Miniature
1752 (made)
Artist/Maker | |
Place of origin |
This miniature by Gaetano Manini was probably painted in Milan, Bologna or London. Behind the central figures in this scene lurks a mysterious male figure, draped in a brown cloak and wearing a tricorne hat.
The practice of painting portrait miniatures in enamels developed out of the decorative work of goldsmiths and watchmakers in the French cities of Blois, Châteaudun and Paris. Portrait plaques had been made in the enamelling workshops of Limoges in central France during the 16th century, but in the 1630s, Jean Toutin adapted existing techniques to make the subtle colouring and delicate detail of enamel miniatures possible. Small objects like watches or snuffboxes were ideally suited to this technique and many were decorated with portraits and mythological or allegorical scenes. Artists throughout Europe continually refined their approaches to painting enamel portraits. While 17th century enamellers used a very fine stipple to create light and shade in their miniatures, artists in the 18th century began to use larger brushstrokes for a more fluid effect.
Sir Arthur Gilbert and his wife Rosalinde formed one of the world's great decorative art collections, including silver, mosaics, enamelled portrait miniatures and gold boxes. Arthur Gilbert donated his extraordinary collection to Britain in 1996.
The practice of painting portrait miniatures in enamels developed out of the decorative work of goldsmiths and watchmakers in the French cities of Blois, Châteaudun and Paris. Portrait plaques had been made in the enamelling workshops of Limoges in central France during the 16th century, but in the 1630s, Jean Toutin adapted existing techniques to make the subtle colouring and delicate detail of enamel miniatures possible. Small objects like watches or snuffboxes were ideally suited to this technique and many were decorated with portraits and mythological or allegorical scenes. Artists throughout Europe continually refined their approaches to painting enamel portraits. While 17th century enamellers used a very fine stipple to create light and shade in their miniatures, artists in the 18th century began to use larger brushstrokes for a more fluid effect.
Sir Arthur Gilbert and his wife Rosalinde formed one of the world's great decorative art collections, including silver, mosaics, enamelled portrait miniatures and gold boxes. Arthur Gilbert donated his extraordinary collection to Britain in 1996.
Object details
Categories | |
Object type | |
Parts | This object consists of 3 parts.
|
Materials and techniques | Enamel on copper, gold frame |
Brief description | Enamel miniature on copper with a gold frame, Milan, 1752, by Gaetano Manini. |
Physical description | Circular miniature depicting a young lady seated in an interior wearing a white dress with her breasts uncovered. A putto sits on her lap and in the background is a man in a brown cloak and a dog. The miniature is enamel on copper and the frame is of gold. |
Dimensions |
|
Marks and inscriptions | Inscribed 'FRANCOISE LECINSKA / SORELLA DI MARIA / LECINSKA REGINA / DI FRANCIA' (On a paper label on the reverse) |
Gallery label | Woman with putto in her lap
1752
Behind the central figures of the scene lurks a
mysterious male figure, draped in a brown cloak
and wearing a tricorne hat.
Probably Milan or Bologna, Italy;
Gaetano Manini (active 1752–80/90)
Enamel on copper in gold-rim frame with glazed reverse
Signed and dated on lower right ‘G.MF 1752’
Museum no. Loan:Gilbert.305:1 to 3-2008(2009) |
Credit line | The Rosalinde and Arthur Gilbert Collection on loan to the Victoria and Albert Museum, London |
Object history | Provenance: Bossi and Son, Genoa/Nice. Private Collection, Switzerland. Sale, Christie's, London, 21 October 1997, lot 13. D.S. Lavender, London. |
Subjects depicted | |
Summary | This miniature by Gaetano Manini was probably painted in Milan, Bologna or London. Behind the central figures in this scene lurks a mysterious male figure, draped in a brown cloak and wearing a tricorne hat. The practice of painting portrait miniatures in enamels developed out of the decorative work of goldsmiths and watchmakers in the French cities of Blois, Châteaudun and Paris. Portrait plaques had been made in the enamelling workshops of Limoges in central France during the 16th century, but in the 1630s, Jean Toutin adapted existing techniques to make the subtle colouring and delicate detail of enamel miniatures possible. Small objects like watches or snuffboxes were ideally suited to this technique and many were decorated with portraits and mythological or allegorical scenes. Artists throughout Europe continually refined their approaches to painting enamel portraits. While 17th century enamellers used a very fine stipple to create light and shade in their miniatures, artists in the 18th century began to use larger brushstrokes for a more fluid effect. Sir Arthur Gilbert and his wife Rosalinde formed one of the world's great decorative art collections, including silver, mosaics, enamelled portrait miniatures and gold boxes. Arthur Gilbert donated his extraordinary collection to Britain in 1996. |
Bibliographic reference | Coffin, Sarah and Bodo Hofstetter. Portrait Miniatures in Enamel. London: Philip Wilson Publishers Ltd. in association with the Gilbert Collection, 2000. 168 p., ill. Cat. no. 39, pp. 86-87. ISBN 0856675334. |
Other number | MIN 73 - Arthur Gilbert Number |
Collection | |
Accession number | LOAN:GILBERT.305:1, 2-2008 |
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Record created | June 26, 2008 |
Record URL |
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