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<p>[QUOTE="Bronwen, post: 768430, member: 5833"]This has to have gone on, but of course is another facet of the trade that is not much officially acknowledged. Giovanna Di Rosa writes about it here in connection with cameos signed G. Noto:</p><p><br /></p><p><a href="https://antiquecameos.net/cameos/paris-and-helen-by-giovanni-noto-944010624" target="_blank" class="externalLink ProxyLink" data-proxy-href="https://antiquecameos.net/cameos/paris-and-helen-by-giovanni-noto-944010624" rel="nofollow">https://antiquecameos.net/cameos/paris-and-helen-by-giovanni-noto-944010624</a></p><p><br /></p><p>I sometimes see pieces where I think not all parts demonstrate equal skill & have wondered whether some of it is apprentice work. Sometimes it has been recorded, when a student has become as prominent as the master, who has studied with whom, such as Michelini with Girometti. Gifted young engravers, such as Pistrucci, were likely to have set up on their own when their work was being signed by a less accomplished master. There have been families - Pichler, Saulini, Verge (maybe Lamant) - in which older members trained younger, presumably doing some work together when the younger became good enough. I have one of those hardstone noblewoman type pieces with a whole assortment of initials & numbers on the back, nearly all of them crossed out, which I take to be evidence of a workshop process involving a number of artisans in addition to a master.</p><p><br /></p><p>When someone's work never attained a very high degree of skill, e.g., 'Silz'/Schmoll, it seems unlikely they were running a whole workshop. Also, Schmoll & many others, Michelini is again an example, cut cameos in addition to running a shop where an assortment of things were sold, limiting how much time & effort they could devote to producing cameos & perfecting their skills.</p><p><br /></p><p>I can't imagine putting my name on this if I had cut it, much less if I had not:</p><p><br /></p><p>[ATTACH=full]190324[/ATTACH][/QUOTE]</p><p><br /></p>
[QUOTE="Bronwen, post: 768430, member: 5833"]This has to have gone on, but of course is another facet of the trade that is not much officially acknowledged. Giovanna Di Rosa writes about it here in connection with cameos signed G. Noto: [URL]https://antiquecameos.net/cameos/paris-and-helen-by-giovanni-noto-944010624[/URL] I sometimes see pieces where I think not all parts demonstrate equal skill & have wondered whether some of it is apprentice work. Sometimes it has been recorded, when a student has become as prominent as the master, who has studied with whom, such as Michelini with Girometti. Gifted young engravers, such as Pistrucci, were likely to have set up on their own when their work was being signed by a less accomplished master. There have been families - Pichler, Saulini, Verge (maybe Lamant) - in which older members trained younger, presumably doing some work together when the younger became good enough. I have one of those hardstone noblewoman type pieces with a whole assortment of initials & numbers on the back, nearly all of them crossed out, which I take to be evidence of a workshop process involving a number of artisans in addition to a master. When someone's work never attained a very high degree of skill, e.g., 'Silz'/Schmoll, it seems unlikely they were running a whole workshop. Also, Schmoll & many others, Michelini is again an example, cut cameos in addition to running a shop where an assortment of things were sold, limiting how much time & effort they could devote to producing cameos & perfecting their skills. I can't imagine putting my name on this if I had cut it, much less if I had not: [ATTACH=full]190324[/ATTACH][/QUOTE]
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