MOUGEOT, JEAN JOSEPH (French). Gem-engraver, born at Paris in 1780; pupil of Laurent p?re, Morel, and Jouffroy. According to Chavignerie et Auvray, he exhibited at the Paris Salon for the last time in 1834, but I have been unable to find out the date of his death. By him are the following gems : 1822. Two youths, after Netscher; — 1824. Various Cameos; — Tiberius alighting from his triumphal chariot; — 1827. Portrait-cameo; — 1823. The Courtesan, after Sigalon ; — 1834. Heads of Octavia and youthful Marcellus, etc. He executed a series of Portrait-cameos for the "Iconographie romaine", and he also engraved statues and antique bas-reliefs for the Galerie Napoléon (1st series), published by Laurent and Robillard ; a Portrait, after Van Dyck ; — Souvenir, after Ars?ne (subject inspired by Lamartine's " Meditations ") ; — The Courtesan, after Sigalon, for the Galerie du Luxembourg, etc. Bibliography. — Rondot, op. cit.
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
MNESARCHOS
MNESARCHOS (Greek). Son of Euphron or Euthyphron, and named as the father of Pythagoras. He is said to have been an Engraver of rings. According to some accounts, he was not of purely Greek origin, and may have belonged to the Tyrrhenians of Lemnos and Imbros. He died at the beginning of the tyranny of Polycrates, towards the middle of the sixth century B.C. (Diog. Laërt., VIII, 1). He cultivated the art of gem-engraving more for glory than for gain. Bibliography. — Babelon, op. cit. — King, op....
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MNESARCHOS (Greek). Son of Euphron or Euthyphron, and named as the father of Pythagoras. He is said to have been an Engraver of rings. According to some accounts, he was not of purely Greek origin, and may have belonged to the Tyrrhenians of Lemnos and Imbros. He died at the beginning of the tyranny of Polycrates, towards the middle of the sixth century B.C. (Diog. Laërt., VIII, 1). He cultivated the art of gem-engraving more for glory than for gain. Bibliography. — Babelon, op. cit. — King, op....
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MOCCHI, FRANCESCO
MOCCHI, FRANCESCO (ltal.). Sculptor and Medallist of the first half of the seventeenth century, who resided at Florence, and died there in 1646. One of his best known medallic productions is a Portrait-piece of Alessandro Farnese, Duke of Parma, with a representation on R. of his equestrian statue. Heiss ascribes to this artist a Portrait-medal of Pope Clement VIII., signed F. M. F.on obv. ; R. GREGEM.NE.DESERAS. Pope kneeling to r. (Vide vol. II, p. 116.) Isolated medals, says von Fabriczy, hav...
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MOCCHI, FRANCESCO (ltal.). Sculptor and Medallist of the first half of the seventeenth century, who resided at Florence, and died there in 1646. One of his best known medallic productions is a Portrait-piece of Alessandro Farnese, Duke of Parma, with a representation on R. of his equestrian statue. Heiss ascribes to this artist a Portrait-medal of Pope Clement VIII., signed F. M. F.on obv. ; R. GREGEM.NE.DESERAS. Pope kneeling to r. (Vide vol. II, p. 116.) Isolated medals, says von Fabriczy, hav...
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MOCCHI, LORENZO CIGLIA
MOCCHI, LORENZO CIGLIA (Ital.). Sculptor and Medallist, of the end of the fifteenth century, who, according to the noteworthy conjecture of G. Milanesi may be identified with the so-called MÉDAILLEUR A LA FORTUNE (q.v. Vol. II, 127). Hern von Fabriczy does not pronounce against this attribution, which appears quite reasonable, as the medal of Lorenzo Ciglia Mocchi (illustrated) is signed on R. L.C.M., which initials can only represent the name of Mocchi. All the eight medals bearing on R. a nude...
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MOCCHI, LORENZO CIGLIA (Ital.). Sculptor and Medallist, of the end of the fifteenth century, who, according to the noteworthy conjecture of G. Milanesi may be identified with the so-called MÉDAILLEUR A LA FORTUNE (q.v. Vol. II, 127). Hern von Fabriczy does not pronounce against this attribution, which appears quite reasonable, as the medal of Lorenzo Ciglia Mocchi (illustrated) is signed on R. L.C.M., which initials can only represent the name of Mocchi. All the eight medals bearing on R. a nude...
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MODERNO
MODERNO (ltal.). Sculptor and Medallist of the end of the fifteenth century and first half of the sixteenth. Eug. Müntz has suggested his identification with GIOVANNI GUERINO, Mint-engraver at Rome, 1548-1549 (Vide Vol. II, p. 336), but Molinier seems nearer the truth in naming CAMELIO (Vittore Gambello), a Venetian artist, 1460-1539, with whose works Moderno's productions bear great analogy. It is quite clear that MODERNO is only a cognomen, as L'ANTICO which designated the Medallist Pier Giaco...
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MODERNO (ltal.). Sculptor and Medallist of the end of the fifteenth century and first half of the sixteenth. Eug. Müntz has suggested his identification with GIOVANNI GUERINO, Mint-engraver at Rome, 1548-1549 (Vide Vol. II, p. 336), but Molinier seems nearer the truth in naming CAMELIO (Vittore Gambello), a Venetian artist, 1460-1539, with whose works Moderno's productions bear great analogy. It is quite clear that MODERNO is only a cognomen, as L'ANTICO which designated the Medallist Pier Giaco...
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