A South Italian coral and enamel-mounted gilt-copper mirror, Trapani, Sicily mid 17th century - Photo Sotheby's
with an octagonal later plate within a moulded surround elaborately embellished with carved coral pieces, the angles with flowerhead shaped enamelled motifs, enamel and coral rosettes and gilt-bronze putti masks, surrounded by a rim with pierced foliate and scrolling outer border; 79cm. high, 68.5cm. wide; 2ft. 7in., 2ft. 3in. Estimation: 40,000 - 60,000 GBP
Comparative Literature: Gina Carla Ascione / Enzo Tartamella, Exhibition catalogue: Coralli - talismani sacri e profane, Trapani (Museo regionale Pepoli) 1986, pp. 213-215, figs 58-60.
Maria Concetta Di Natale, Exhibition catalogue: Splendori di Sicilia - Arti Decorative dal Rinascimento al Barocco, Palermo (Albergo dei Poveri) 2001, p. 50, fig. 48, and p.33, fig. 15.
Trapani in Sicily, witnessed from the 16th century until the end of the 18th century, the flourishing of a highly specialized production of gilt-bronze works of art richly decorated with coral. This precious material had its mythical origin in the blood that flowed from the head of the gorgon Medusa when she was slain by Perseus. Like many other rare materials, it was much sought after during the period of the Renaissance and became one of the materials favoured for the fashioning of works of art for princely Kunstkammern that aimed at bringing together all the marvels of the natural world. Talismanic and medicinal qualities were attributed to coral, such as the detection of poison in foods and the stimulus of fertility. One of the most striking objects in the great Kunstkammer of the Electors of Saxony in Dresden is a silver-gilt cup in the form of Daphne who is turning into a tree in order to escape from the pursuit of Apollo; from the head of the nymph large branches of coral emerge. It was made in the late sixteenth century by the Nuremberg goldsmith Abraham Jamnitzer, copying a piece by his father Wenzel which is now in the Louvre.
The Trapani workshops were patronized by the Court of the Viceroys in Sicily, and many pieces of Trapani work must have found their way to European courts as diplomatic gifts. However, the majority of the output seems to have been destined for the local market or for export to Southern Italy or Spain. Many religious works, such as crucifixes, monstrances and holy water-stoups were absorbed by church treasuries, and secular pieces were acquired by the nobles and the court. Trapani work is characterized by the employment of small pieces of coral carved into many different shapes and set in a ground of gilt-copper to obtain a variety of effects. Small sculptural elements may be executed in coral as well, but three-dimensional mounts also play an important role.
Ascione and Tartamella illustrate three closely related octagonal mirrors, op.cit. pp. 213-215, figs 58-60. Related Trapani frames include examples in Santiago da Compostela and formerly in the Whitaker collection, illustrated by M.C. di Natale, op. cit., p. 50, fig. 48, and p.33, fig. 15.
A pair of very similar mirrors was sold Christie's, London, 6th July 2006, lot 178. A related octagonal holy water stoup was sold in the same sale as lot 199.
Another comparable mirror was sold Christie's, New York, 22nd October 2003, lot 5.
Furthermore, a related octagonal Trapani devotional plaque was sold in these Rooms, lot 50, 3rd December 2008.
Sotheby's. Arts of Europe. London | 04 déc. 2012 www.sothebys.com