AULUS (Greek). Son of Alexas, and brother of Quintus, a celebrated Gem-engraver of early Roman imperial times. His signature is found on a large number of intagli and camei, among which M. Babelon quotes the following as probably genuine : 1. Two antique pastes, from a cameo representing Poseidon and Amymone ; the one belongs to the Brit. Museum, and the other to a private collection; — 2. Eros nailing a butterfly to the trunk of a tree ; signed, AY?OC. This jacinth is now lost, but wasformely in the Fulvio Orsini collection; — 3. Eros, his feet in fetters, condemned to work like a slave ; he hides his head in his hands which are resting on the handle of a hoe; in exergue, AY?OC. This cameo, which is also lost, was published in the eighteenth century by Bracci, in Memorie degli antiqui incisori, pl. XXXIII;— 4. Aphrodite seated on a rock, playing with Eros fluttering about her; in exergue, AY?OC. Cornelian, in the Brit. Museum; —5. Male figure in quadriga galloping; the signature is in the genitive case, AY?OY; probably the copy of a Greek statue of the best period or of a monetary type like those of the Syracusan coins of the fourth century. Modern paste, cast from the antique; Berlin Museum; — 6. Horseman armed with spear and shield; in exergue, AY?OY. Sardonyx, in the Florence Museum; — 7. Facing head of young Satyr, published by Winckelmann, Monuments inédits, p. 72, n° 58 ; signature, AY?OY; — 8. Bust of Artemis, with the same signature; a fine jacinth in the Ludovisi collection at Rome; — 9. A cornelian of the Berlin Museum representing a cock and a hen, with the fragments of a signature ...?OY which may stand for Aulus, or Hyllus. Natter confesses to have placed a Greek inscription, and amongst others, the signature of AY?OC on gems he cut, and notably on a copy of the Venus Vettori, of which he made a Danae, but he affirms that he never sold any such as antique. The following gems mentioned by King, signed Aulus are probably modern, or if antique have had the signature added at the end of the eighteenth century, when gem-collecting was so universal that a large number of forgeries were made in order to supply the demand. Cupid chained before a trophy, sard. (Carlisle); — Cupid holding a cornucopia, chalcedony (Raspe); — Head or the young Augustus, sard. (Lippert); — Horseman in armour, sard. (Florence); — Forepart of a horse, garnet (Caylus) ; — Diana or Amazon, sard . (Buoncompagni) ; — Aesculapius-bust, sard. (Strozzi); — Head of Faun, front face, sard. (Jenkins); — Female pouring a libation (Stosch); — Head of Hercules, sard. (Northumberland); — Youthful head, cameo (Collegio Romano) : — Lion devouring a horse, green jasper (Meghan); — Mercury holding a ram's head, sard. (Raspe) ; — Head of Sextus Pompeius ; — Head of Ptolemy Philopator or of Abdolonymus, sard. (Bibliothéque Nationale, Paris); — Quadriga, sard. (Carlisle); — Venus seated on a rock balancing a stick, at which a little cupid catches, agate (Jenkins) ; — Cupid holding a butterfly, jacinth (The Hague); — Head of Ceres, sard. (Marquis de Drée); — Faun's head, nicolo (Beck); — Head of Laocöon (Bibliotheque Nationale) ; — Lion seizing a stag, red jasper (Lord Meghan) ; — Head of Maecenas, sard (Lord Greville; — Mercury carrying the infant Bacchus, jacinth (The Hague) ; — Pan and Olympus, sard of three layers (Beck) ; — Sacrifice to Venus : three females, a man, and a satyr, perhaps of the sixteenth century. Prof. Furtwängler in Antike Gemmen, 1900, writes : " Aulos arbeitete wie Kleon streng klassizistich (T. XLIX. 31) daneben aber auch ganz frei mit Motiven der hellenistischer Art, auf Intagli (T. XLIX, 17, 23, 27), wie auf Kameen (T. LVII, 7). Er hatte nicht den hohen Ergeiz seiner vornehmeren Kollegen ; er nahm auch kleine Aufträge an und signierte selbst sehr unbedeutende Sachen. So ist denn auch seine Signatur in neueren Zeiten häufiger gefälscht worden als diese. Von einem Kameo mit der Komposition unserer (T. LXIV, 77), auf welchem Aulos seinen Vater Alexas nannte, sind nur schlecht erhaltene antike Glasabgüsse auf uns gekommen. " Bibliography. — Babelon, op. cit. — King, Antique Gems, p. 214.
Source: Biographical dictionary of medallists; coin, gem, and seal-engravers, mint-masters, ancient and modern, with references to their works B.C. 500-A.D. 1900; compiled by L. Forrer, London 1904
Source: Biographical dictionary of medallists; coin, gem, and seal-engravers, mint-masters, ancient and modern, with references to their works B.C. 500-A.D. 1900; compiled by L. Forrer, London 1904
ANICHINI, LUIGI
ANICHINI, LUIGI (Ital.). Son of the last, and also a Gem-engraver. He excelled in works of great delicacy and precision. Some medals are said to have been executed by him. From his correspondence, we learn that in 1537, he was still a young man, and that Titian and Sansovino were among his friends. He principally resided at Venice. Old writers mention an Apollo and a Ganymede cut by him, but none of his works has come down to us. Baruffaldi attributes to him medals of Pope Paul III. and Henry II...
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ANICHINI, LUIGI (Ital.). Son of the last, and also a Gem-engraver. He excelled in works of great delicacy and precision. Some medals are said to have been executed by him. From his correspondence, we learn that in 1537, he was still a young man, and that Titian and Sansovino were among his friends. He principally resided at Venice. Old writers mention an Apollo and a Ganymede cut by him, but none of his works has come down to us. Baruffaldi attributes to him medals of Pope Paul III. and Henry II...
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ANKETYL
ANKETYL (Brit.). Early records of the reign of Henry I., mention that " Anketil, who was afterwards a monk in the abbey of St. Alban's, and made the shrine there, resided during seven years in Denmark by the command and at the request of the monarch. Whilst he continued there, he was employed in a variety of goldsmith's work, and was appointed the keeper of this mint, and chief moneyer ". Bibliography. — Ruding, Annals of the Coinage, I, p. 165. — Dr J. Meyer, Allgemeines Kunstler-Lexikon, 1878....
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ANKETYL (Brit.). Early records of the reign of Henry I., mention that " Anketil, who was afterwards a monk in the abbey of St. Alban's, and made the shrine there, resided during seven years in Denmark by the command and at the request of the monarch. Whilst he continued there, he was employed in a variety of goldsmith's work, and was appointed the keeper of this mint, and chief moneyer ". Bibliography. — Ruding, Annals of the Coinage, I, p. 165. — Dr J. Meyer, Allgemeines Kunstler-Lexikon, 1878....
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ANNA MARIA BRAUN
ANNA MARIA BRAUN née PFRÜNDT. Modeller in wax, born at Lyons in 1642, died at Frankfort-on-M. Doppelmayr mentions amongst her numerous productions in wax, "all sorts of medals" (allerhand Medaillen). Her works previous to her marriage are said to be signed AMP, and after, AMB. Dr B. Pick describes a Portrait-medal of Duke Frederick I. of Saxe-Gotha and Altenburg, signed AMB, and he further attributes to this artist an oval medal of Heinrich von Römhild, brother of Frederick his consort Marie Eli...
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ANNA MARIA BRAUN née PFRÜNDT. Modeller in wax, born at Lyons in 1642, died at Frankfort-on-M. Doppelmayr mentions amongst her numerous productions in wax, "all sorts of medals" (allerhand Medaillen). Her works previous to her marriage are said to be signed AMP, and after, AMB. Dr B. Pick describes a Portrait-medal of Duke Frederick I. of Saxe-Gotha and Altenburg, signed AMB, and he further attributes to this artist an oval medal of Heinrich von Römhild, brother of Frederick his consort Marie Eli...
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ANNA MARIA BRAUN (2.)
ANNA MARIA BRAUN. Vol. I. N.E. Modeller in wax, and Medallist, the daughter of Georg Pfründt, and wife of Bartholomäus Braun, was born at Lyons in 1643, and died at Frankfort-on-M., in 1731. Doppelmayr (p. 266) states that in wax-modelling she was unsurpassed, and that she made all kinds of medals. These are said to be signed AMP before her marriage, and AMB after. Anna Maria Pfründt studied and imitated the works of Abbondio. Bibliography. — Doppelmayr, Historische Nachricht von den Nürnbergi...
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ANNA MARIA BRAUN. Vol. I. N.E. Modeller in wax, and Medallist, the daughter of Georg Pfründt, and wife of Bartholomäus Braun, was born at Lyons in 1643, and died at Frankfort-on-M., in 1731. Doppelmayr (p. 266) states that in wax-modelling she was unsurpassed, and that she made all kinds of medals. These are said to be signed AMP before her marriage, and AMB after. Anna Maria Pfründt studied and imitated the works of Abbondio. Bibliography. — Doppelmayr, Historische Nachricht von den Nürnbergi...
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