A RENAISSANCE SARDONYX CAMEO REPRESENTING KING PHILIP II OF SPAIN AND HIS WIFE, MARIA OF PORTUGAL
A RENAISSANCE SARDONYX CAMEO REPRESENTING KING PHILIP II OF SPAIN AND HIS WIFE, MARIA OF PORTUGAL
A RENAISSANCE SARDONYX CAMEO REPRESENTING KING PHILIP II OF SPAIN AND HIS WIFE, MARIA OF PORTUGAL
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A RENAISSANCE SARDONYX CAMEO REPRESENTING KING PHILIP II OF SPAIN AND HIS WIFE, MARIA OF PORTUGAL

ITALIAN OR SPANISH, CIRCA 1545-1550

细节
A RENAISSANCE SARDONYX CAMEO REPRESENTING KING PHILIP II OF SPAIN AND HIS WIFE, MARIA OF PORTUGAL
ITALIAN OR SPANISH, CIRCA 1545-1550
With a later enameled gold mount with a pendant pearl attributed to Maison André and a later hinged reverse, the interior inscribed in black e.2451 and with a paper label inscribed G47, apparently unmarked
1 2⁄3 in. (4.3 cm.) high, the stone
4 in. (9.7 cm.) high, overall
来源
Baron Édouard de Rothschild (1868-1949).
Confiscated from the above by the Einsatzstab Reichsleiter Rosenberg following the Nazi occupation of France after May 1940 (ERR no. R 2451).
Recovered by the Monuments Fine Arts and Archives Section from the Altaussee salt mines, Austria, and transferred to the Munich Central Collecting Point, 28 June 1945 (MCCP no. 1371/54).
Returned to France on 11 July 1946 and restituted to the Rothschild family.
By descent to the present owners.
出版
Y. Hackenbroch, Renaissance Jewellery, Munich/New York, 1979, pp. 317-318, fig. 826.

COMPARATIVE LITERATURE
K. Piacenti and J. Boardman, Ancient and Modern Gems and Jewels in the Collection of Her Majesty the Queen, London, 2008, no. 214.

拍品专文

Formerly attributed to Jacopo da Trezzo (d. 1589), the present, delicately carved double portrait cameo depicts sitters traditionally identified as Philip II of Spain and his first wife Maria of Portugal. Philip and Maria were double first cousins in that they shared all four grandparents in common. Their marriage lasted from 1543-45, when Maria gave birth to a son, Carlos, but died from complications of the birth. Philip would go on to have another three wives, one of whom was Mary Tudor, which meant that for the duration of their marriage he was also King of England.

It seems unlikely that the present cameo could ever have been executed by da Trezzo, as he only came to Madrid from his native Italy in the mid 1550s, when Philip was already married to Mary Tudor. There is, however, a portrait attributed to da Trezzo of Philip II alone, which is now in the Royal Collection of His Majesty Charles III (see Piacenti and Boardman, loc. cit.). A double cameo portrait of Philip and his father, the Emperor Charles V, by Leone Leoni, is today in the Metropolitan Museum, New York (acc. no. 38.150.9).

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