco Borromini (1599-1667).\u00a0 While some of the designs in Giardini\u2019s plates would be impractical to actually execute in precious metal, they did influence Roman artistic gold and silver production over the next 100 years or so.\u00a0 The plates shown here were part of a 1750 reissue using the original copper plates.<\/p>\n

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