1985.R.814, Lockplate and hasp, Rome, Italy, gilt bronze and iron, c. 1550-1580



GENERAL DESCRIPTION  
Since antiquity, the Italians have preferred marble and bronze to iron. History has preserved ancient Roman bronze keys, but their more corrosive iron locks have disintegrated. This beautiful lockplate, enriched with Renaissance motifs in relief, relates more to sculpture and jewelry than to blacksmithing. Before gilding, the lockplate was cast from a mold and then the details sharpened by a chisel.

On the hasp is a relief of an oval coat-of-arms under a standing female figure who holds an overflowing shell on her head. The plate is relieved with military trophies and C-scroll cartouches, one of which contains the keyhold, and with two scarf-draped seated female figure whose poses ultimately derive from Michaelangelo's Dawn. The right and left borders contain ewers, grotesque masks, and shields. Nails with gilt fleur-de-lis-heads once held the four corners in place.

This superb lockplate was intended for use on a type of domed marriage chest ("cassone") popular in late 16th-century Italy. At present, there are over forty examples of this casting known in collections around the world, but the exact origin of this group has eluded scholars for decades. The mannerist style of the figure of Abundance on the hasp suggests the French Fontainebleau School. The trophies of arms, which were popular on Milanese and Genoese palace architecture, have directed others to these cities as possible places of manufacture. Nevertheless, the fact that the majority of the identifiable coats of arms are those of Roman families indicates that this lockplate design was most likely executed in Rome. Further, the mingling of numerous stylistic sources in this piece also suggests a roman origin since the Eternal City was a confluence of international styles in the 16th century.

This example survives with its iron locking mechanism on the back, and it has acquired a mellow patina from much handling. The coat of arms is believed to be that of the Gras-PrĂ©ville family of Italy and southern France.

Adapted from
  • Dallas Museum of Art, The Wendy and Emery Reves Collection (Dallas, Texas: Dallas Museum of Art, 1985), 176.
  • Dallas Museum of Art, Decorative Arts Highlights from the Wendy and Emery Reves Collection (Dallas, Texas: Dallas Museum of Art, 1995), 15.

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PROVENANCE 
Until 1967: French & Company, Inc. New York, New York, November 24, 1967 [1] [2]

1967: Emery Reves (1904-1983), purchased from French & Company, Inc. New York, New York, November 24, 1967 [1] [2]

1967-1985: Emery Reves (1904-1983) and Wendy Reves (1916-2007) (owned jointly), La Pausa, Roquebrune-Cap-Martin, France [2] [3]

From 1985: Dallas Museum of Art, The Wendy and Emery Reves Collection, gift of Wendy Reves (1916-2007) [3]

[1] Based on an original invoice found in DMA object file from French & Company (November 24, 1967)

[2] According to Dallas Museum of Art. Decorative Arts Highlights from the Wendy and Emery Reves Collection. (Dallas, Texas: Dallas Museum of Art, 1995), 11.

[3] According to: Olivier Meslay and Martha MacLeod, From Chanel to Reves (Dallas, Texas: Dallas Museum of Art, 2015), 4-5.

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General Description
 
Since antiquity, the Italians have preferred marble and bronze to iron. History has preserved ancient Roman bronze keys, but their more corrosive iron locks have disintegrated. This beautiful lockplate, enriched with Renaissance motifs in relief, relates more to sculpture and jewelry than to blacksmithing. Before gilding, the lockplate was cast from a mold and then the details sharpened by a chisel.

On the hasp is a relief of an oval coat-of-arms under a standing female figure who holds an overflowing shell on her head. The plate is relieved with military trophies and C-scroll cartouches, one of which contains the keyhold, and with two scarf-draped seated female figure whose poses ultimately derive from Michaelangelo's Dawn. The right and left borders contain ewers, grotesque masks, and shields. Nails with gilt fleur-de-lis-heads once held the four corners in place.

This superb lockplate was intended for use on a type of domed marriage chest ("cassone") popular in late 16th-century Italy. At present, there are over forty examples of this casting known in collections around the world, but the exact origin of this group has eluded scholars for decades. The mannerist style of the figure of Abundance on the hasp suggests the French Fontainebleau School. The trophies of arms, which were popular on Milanese and Genoese palace architecture, have directed others to these cities as possible places of manufacture. Nevertheless, the fact that the majority of the identifiable coats of arms are those of Roman families indicates that this lockplate design was most likely executed in Rome. Further, the mingling of numerous stylistic sources in this piece also suggests a roman origin since the Eternal City was a confluence of international styles in the 16th century.

This example survives with its iron locking mechanism on the back, and it has acquired a mellow patina from much handling. The coat of arms is believed to be that of the Gras-PrĂ©ville family of Italy and southern France.

Adapted from
  • Dallas Museum of Art, The Wendy and Emery Reves Collection (Dallas, Texas: Dallas Museum of Art, 1985), 176.
  • Dallas Museum of Art, Decorative Arts Highlights from the Wendy and Emery Reves Collection (Dallas, Texas: Dallas Museum of Art, 1995), 15.

Fun Facts

Archival Resources

Web Resources
 

Notes
TMS Updates: 
- search dates
- Provenance
- Geography Xrefs - Place of Origin
- Published references
- text entries

Catalogue essays

Artist/designers

Cultures

Geography 

Process/materials

Historical periods

Individuals

Subject terms

RELATED OBJECTS 

PROVENANCE 
Until 1967: French & Company, Inc. New York, New York, November 24, 1967 [1] [2]

1967: Emery Reves (1904-1983), purchased from French & Company, Inc. New York, New York, November 24, 1967 [1] [2]

1967-1985: Emery Reves (1904-1983) and Wendy Reves (1916-2007) (owned jointly), La Pausa, Roquebrune-Cap-Martin, France [2] [3]

From 1985: Dallas Museum of Art, The Wendy and Emery Reves Collection, gift of Wendy Reves (1916-2007) [3]

[1] Based on an original invoice found in DMA object file from French & Company (November 24, 1967)

[2] According to Dallas Museum of Art. Decorative Arts Highlights from the Wendy and Emery Reves Collection. (Dallas, Texas: Dallas Museum of Art, 1995), 11.

[3] According to: Olivier Meslay and Martha MacLeod, From Chanel to Reves (Dallas, Texas: Dallas Museum of Art, 2015), 4-5.

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id
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5165238
tags
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masks (costume): AAT: 300138758
*Decorative Arts and Design
decorative arts: AAT: 300054168
@bartsch-allen
Reves_Wendy: DMA
Reves_Emery: DMA
Villa La Pausa: DMA
Reves_Emery: ULAN: 500444887
iron (metal): AAT: 300011002
Fontainebleau school: ULAN: 500299805
Italy (nation): TGN: 1000080
Rome (Italy): TGN: 7000874
bronze: AAT: 300010957
casting (process): AAT: 300053104
doors: AAT: 300002803
Renaissance: AAT: 300021140
coats of arms and coat of arms elements: AAT: 300138225
hasps: AAT: 300033514
cartouches (ornament): AAT: 300010256
shields (armor): AAT: 300036869
chest of drawers: AAT: 300039009
escutcheons (hardware): AAT: 300033602
patina (condition): AAT: 300065245
C-scrolls: AAT: 300010096
chisel: AAT: 300024665
casts (sculpture): AAT: 300047806
ewers (vessels): AAT: 300045666
Michelangelo Buonarroti: ULAN: 500010654
cassoni: AAT: 300039007
fleur-de-lis (motif): AAT: 300009966
source file
object_notes_2_d-0198.xml.nores