
APOLLO
ANCIENT ZODIAC
Table With Triumph of Cupid
Rome, Micromosaic and gilt bronze, circa 1823
by Benedetto Boschetti
(Diameter 31in, 78.7cm.)
The
scene depicts Cupid surrounded by animals sacred to divinities
associated with the 8 planets: ox for Saturn, hound for Diana the Moon, wolf
for Mars the warrior, eagle for Jupiter and rulers, the ram for
Mercury and artisans, the griffin of Apollo and artists, the mare of
Ceres (the earth) and farmers, and the dove of Venus and poets.
Illustrated
in Gabriel, 2000, No.52 |

APOLLO
TABLE DETAIL
This theme is taken from Petrarch's poem "Triumph of Love".
(1304-1374). However, this frontal composition of a chariot with four
horses is found in a 3rd century B.C. Roman mosaic from Constantine (Louvre,
Paris).
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FLORAL
MOSAIC
Rome,
Micromosaic, c.1860
(20x15in., 51x38cm)
This is one
of a pair of floral still lives probably copied from originals by the
famous mosaicist Barberi (1787-1867), and were probably taken from
paintings by 17th century Dutch Masters.
Illustrated
in Gabriel, 2000, No.91
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COCKEREL St.
Petersburg, Micromosaic, 1834
Georgi Wekler (1800-1861)
(3 3/8x2 3/4in., 8.6x6.9cm) Wekler
this miniature for the Russian Imperial family after a painting by
d'Hondecoeter (1636-1695). Wekler was discovered in Russia where he was
painting eggs in a glass shop. He was trained in mosaic art by
Italian mosaicist Moglia, eventually becoming mosaic master of the Russian
Court.
Illustrated
in Gabriel, 20000, No.40 |

Tigress - Detail
TIGRESS
After
George Stubbs painting of 1768
Venice, Micromosaic, late nineteenth century
(20
x 26 in; 50.8 x 66 cm)
Stubbs was commissioned
in 1762 to paint this tigress at the menagerie of Blenheim Palace. It was
a gift to George Spencer, fourth Duke of Marlborough, from Lord Clive,
Governor of Bengal. The naturalism of the tigress’ fur displays the
potential of mosaic for naturalistic representation.
Illustrated
in Gabriel, 2000, No.56
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SNUFFBOX
WITH HEAD OF BACCHUS
Micromosaic: Rome, 1804, Clementi Ciuli
Box: gold & enamel, Paris, 1809/19 by A. M. Vachette
(Diameter: 3 1/4 in; 8.3 cm)
When
Pope Pius VII was summoned from the Vatican to preside over the
consecration and crowning of Napoleon at Notre Dame in 1804, this snuffbox
was among the diplomatic gifts he took with him to Paris. Later in its
history, the box was given to a banker in gratitiude for special services
rendered. Bacchus (also known as Dionysus), is the god of wine, but also
represents a lover of peace and civilization. He is represented as a
beautiful, beardless youth, his long hair adorned with vines and wearing a
lion skin over his shoulder.
The minute tesserae in this mosaic are among the most refined known to
exist. The exquisite monochrome composition is in a technique called en
grisaille, which means in shades of gray, often used in imitation of
sculpture.
Ilustrated
in Gabriel, 2000, No. 44
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CAVALIER
Micromosaic, Vatican c. 1880
Signed Luigi Tarantoni R.F.S.P.V.
(18 5/8 x 10 5/8 in; 47.4 x 27 cm)
Most of Tarantoni’s mosaics depict cavaliers, a popular subject which emerged in late nineteenth century art and literature in the in response to the public’s hunger for romanticism. His colorful and romantic historical figures were based on characters inspired by writers such as Alexandre Dumas (1802-70) author of The Three Musketeers, Man in the Iron Mask and The Count of Monte
Cristo.
We must remember that micromosics were copied from paintings. A major originator in this type of historic subject matter was the French painter, etcher and lithographer Ernest Meissonier (1815-91). His thrilling compositions served as models for artists in many media throughout Europe.
The letters R.F.S.P.V. after Tarantoni’s signature on the bottom right of the picture stands for Reverend Fabbrica de S. Pietro in
Vaticano, indicating the mosaic was made at the workshop of St. Peter’s basilica at the Vatican, where Tarantoni worked in the late nineteenth century. The coat of arms in the uppr left has not been identified. Illustrated in Gabriel, 2000, No. 65
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OTHELLO
After
the Painting by Carl L.. F. Becker (1820-1900)
Micromosaic,
Rome or Venice, after 1890
(A.
Gallus, 28 x 332 5/8 in; 71 x 83 cm)
It is rare to
find a mosaic with subject matter from Shakespeare. This mosaic is further
unusual in being unpolished, that is, the tesseerae are rough, possibly to
create a play of light upon the surface of the picture. This was
characteristic of some Venetian mosaics, but examples are also found from
the Vatican studio.
Illustrated
in Gabriel, 2000, No. 64. |

39
CASKET
WITH GATCHINA PRIORY
Micromosaic,
St. Petersburg, c 1825
Giorgi
Ferdinand Wekler
Casket:
9 1/4 x 6 x 5 in; 23.5 x 15.2 x 12.7 cm)
This
casket belonged to Grand Duchess Olga von Wurttemberg, daughter of
Nicholas I, Tsar of Russia. Wekler was commissioned to depict several of
the Imperial estates in micromosaic. Seen atop this casket is the
Gothic-style priory on the grounds of Gatchina Palace, built in 1766 and
given by Catherine the Great to her lover Prince Orlov, who had helped her
dethrone Peter III.
See another view of the top of the casket on this site
Illustrated in Gabriel 2000, No. 39
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MICRO
MOSAIC PLAQUE
WITH TWO DOGS
Micromosaic,
St. Petersburg, 1853
Giorgi
Ferdinand Wekler
(4
1/4 x 5 1/4 in. 10.8 x 14.6 cm)
Miniature Italian
Greyhounds were popular with European monarchs and nobility and would have
been household pets of the Imperial Russian household. This signed plaque
by Wekler, Court artist to the Tsar’s household. This picture of dogs
illustrates his exceptional mastery of mosaics. His teacher was Domenico
Moglia, who discovered Wekler in Moscow where he was a painter of glass
eggs
Illustrated in Gabriel 2000, No.2
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FOUR SEASONS
MICRO MOSAIC TABLE
Micromosaic, Rome, 1839
Signed Camillo Poggioli
(Diameter of Tabletop: 31 in ; 78.7 cm)
A mosaic tabletop whose theme is the Four Seasons, with flowers and fruit
representing Spring, Summer, Fall and Winter. Two birds are shown: the
larger is a European Bee eater, a species frequently found depicted in
arts, particularly in pietra dura or Florentine hardstone panels; the
smaller bird, a European Goldfinch, has been utilized for centuries in
paintings, particularly during the Renaissance when it was a symbolof the
air or of touch. The realistic texture of the birds’ feathers
demonstrates the potential of micromosaics for naturalistic representation
in art. The composition is signed in tesserae, Poggiolo f. 1839 in Roma [Poggioli
made it in 1839 in Rome].
Illustrated in
Gabriel, 2000, No. 51
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BIRD MICROMOSAIC: DETAIL OF TABLETOP
Micromosaic, Rome, 1839
Signed Camillo Poggioli
(Diameter of Tabletop: 31 in ; 78.7 cm)
The mosaic image here is a detail taken from the center of a mosaic
tabletop whose theme is the Four Seasons, with flowers and fruit
representing Spring, Summer, Fall and Winter. Two birds are shown: the
larger is a European Bee eater, a species frequently found depicted in
arts, particularly in pietra dura or Florentine hardstone panels; the
smaller bird, a European Goldfinch, has been utilized for centuries in
paintings, particularly during the Renaissance when it was a symbolof the
air or of touch. The realistic texture of the birds’ feathers
demonstrates the potential of micromosaics for naturalistic representation
in art. The composition is signed in tesserae, Poggiolo f. 1839 in Roma [Poggioli
made it in 1839 in Rome].
Illustrated in
Gabriel, 2000, No. 51
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TABLE WITH GODDESS HEBE Paris,
Micromosaic & Gilded Rosewood, 1805
Francois (Francesco) Belloni (1772-1863) The
Empress, Josephine of France, had this table at her chateau, Malmaison.
Represented is Hebe, Goddess of Youth and cup-bearer to the gods. This
image is based on the statue by Antonio Canova now at the Hermitage
Museum. Belloni came from Rome to open a royal mosaic workshop in France
under Napoleon, producing mosaic decorations for the royal
residences. |

ALBANIAN FOLK WOMAN
Rome,
Micromosaic, c. 1850
(2.5x4in., 6.4x10cm)
The extraordinary color and minute detail of this Albanian Folk Woman
in regional costume make it exceptional for this genre (19th century
depictions of peasants in regional costumes). This make it one of
the finest examples seen today.
Private
Collection, Florida
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SPANIEL IN
LANDSCAPE
Rome, Micromosaic,
c. 1825
(width 3.25in., 8.5cm)
Dogs were popular subjects in micromosaics and other early 19th century art.
They symbolized fidelity or faithfulness and love. The high quality of this
mosaic, which is mounted in an English gold snuffbox of 1827 by Strachan,
indicates it may be by Antonio Aguatti (d. 1846).
Private
Collection, |

A
RURAL SCENE
Rome,
Micromosaic, c. 1850
(7.5x10.5in., 19x26.7cm)
This
charming scene is an alegory of love, which depicts two young women in
the doorway of a farmhouse. The courting doves, ripe produce, blooming
roses, and the large vessel (symbolic of virginity) are characteristic
devices symbolic of love.
Private
Collection
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SOUVENIR
OF ROME
Rome,
Micromosaic, c. 1855
Michelangelo Barberi
(8x11in., 20.3x28.6cm)
Framed by
foliage are the Coliseum in moonlight on the left and St. Peter's Piazza
on the right, separated by the Pincio Fountain. In the center foreground
is a stone with the words, "Ricordo di Roma". This picture is
based on a design for a table by the famous mosaicist Michelangelo Barberi
which was commissioned by the Duke of Palmella.
Illustrated:
Gabriel, 2000, No. 34
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Interior
of Capucin Convent
St. Petersburg,
Micromosaic, c. 1825
Georgi Wekler
(17.5x14.5in., 44.5x36cm)
Formerly in
the collection of czar Nicholas I, of Russia, this mosaic is modeled
on a painting by Francois Marius Granet (1775-1849). The painting was
acquired by Alexander I (1801-1825) of Russia, and hung in the winter
palace in St. Petersburg. Wekler, the court mosaicist, was commissioned by
the czar to product this micromosaic version in 1825. He was rewarded with
a large bonus and a diamond ring.
Illustrated:
Gabriel, 2000, No. 38
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MINIATURE
GLASS MOSAIC BROOCHES
Rome,
glass mosaic, 20th Century
(Diameter: 4cm, 2.4cm, and 4.5cm respectively)
After
the decline of high quality micromosaics, a tourist industry developed
which produced mosaic jewelry and "smalls", even to this day.
These piece, made after about 1900, are a genre of their own. For the most
part, they are crudely executed, unpolished, and use relatively large
glass tesserae, set into rope-twist wire and metal mounts. In the current
market they are incorrectly referred to as "Micromosaics". Here
are some examples purchased on the Internet for around $10.00 U.S.
each.
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