- Material: Sardonyx Shell, 14 K gold marked.
- Size: 2 2/8" by 1 7/8" , only cameo is 2 1/8" by 1 6/8", total length with its bale 2 5/8".
- Date and Origin: Circa 1860/1870 Italy.
- Conditions: Some very short and light hairlines, only visible when the cameo is backlit. A minuscule chip, less than 1/32", at circa 1.00 hours, just close to the frame, only visible under a strong loupe, not visible by naked eye, it was probably caused when the cameo was mounted.
Museum Quality cameo depicting The Madonna of the Chair. This is an incredible work of art, very detailed cameo, carved by an artist. Look at the details of this cameo. The decoration on the scarf worn by the Madonna, and the one she is wearing on her head. Look at how the chair is carved. Look at her expression and at how the baby Jesus sits on her legs and embraces her. Look at the skin of Jesus' body, at his legs, just like the leg of a baby, look at his foot, there are no words to describe all the beauty of this cameo. The carver made an artwork reproducing it from another one, the Raffaello's painting. The expression of three figures is so sweet and tender, they seem to speak, I'm amazed looking at this cameo. The master carver has reproduced the Raffaello's work respecting the nineteenth-century taste, with the brightness in the look of child Jesus, the sweetness of the face of the Madonna and the prayer pose of the young Saint John, with an intense carving of expressive suggestion. This one is without any doubt one of most beautiful Madonna of the Chair I have ever handled. Pictures really don't give any justice to this fabulous cameo. The frame is spectacular too, 14 k gold marked. Rarest cameo very desirable collectors' piece.
A bit of History:
The Madonna of the Chair is an oil painting on wood table of the diameter of cm 71 realized between 1513 and the 1514 from the Italian painter Raffaello. and currently conserved in the Palatina gallery of Pitti Palace in Florence after being belonged to the Medici family then like Napoleonic plunders, then conserved in the Louvre Museum, then in the apartment of the Empress Josephine in Saint Cloud Castle and then returned back to Florence. It is one of the most famous Raffaello's works that he realized on probable commission of the Pope Leone X. Typical painting of the renaissance era, depicts the Madonna holding the Child Jesus in one's arm, sat on a chair that is typical of that era, and the young Saint John on the side who will make as the "precursor". Raffaello inserts the figures inside a circle in order to render the space full of the sweet embraces between mother and son, prototype of the love and the motherly sweetness.