Sol is the Latin name for the Sun and, hence, the Solar system in astronomy takes its name from it: i.e., Sol-ar system. It is also the name of the Roman Sun God in mythology and Norse Sun Goddess.
This design for a candlestick was made by the French artist Jacques Androuet Du Cerceau who was a proliferous designer of architecture, ornament and the decorative arts. His style and works are mainly known through the prints and books he produced and published in Orléans. In his works he combines French and Italian elements into heavily ornate designs which were very popular at the time. In 1548-1549 he published a series of candlestick designs of which three are known today. This design contains several classical elements which are most likely based directly on Italian examples. The base, for example, seems to have been inspired by a drawing by Giulio Romano. The curled-up ornaments in the layer above the lion’s feet are motifs particular to France however and relate back to the court style disseminated from the castle of Fontainebleau starting from the late 1530s. Through his prints, Du Cerceau himself played an important role in this dissemination during the second and third quarter of the 16th century.
Reference: The Metropolitan Museum of Art
A Louis XVI three-colour gold and enamel box by Claude-Pierre Pottier, Paris 1786 Circular, the lid inset with an earlier Russian ivory plaque carved with the portrait, almost in profile, of Anna Ivanova, Empress and Autocrat of all the Russias (reigned 1730-1740), within a border of laurel, within curled gilt-paper and split pearl borders, the base with a contemporary ivory Alchemical panel carved à jour with an altar decorated with the hexagram of the seven metals encircled by the ourobic dragon and serpent, to the right Hercules holding a shield emblazoned with the symbol of Sol and a serpent with the Hydra at his feet all beneath pedimented canopy engraved ‘Veritatis Templum’, the seven steps to which are guarded by a pair of sphinxes, with serpents strewn at the foot, to the left an obelisk decorated with the Chain of Homer and below a figure of a scholar with three crucibles, all beneath a rayed sky with clouds and six stars, the sides with matte blue enamel ground and cagework mounts chased with cornucopia, laurel and roses, the gold lined interior with later presentation inscription, ‘MAJOR ORDE/9th Lt Dragons/To Capt. Chapman/Monte Video/21st June 1807,’ in a red leather carrying case, diameter 8.4cm.
Alchemy is a philosophical and protoscientific tradition practiced throughout Europe, Africa, and Asia. It aims to purify, mature, and perfect certain objects. The Chain of Homer represents this progression through the elements from Chaos and Confusion to the Consummate Perfection or Universal Quintessence. A common aim was chrysopoeia, the transmutation of base metals (e.g. lead) into noble metals (particularly gold). Interestingly, Isaac Newton (1642 – 1727) devoted considerably more of his writing to the study of alchemy than he did to either optics or physics, though these manuscripts were not published until 1936. During Newton’s life time, the government specifically forbad the research into creating a Philosopher’s stone as they feared that the value of gold would be eroded.
Sold for £ 4,375 inc. premium at Bonhams in 2018
Sol; in his right hand a sceptre; on the ground a lyre; related scenes in the background; plate number 3. from a set of seven numbered plates and a titlepage; ovals in rectangels; in the corners the signs of the zodiac and related symbols; above the names of the planets. 1589 Engraving with etching
Print made by: Crispijn de Passe the Elder Date 1589
Reference: © The Trustees of the British Museum
SCHEINER, Christoph (1573-1650). Rosa Ursina sive Sol ex admirando facularum & macularum suarum phoenomeno varius. Bracciano: Andreas Phaeus at the Ducal Press, 1626-1630. 2° (347 x 248mm). Half-title with engraved portrait and dedication to Paolo Giordano Orsini, Duke of Bracciano on verso, additional engraved title, printed title with large engraved vignette, numerous engraved illustrations, most full-page, woodcut head- and tailpieces and initials, with the blank 4I6, errata at end. (Half-title and engraved title tipped onto front endpaper, lacking the blanks F4 & R6, light worming in lower margin of 3I5-3M5, some browning and spotting, stronger at beginning and end, occasional soiling.) 20th-century old style calf (extremities lightly rubbed). THE DISCOVERY OF SUNSPOTS. FIRST EDITION. Scheiner first observed sunspots in March 1611 and had his discovery published pseudonymously the following year. This sparked a conflict with Galileo, who claimed priority of discovery when, in fact, their observations were made independently. The Rosa Ursina is Scheiner’s major work expanding upon his researches into sunspots. In it he confirms his method and criticises Galileo for incorrectly calculating the inclination of the axis of rotation of the sunspots to the plane of the ecliptic. The fine engravings depict Scheiner’s observations, his important moon map, the first equatorially mounted telescope called a helioscope, and other instruments. The edition was printed at the private press established by Paolo Jordano Orsini, Duke of Bracciano, and a patron of astronomy, at his castle. The title, Rosa Ursina, is a play on Orsini’s name, and bears are frequently incorporated into the book’s decorative motifs. Cinti 79; Honeyman 2781.
Sold for GBP 10,000 at Christies in 2017
Circular gem with Sol in quadriga Roman Imperial Period 3rd–4th century A.D.
Brownish orange carnelian with several dark, splotchy discolorations. Intaglio. Flat front and back surfaces. Sol rides in a quadriga, depicted frontally. The quadriga itself is not visible because of the anterior position of the horses which lead it. The god turns his radiate head to the left and his chlamys flies over his right shoulder. Both of his arms are outstretched upwards, and he holds an object in his right hand. Given its attenuated shape and Sol’s iconography, the artist was most likely denoting a torch, for in frontal depictions of Sol in a quadriga, the attributes he holds are orbs and torches. The four horses are splayed, depicted in a moment of action. They rear on their hind legs and extending forward their bent front legs. The two innermost horses turn their heads in towards the center of the gem while the two outermost horses face outwards. Their spindly limbs appear almost fragile in contrast to their more solid bodies. A few faint scratches give the slightest indication of the horses’ manes, and there are no indications of most facial features or musculature present. The carving is rather crude: Sol’s body is rendered as an inverted triangle, his face a small gouge mark with the barely-perceptible suggestion of a nose. Several uneven lines form a ground line on which the horses rear. There are numerous small chips around the perimeter of the back surface of the gem.
Reference: Museum of Fine Arts Boston
Sol; From a set of prints of Pinturicchio and Giovanni da Udine’s frescoes of The Planets, on the ceiling the Appartamenti Borgia in the Vatican; Print on paper. Place of Origin Italy (made) Date late 18th – early 19th century (made) Artist/maker Lasinio, Carlo, born 1759 – died 1838 (print-maker) Pinturicchio, Bernardino (artist) Udine, Giovanni da, born 1487 – died 1564 (artist)
Reference: © Victoria and Albert Museum
