Beau morion de parement à décor repoussé... - Lot 204 - Pierre Bergé & Associés

Lot 204
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Estimation :
30000 - 50000 EUR
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Résultat : 26 000EUR
Beau morion de parement à décor repoussé... - Lot 204 - Pierre Bergé & Associés
Beau morion de parement à décor repoussé et damasquiné, dans le style italien alla grande maniera vers 1570-80, probablement Florence vers 1870. A fine embossed and damascened parade Morion in the style of the Italian grande maniera of circa 1570-80, possibly Florence, circa 1870. Of russet iron and formed in one piece, with almond-shaped skull rising to an unusually prominent spirally fluted stalk finial, narrow brim up turned front and rear, turned roped edge, and the base of the skull encircled by a band of copper rivets on rosette washers, finely embossed in relief over the greater part of its surface, the brim decorated behind the respective points with differing demon masks seated within trophies-of-war, the base of the skull encircled by a frieze of small cartouches variously filled with trophies-of-war and alternately both grotesque and demon masks, a further larger demon mask at the front of the skull, a vacant oval at the rear, the embossed designs around the brim and those within the cartouches around the base of the skull all set against a contrasting finely punched ground, the sides with differing scenes of combat taken from the Romano-Gallic battle for Rome, one side centring on the mounted figure of Brennos, leader of the Gauls, the other side centering on the mounted figure of Marcus Furius Camillus, the Saviour of Rome, and the entire embossed composition picked-out and heightened with gold-damascened detail and borders of gold-damascened scrollwork. H.: 25 cm - L.: 36 cm - W.: 27 cm - Wt.: 1330 g. This extremely ornate morion is very similar to the example in the Victoria & Albert Museum (M.106-1921), presented as genuine to the Museum in 1921 by the collector David M. Currie. This helmet was detected as an exceptionally skilful forgery only in the 1960's. This striking work is suggested to be from Gaetano Guidi, a Florentine restorer working for Frederick Stibbert. See, JONES, Mark, Fake? The Art of Deception, 1990, pp.204-205, No.215, illustrated
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