360:
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45:
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33:
114:, variously described as a nobleman, merchant and diplomat, or an "international man of business and politics". He was presumably not a carver himself, but supplied the capital, and no doubt was involved with negotiating the larger sales to courts and nobles north of the Alps; some documentary records of this survive. His two sons eventually carried on the business, also probably never carving anything themselves.
449:
260:
316:) and classical mythology. The current presentation does not seem to respect their original sequence, leading to much modern scholarly debate, and it is estimated that additional parts were added to give a total of five original objects used as sources for the current array. The price for the chests, paid by the monastery to Baldassare Ubriachi, was 1,000 gold
460:
155:
The presentation of a marriage casket came after the conclusion of the legal and financial negotiations for a wedding between affluent families, but before the marriage itself. It was made the occasion of a certain amount of ceremony, as part of a symbolic courtship, carried to the bride's house and
147:
Though the workshop was patronized by the richest and most style-conscious princes, much of its output of smaller objects was aimed at a much wider group of clients in the merchant and tradesman classes. These were generally decorated with secular subjects, often designed with female tastes in mind,
117:
The great majority of works are undocumented and unsigned, and there were almost certainly other workshops working in the style, so the modern tendency among museums and art historians is to attribute them using "Embriachi workshop", "Embriachi-type" or similar terms. They are also very hard to date
420:
Baldassare
Ubriachi moved to Venice "soon after 1390", where another branch of the family was already settled, having been exiled from Florence in the political upheavals of the late 13th century. The move may have been forced by financial difficulties in Florence; his sons-in-law took legal action
132:
The workshop developed a form of mass-production, with the various components produced separately for later assembly. The pieces of bone in particular were mostly carved as narrow tall panels containing one or two figures, which were set in rows along a face. A typical size for an individual plaque
102:
about a foot across, with lids that rise up in the centre. Their output of these was probably made for stock rather than individual commissions, and filled a market for gifts for betrothals and weddings. They sold mirrors framed in a similar style, though fewer of these have survived, and religious
293:
Another important work was commissioned by the
Certosa as chests for their Visconti benefactors to use for clothes and belongings in their room at the monastery. It no longer has this form; after extensive rearrangements in the 18th and 19th centuries there are now two groups of carved bone panels
187:
The main images are made up of vertical panels, most with one or two standing figures each, arranged in a row. There is often a secondary zone of panels arranged horizontally with distinctive figures, usually naked males with wings, set on a background of large leaves, usually rose leaves. These
215:
The name of the workshop's leading carver, Giovanni di Jacopo, is known; he was apparently in charge of day to day management. He also moved to Venice, where he made a will in 1404. The "workshop" probably operated at several locations, with the essentially separate skills of carving the bone
558:
118:
with any precision on stylistic grounds. Generally, the quality of carving tends to decline in works dated after about 1410. One scholar, Michele Tomasi, argues that the style of painted, rather than carved, elements of altarpieces suggests that production ceased around 1416.
207:; this may have been intended to be painted after purchase. The lids often have hinges (perhaps not all original) and are decorated on the underside, and there is often a lock. Many caskets, especially the rectangular ones, have or had metal carrying handles at the top.
359:
246:
The fairly standard size of the bone pieces with figures has allowed many surviving works to be reassembled and improved by later dealers, combining panels from different pieces to fill missing spaces, at the price of making the original
506:
290:, an extravagant monastery the Visconti built to use as their family burial place. Other similar large religious pieces for the courts of France and Burgundy are confidently attributed to the same workshop on stylistic grounds.
594:
Victoria and Albert "The suggested time range of activity for the workshop differs, from the tightest being 1390–1405, to a wider span of 1370s until at least 1416, but certainly no later than 1433"; Barnes say "1385–1409";
1194:
Bayer Andrea (ed.), Art and Love in
Renaissance Italy. Exhibition catalogue (New York, The Metropolitan Museum of Art, and Fort Worth, Kimbell Art Museum, in 2008/09), Metropolitan Museum of Art and Yale University Press,
163:
and, less often, classical mythology are seen, and also generalized and rather decorous pairs of couples or lovers, "couples in conversation, in codified stances full of restraint". The lids of secular caskets may feature
305:
Some parts from other pieces seem to have been used for the current configuration, which may contain parts from as many as five original works. The subjects are secular, stories from various romances, including
227:
Most carved panels, even in the largest prestige commissions, are of bone, apparently mostly from horses and cows, with horns and hoofs also used, but some are "ivory", which is mostly from the teeth of the
179:
436:
518:
546:
534:
44:
409:
in Prague, where it was recovered in 1918. The themes of the carvings were secular, indeed mildly erotic, but this did not prevent its use as a reliquary, though one not on public view.
188:
often run round the lid of caskets, or the frames of mirrors. In some religious works they wear long gowns and can be understood as angels, but in most works they are rather grown-up
139:
work, small geometrical inlays of various materials in contrasting colours. They are often called "marriage caskets", though their actual original context is hardly ever known.
133:
is about 10.2cm high and 3.5cm wide. Caskets and other objects normally have a framework of wood, and the areas not fitted with bone or ivory carving are decorated with
570:
156:
presented on the groom's behalf by a small child, and at that point containing symbolic gifts such as a girdle (elaborately decorated belt) representing virginity.
243:
Scholarly attempts to identify workshops or artists working in the style have led to proposed groups such as the "Nailed Coffer" and "Story of
Susanna" workshops.
232:. African elephant ivory had become even more rare and expensive than previously in Europe at this time. Inventories record the possession of bone mirrors by both
203:
and painting of highlights was typical, but some pieces may never have received additional decoration in colour. Shields commonly feature, but are not carved with
476:
379:
from around 1100 to the late 13th century. He was involved in a number of areas of business, including trading jewels, money management and diplomacy for the
891:
Tamanti, G. ; Mancinelli, E. ; Tancini, V., "Il
Trittico degli Embriachi nella Certosa di Pavia. Tecnologia costruttiva e intervento di restauro",
491:
1029:
82:, set in a framework of inlaid wood. They operated in north Italy from around 1375 to perhaps as late as 1433, apparently moving from
1162:
1087:
216:
plaques, making the wooden framework and certosina elements, and assembling the final casket very likely done at different places.
233:
425:
paid as promised. He apparently took the workshop with him. He died there in 1406. The family are recorded there until 1431.
390:
172:
ivory workshops that dominated ivory carving, with triptychs for private devotion. These follow the conventional religious
348:
1073:
1246:
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219:
160:
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32:
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Pieces where the painted colours have not been cleaned away by later dealers suggest that relatively sparing
635:
or
Baldassare degli Embriachi, Baldassare di Simone Ubriachi, Baldassare di Simone d'Aliotto degli Embriachi
99:
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1172:
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Carns, 591 quoted; Victoria and Albert; Chicago: "a noble
Florentine entrepreneur and diplomat"
448:
335:. It is broadly similar to the Pavia altarpiece, with scenes in bone from the lives of Christ,
1158:
1125:
1083:
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measures 31,5 cm high, and 29.5 cm wide, the sides 14.6 cm across and the plaques 8 cm high.
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Open box showing hinges; late, with later elements and probably from another workshop.
168:
of the
Virtues. There are also religious subjects, some following the formulae of the
1230:
852:
367:
Baldassare
Ubriachi was originally a Florentine, though he traced his descent to the
75:
855:, Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2010
229:
79:
1209:
Trexler, Richard, "The Magi Enter
Florence; The Ubriachi of Florence and Venice",
320:, an "astronomical sum". Payments for this are documented between 1400 and 1409.
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308:
259:
248:
173:
1111:
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in 1369 for his work buying jewels for the emperor. In 1379 Charles' successor
17:
275:
148:
as most were probably given as presents to women, especially as part of the
135:
49:
37:
1120:
Clarke, Paula, "Identity of the Expatriate", in Connell, William J. (ed.),
497:
467:
401:
had an Embriachi-type marriage casket containing relics walled-up in the
204:
83:
1105:
1179:"Cabinet frontal with panels from two Embriachi caskets, ca. 1400–1409"
1145:"Cabinet frontal with panels from two Embriachi caskets, ca. 1400–1409"
525:
272:
200:
332:
328:
317:
87:
1223:, Vol. 2, London: Victoria & Albert Museum, 2014, pp. 750–861.
1213:, The University of British Columbia, I, 1978, p. 127-218, p. 182.
1098:
Monumenti d’avorio: I dossali degli Embriachi e i loro committenti
422:
384:
372:
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283:
258:
218:
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853:“Ivory Carving in the Gothic Era, Thirteenth–Fifteenth Centuries”
375:, who were distinguished military and political leaders in the
90:
about 1395. They are especially known for what are now called
302:, whose collections also included several Embriachi caskets.
1124:, 2002, University of California Press, ISBN 9780520232549,
278:
and other large pieces are relatively well-documented. The
27:
Renaissance-era Italian producer of ivory and bone objects
1062:"Baldassare Embriachi; Unidentified Scene, c. 1390. Bone"
323:
A third large work was commissioned by the French prince
240:(d. 1490), though both could easily have afforded ivory.
1082:, 2005, Metropolitan Museum of Art (New York, N.Y.),
294:
set in a framework for display, which are now in the
223:
Panel from the Visconti Pavia chests, now in New York
1155:
Culture and Change: Attending to Early Modern Women
442:the Poissy retable in the Louvre; 276 cm by 236 cm
387:, as well as the bone and ivory carving workshop.
52:work, and missing parts showing wooden framework,
1112:Casket, date: c. 1390-c. 1410, Embriachi Workshop
286:, commissioned an altarpiece that remains in the
103:pieces both small and in a few cases very large.
653:Carns, 590–591; Becherucci; Victoria and Albert
1122:Society and Individual in Renaissance Florence
8:
893:Bolletino dell'Istituto centrale di Restauro
271:A small surviving group of relatively large
1211:Studies of Medieval and Renaissance History
1066:Becherucci, Luisa, "EMBRIACI o Embriachi",
36:Casket with couples, traces of polychromy,
1143:Miller, Scott, online catalogue entry for
143:Marriage caskets, and other smaller pieces
74:) was an important producer of objects in
1078:Boehm, Barbara Drake; Fajt, Jiri (eds.),
512:Elements from the Mattabruna story, late.
604:Fravolo; Chicago; Barnes; for example a
564:Loose panels, including a Nativity scene
1080:Prague; The Crown of Bohemia, 1347–1437
587:
432:
1157:, 2003, University of Delaware Press,
1032:, with account of the Mattabruna story
363:Casket with couples, and metalwork top
125:One of the Visconti panels now in the
942:"EMBRIACI in "Enciclopedia Italiana""
7:
1096:Carns, P. M., Review of Tomasi, M.,
1134:, 2022, Fondation Gandur pour l'Art
734:Fravolo; Revell, 194–195 on girdles
413:similarly gave a secular casket to
1221:Medieval Ivory Carvings, 1200–1550
25:
1140:on the Poissy Retable (in French)
236:(d. 1429) and his great-grandson
106:The workshop takes its name from
569:
557:
545:
533:
517:
505:
490:
475:
459:
447:
435:
417:in 1405 for use as a reliquary.
351:. It measures 276 cm by 236 cm.
40:work and naked winged boys above
606:hexagonal casket in the Louvre
391:Charles IV, Holy Roman Emperor
331:around 1400; it is now in the
1:
1173:"Panel, ca. 1390–1410 (made)"
53:
1204:Museo Nazionale del Bargello
1042:Metropolitan catalogue entry
1030:National Gallery of Slovenia
689:Revell, 192; Fravolo; Barnes
524:Casket with lock, surviving
485:travelling case for the last
234:Giovanni di Bicci de' Medici
183:Loose panel with winged boys
540:Casket lid with winged boys
470:in bone, early 15th century
161:medieval romance literature
152:of gifts to a bride-to-be.
1268:
1200:La Bottega degli Embriachi
1183:Metropolitan Museum of Art
1149:Metropolitan Museum of Art
779:They are "putti" to Miller
576:Cathedral of Orense, Spain
296:Metropolitan Museum of Art
127:Metropolitan Museum of Art
528:, and red and green paint
1116:Art Institute of Chicago
725:Revell, 191–196; Chicago
716:Revell, 192–193; Chicago
399:Wenceslaus IV of Bohemia
343:, as well as saints and
298:in New York, donated by
1171:"Victoria and Albert":
1011:Clarke, 405 (and notes)
966:Becherucci; Clarke, 405
72:Bottega degli Embriachi
48:"Wedding casket", with
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268:
224:
184:
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98:, hexagonal or oblong
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59:
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1100:, (Studi 16.), 2013,
1069:Enciclopedia Italiana
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262:
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182:
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47:
35:
984:Boehm, Fajt, 189–190
895:, 3, 2001, p. 90-100
788:Revell, 192; Chicago
347:of the duke and his
300:John Pierpont Morgan
112:Baldassare Embriachi
1247:Italian Renaissance
1130:Fravalo, Fabienne,
698:Victoria and Albert
415:Barcelona Cathedral
407:St. Vitus Cathedral
355:Baldassare Ubriachi
341:John the Evangelist
325:Jean, Duke of Berry
108:Baldassare Ubriachi
1237:Ivory works of art
1104:, 88(2), 590–592.
1074:online at Treccani
922:Miller; Becherucci
824:Clarke, 407 (note)
662:Miller; Becherucci
411:Martin I of Aragon
365:
327:for the priory at
269:
263:Altarpiece in the
238:Lorenzo de' Medici
225:
194:winged "victories"
185:
130:
64:Embriachi workshop
60:
42:
1219:and Glyn Davies,
1206:, Florence, 2001.
1198:Tomasi, Michele,
1153:Revell, Keith D,
1132:"Marriage casket"
1058:Barnes Foundation
851:Guérin, Sarah M.
381:Visconti of Milan
377:Crusader Kingdoms
16:(Redirected from
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337:John the Baptist
314:The Golden Eagle
288:Certosa di Pavia
265:Certosa di Pavia
166:personifications
92:marriage caskets
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57: 1390–1410
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280:Visconti family
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176:of the period.
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96:wedding caskets
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1167:Google Books
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802:
793:
784:
775:
766:
757:
748:
739:
730:
721:
712:
703:
694:
685:
676:
667:
658:
649:
640:
631:
622:
613:
600:
590:
419:
389:
366:
322:
313:
307:
304:
292:
282:, rulers of
270:
245:
242:
230:hippopotamus
226:
214:
198:
186:
159:Scenes from
158:
154:
149:
146:
134:
131:
116:
111:
107:
105:
95:
91:
76:carved ivory
63:
61:
29:
1138:Louvre page
1110:"Chicago":
993:Clarke, 405
946:treccani.it
864:Revell, 193
393:made him a
383:, dukes of
309:Il Pecorone
276:altarpieces
255:Large works
249:iconography
174:iconography
80:carved bone
1231:Categories
1056:"Barnes":
1051:References
1020:Becherucci
680:Carns, 591
671:Becherucci
211:Production
136:certosina
50:certosina
38:certosina
1102:Speculum
1072:, 1932,
952:28 March
468:triptych
205:heraldry
170:Parisian
84:Florence
842:Chicago
833:Fravolo
815:Fravolo
806:Fravolo
797:Fravolo
743:Fravolo
707:Chicago
617:Chicago
595:Chicago
526:gilding
429:Gallery
423:dowries
318:florins
273:reredos
201:gilding
100:caskets
68:Italian
1161:
1092:online
1086:
931:Louvre
904:Miller
873:Miller
770:Louvre
500:, late
454:Mirror
333:Louvre
329:Poissy
150:donora
88:Venice
1195:2008.
1106:JSTOR
582:Notes
498:PietĂ
385:Milan
373:Genoa
284:Milan
192:, or
190:putti
1159:ISBN
1084:ISBN
954:2023
339:and
78:and
62:The
405:of
371:of
110:or
94:or
86:to
1233::
1202:,
1181:,
1165:,
1147:,
1114:,
1090:,
1060:,
944:.
196:.
70::
54:c.
956:.
312:(
66:(
20:)
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