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Lot Essay
AN ALLEGORY OF MARRIAGE
This ewer and basin were presented to the newlywed Marie Adelaide of Habsburg-Lorraine. It was commissioned from Giovanni Bellezza (1807-1876), the celebrated Italian engraver and sculptor of bronzes by the city of Milan. The central frieze of the ewer features Imeneus, the Greek god of marriage, by the groom stands an allegory of honour and power whilst the bride is flanked by an allegory of purity and fertility. The coat-of-arms are those of Milan. The centre of the basin features Italia Turrita, the personification of Italy, together with the allegory of charity with her two sons Science and Urania on one side and the Arts on the other.
THE BRIDE AND GROOM
Victor-Emmanuel II (1820 -1878) was the eldest son of Charles Albert, King of Sardinia (1798-1849), and Archduchess Maria Theresa of Austria (1817-1849). In 1842, he married his cousin, Archduchess Adelaide of Austria (1822-1855). She was born at the Royal Palace of Milan to Archduke Rainer Joseph of Austria (1783-1853) and his wife Princess Elisabeth of Savoy (1800-1856). Her father was the Viceroy of Lombardy-Venetia and was a son of Leopold II, Holy Roman Emperor and Maria Luisa of Spain. Her mother was a member of the House of Savoy and a daughter of the Prince of Carignano, the head of the junior branch of the House of Savoy who ruled the Kingdom of Sardinia.
The marriage celebrated on 12 April 1842 at the Palazzina di Caccia di Stupinigi cemented the relations between the House of Savoy and the House of Habsburg. Victor-Emmanuel was first known as Duke of Savoy before his father abdicated following the Revolutions of 1848, when he succeeded as King of Sardinia-Piedmont, ruling from 1849 to 1861, when he became the first post-unification King of Italy known as the Padre della Patria (father of the fatherland) until his death in 1878.
THE CRAFTSMEN OF THE ACCADEMIA DI BRERA
The drawings of the ewer and basin were executed by Ferdinando Albertolli (1780-1844), and painted by Luigi Sabatelli (1772-1850), whilst Benedetto Cacciatori (1793-1871) created the wax models and Giovanni Bellezza (1807-1876) the silversmithing. All worked extensively for the city of Milan and taught at the Accademia di Brera.
Ferdinando Albertolli was an architect and engraver born in Bedano. He studied at the Accademia di Brera under his uncle Giocondo and later married his daughter. In 1804 he was appointed professor of architecture in Verona; he briefly taught at the Accademia in Venezia before moving to Rome. In 1812 he succeeded his uncle at the Accademia di Brera where he taught for the rest of his life.
Benedetto Cacciatori (1793-1871), born in Carrara, studied drawing with Desmarais and sculpture with Bartolinini at the Accademia di Belle Arti in Carrara. He later came to Milan to study at the Accademia di Brera with Pacetti. The city commissioned his work on a number of occasions, such as the Arch of Peace and the statues of the rivers Po and Ticino. He also had quite a strong connection with the Savoy family. In 1828 he delivered a statue of Apollo commissioned by Maria-Cristina di Savoia. His most important commission from the family was the monument dedicated to Amedeo VIII (1837-1843) in the cathedral of Turin. Cacciatori work was was also celebrated in Lombardy. His last role was teaching sculpture at the Accademia di Brera, where he worked until 1860.
Luigi Sabatelli (1772-1850) was born in Florence and worked in Milan as a painter from 1809. He also taught at the Accademia di Brera. He worked for the city of Milan completing several allegorical and mythological decoration schemes for palaces and churches.
Giovanni Bellezza was born in Milan on 9th August 1807. He trained as a goldsmith, chaser-engraver and bronze-maker. He also taught at the Accademia di Brera as at the all'orfanotrofio maschile di Milano.
This ewer and basin were presented to the newlywed Marie Adelaide of Habsburg-Lorraine. It was commissioned from Giovanni Bellezza (1807-1876), the celebrated Italian engraver and sculptor of bronzes by the city of Milan. The central frieze of the ewer features Imeneus, the Greek god of marriage, by the groom stands an allegory of honour and power whilst the bride is flanked by an allegory of purity and fertility. The coat-of-arms are those of Milan. The centre of the basin features Italia Turrita, the personification of Italy, together with the allegory of charity with her two sons Science and Urania on one side and the Arts on the other.
THE BRIDE AND GROOM
Victor-Emmanuel II (1820 -1878) was the eldest son of Charles Albert, King of Sardinia (1798-1849), and Archduchess Maria Theresa of Austria (1817-1849). In 1842, he married his cousin, Archduchess Adelaide of Austria (1822-1855). She was born at the Royal Palace of Milan to Archduke Rainer Joseph of Austria (1783-1853) and his wife Princess Elisabeth of Savoy (1800-1856). Her father was the Viceroy of Lombardy-Venetia and was a son of Leopold II, Holy Roman Emperor and Maria Luisa of Spain. Her mother was a member of the House of Savoy and a daughter of the Prince of Carignano, the head of the junior branch of the House of Savoy who ruled the Kingdom of Sardinia.
The marriage celebrated on 12 April 1842 at the Palazzina di Caccia di Stupinigi cemented the relations between the House of Savoy and the House of Habsburg. Victor-Emmanuel was first known as Duke of Savoy before his father abdicated following the Revolutions of 1848, when he succeeded as King of Sardinia-Piedmont, ruling from 1849 to 1861, when he became the first post-unification King of Italy known as the Padre della Patria (father of the fatherland) until his death in 1878.
THE CRAFTSMEN OF THE ACCADEMIA DI BRERA
The drawings of the ewer and basin were executed by Ferdinando Albertolli (1780-1844), and painted by Luigi Sabatelli (1772-1850), whilst Benedetto Cacciatori (1793-1871) created the wax models and Giovanni Bellezza (1807-1876) the silversmithing. All worked extensively for the city of Milan and taught at the Accademia di Brera.
Ferdinando Albertolli was an architect and engraver born in Bedano. He studied at the Accademia di Brera under his uncle Giocondo and later married his daughter. In 1804 he was appointed professor of architecture in Verona; he briefly taught at the Accademia in Venezia before moving to Rome. In 1812 he succeeded his uncle at the Accademia di Brera where he taught for the rest of his life.
Benedetto Cacciatori (1793-1871), born in Carrara, studied drawing with Desmarais and sculpture with Bartolinini at the Accademia di Belle Arti in Carrara. He later came to Milan to study at the Accademia di Brera with Pacetti. The city commissioned his work on a number of occasions, such as the Arch of Peace and the statues of the rivers Po and Ticino. He also had quite a strong connection with the Savoy family. In 1828 he delivered a statue of Apollo commissioned by Maria-Cristina di Savoia. His most important commission from the family was the monument dedicated to Amedeo VIII (1837-1843) in the cathedral of Turin. Cacciatori work was was also celebrated in Lombardy. His last role was teaching sculpture at the Accademia di Brera, where he worked until 1860.
Luigi Sabatelli (1772-1850) was born in Florence and worked in Milan as a painter from 1809. He also taught at the Accademia di Brera. He worked for the city of Milan completing several allegorical and mythological decoration schemes for palaces and churches.
Giovanni Bellezza was born in Milan on 9th August 1807. He trained as a goldsmith, chaser-engraver and bronze-maker. He also taught at the Accademia di Brera as at the all'orfanotrofio maschile di Milano.