An English plaster plaque, cast in relief with a segmented leaf,
the rectangular plaque with a wire loop for wall mounting,
£55
Domenico Brucciani (1815-1880) was born in Lucca (now in Italy), moved to London as a young man, and by at least 1837, with a Gallery of Casts in Covent Garden, became a revered formatore – plaster-caster. His business built up special links with both the British Museum and the South Kensington Museum (later named The Victoria and Albert Museum).
His most substantial commission for the South Kensington Museum was the casting of the Pórtico de la Gloria, the 12th-century façade of the cathedral at Santiago de Compostela, in 1866. This huge undertaking – and many others including, famously, Trajan’s column itself – followed the agreement forged by Henry Cole and Prince Albert at the Paris Exposition of the previous year, signed by all the Crowned Princes of Europe, to further the common man’s experience of sculpture in-the-round by the reciprocal casting of great European sculpture. What followed was the Cast Courts at prestigious museums across Europe and beyond; Brucciani was foremost among the formatore.
He taught sculpture, moulding and casting at the Royal College of Art (including National Art Training School) from 1853 to 1861.
His company, D Brucciani & Co, with workshops in Clerkenwell, survived its founder with the Covent Garden outlet still operating into Edwardian times. A catalogue of their wares is held at The National Art library. However, by the turn of the century, the direct casting of priceless sculpture was being frowned upon – travel across Europe was now much easier anyway – the common man could now use the train. The company faltered. In the 1920’s its casting workshops were subsumed by the Victoria & Albert Museum.
Recently Viewed Items
-
Joan Miró, Lithographie originale
£500Joan Miró, Lithographie originale
Joan Miró produced nearly 1,800 original lithographs and prints at the Maeght studio. He composed his score, invented his alphabet, scattered his symbols across the white page of his writing, close to graffiti. Everything was free, released, aerial, penetrated with interior light. He celebrated marriages between all techniques. Nothing was ever excessive or gratuitous. His creation cut to the essential. Miró created his own language. Dots, lines, scratches, graffiti, writing, mysterious anthropomorphic figures swimming or flying through infinite territory, fed by sparks. The power of black, awestruck colors… And the paper always defended its whiteness. Miró was about drawing above all else. His energy burst on to the sheet.£500 -
Victorian ‘Heal & Son’ figured mahogany wardrobe
£1,150Victorian ‘Heal & Son’ figured mahogany wardrobe
the door with its original arched plate glass mirror, the interior fitted with hanging rail, the drawer stamped 'HEAL & SON LONDON'. A good clean example suitable for regular use.£1,150 -
Large early twentieth century French reverse painted caterers signboard,
£1,200Large early twentieth century French reverse painted caterers signboard,
mounted in later frame£1,200