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Lot Essay
Maria-Felice Tibaldi Subleyras (1707-1770) was a talented miniaturist who was also married to the French artist Pierre Subleyras (1699-1749). She was renowned both for her portraits and her depictions of religious scenes, many of them painted after compositions by her husband.
Although beautifully painted, the present lot is equally notable for the sumptuous silver-gilt frames by the Roman goldsmith Giuseppe Rusca (master 1696-1745). The cast frames have been exquisitely punched and chased, and the reverse of each frame has also been covered with a plate which is extensively decorated with strapwork and foliate decoration.
The fashion for Roman silver among aristocratic Portuguese families was at its height in the mid 18th century, promoted as it was by the monarch, John V of Portugal (1689-1750). Funded by the vast wealth pouring into his coffers from the natural resources of Brazil, the king was considered the most important artistic patron of his day. This patronage is perhaps best exemplified by the Chapel of St. John the Baptist in the church of Sao Roque, Lisbon. Commissioned by the king in 1740, it was constructed in Rome of mosaics, gilt-bronze and precious hardstones such as lapis lazuli and porphyry, and the elaborate liturgical candlesticks and vessels were made of silver by Roman craftsmen. The entire chapel was then dismantled, packed onto three boats and shipped to Lisbon where it was re-assembled. It was said to be the most expensive chapel in its day.
Although beautifully painted, the present lot is equally notable for the sumptuous silver-gilt frames by the Roman goldsmith Giuseppe Rusca (master 1696-1745). The cast frames have been exquisitely punched and chased, and the reverse of each frame has also been covered with a plate which is extensively decorated with strapwork and foliate decoration.
The fashion for Roman silver among aristocratic Portuguese families was at its height in the mid 18th century, promoted as it was by the monarch, John V of Portugal (1689-1750). Funded by the vast wealth pouring into his coffers from the natural resources of Brazil, the king was considered the most important artistic patron of his day. This patronage is perhaps best exemplified by the Chapel of St. John the Baptist in the church of Sao Roque, Lisbon. Commissioned by the king in 1740, it was constructed in Rome of mosaics, gilt-bronze and precious hardstones such as lapis lazuli and porphyry, and the elaborate liturgical candlesticks and vessels were made of silver by Roman craftsmen. The entire chapel was then dismantled, packed onto three boats and shipped to Lisbon where it was re-assembled. It was said to be the most expensive chapel in its day.