Image Library and Gallery of Micro Mosaic Art, Mosaics, Antiques and Furniture for Collectors.

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Welcome to the Micro Mosaic Image Library, where you can find pictures of many of the fabulous items in the Gilbert Collection, and other collections.

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).	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	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	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	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	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	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	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	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
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	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
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	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	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.