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French, 18th – 19th century, male.

Active in Bohemia.

Died 1819.

Sculptor, potter, glassmaker.

Barthélemy Desprez started as a modeller at the Sèvres porcelain works. He founded and then ran the Nový Svet glassworks in Bohemia. Drawing his inspiration from ancient coins and medals, he produced a large number of ceramic cameos embedded in crystal, known in glassmaking as sulphides....


Gertrud Seidmann

German family of gem-engravers. (Johann) Christoph Dorsch (b Nuremberg, 10 July 1676; d Nuremberg, 17 Nov 1732) was the son of Erhard Dorsch (1649–1712), who worked on glass and the cutting of armorial seals on precious stones. Christoph Dorsch studied anatomy and drawing; he turned to engraving relatively late in life yet was one of the most industrious craftsmen of his time, turning out large quantities of gems. He specialized in cutting series of dynasties and rulers from the earliest times to his own days, in cornelian, grey agate and glass, such as 252 popes of Rome (Leiden, Rijksmus. Oudhd.), 126 emperors to Charles VI and the kings of France from the Dark Ages to Louis XV (both series engraved in Bayer; examples at Leiden, Rijksmus. Oudhd.). The portraits, mostly fanciful, are derived from prints and medals. Dorsch’s daughter Susanna Maria (b Nuremberg, 1701; d...


Italian, 18th century, male.

Died 1744, in Mantua.

Sculptor (wood), stained glass painter.

The windows of S Romualdo near Ravenna are the only works by Giuseppe Maria Grimani which seem to have survived. Of the seven refectory windows, only the middle one, decorated with coats of arms, is still in existence. The windows of the church are also by him. The windows of the choir of the church of S Michele di Murano and a façade window in Solarolo are attributed to him....


Camillo Semenzato

(b ?Venice, 1699; d Venice, Feb 21, 1781).

Italian sculptor. His father, Gregorio, was a glassworker from the Alto Adige. Morlaiter’s training as a sculptor may have taken place in Venice, and certainly his style has much in common with that of Venetian sculptors such as Filippo Parodi, Giuseppe Torretti and Francesco Cabianca; it also, however, has markedly Rococo characteristics that would have been more readily assimilated by an artist from outside the Venetian mainstream tradition.

Whatever Morlaiter’s artistic origins, he soon established a high reputation in Venice with a dynamic and precious manner, demonstrated in the Crucifix (c. 1732) he sculpted for S Maria degli Scalzi, which coincided well with contemporary taste. Typical also of his work, with their dynamic outline and luminous, faceted surfaces, are the marble figures of St Benedict and St Scholastica (1735; Fratta Polesine, SS Pietro e Paolo). Between 1735 and 1737 Morlaiter sculpted a marble frame with a Glory of Angels...