{"id":24259,"date":"2024-02-19T15:41:39","date_gmt":"2024-02-19T14:41:39","guid":{"rendered":"https:\/\/vichy-encheres.com\/?p=24259"},"modified":"2024-06-21T14:08:25","modified_gmt":"2024-06-21T12:08:25","slug":"guitare-famille-sellas","status":"publish","type":"post","link":"https:\/\/vichy-encheres.com\/en\/2024\/02\/19\/guitare-famille-sellas\/","title":{"rendered":"Une guitare cristallisant les plus belles heures de la S\u00e9r\u00e9nissime et l\u2019art des Sellas"},"content":{"rendered":"\n
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Provenant d\u2019une importante collection europ\u00e9enne apr\u00e8s avoir \u00e9t\u00e9 conserv\u00e9e au Gemeentemuseum de La Haye pendant plusieurs d\u00e9cennies, une superbe guitare v\u00e9nitienne du XVII\u00e8me si\u00e8cle sera pr\u00e9sent\u00e9e aux ench\u00e8res le samedi 13 avril 2024. Ses qualit\u00e9s ornementales et constructives sont caract\u00e9ristiques du travail de la famille Sellas. Tout porte \u00e0 croire que la guitare serait de la main de Matteo Sellas, dont l\u2019atelier porta \u00e0 un tr\u00e8s haut degr\u00e9 de sophistication la facture instrumentale. D\u00e9couvrez sans plus attendre ce rarissime t\u00e9moignage des plus belles heures musicales de la S\u00e9r\u00e9nissime\u2026<\/p>\n<\/blockquote>\n\n\n\n

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Etude d\u00e9taill\u00e9e de notre expert, J\u00e9r\u00f4me Casanova<\/a><\/div>\n\n\n\n
Catalogue<\/a><\/div>\n\n\n\n
Vente du 12 avril 2024<\/a><\/div>\n\n\n\n
Vente du 13 avril 2024<\/a><\/div>\n\n\n\n
Contact<\/a><\/div>\n\n\n\n
Experts<\/a><\/div>\n\n\n\n
English version<\/a><\/div>\n<\/div>\n\n\n\n
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Un symbole du faste v\u00e9nitien au XVIIe<\/sup> si\u00e8cle<\/h1>\n\n\n\n
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\"Leandro
Leandro da Ponte Bassano, La Riva dei Schiavoni en Venecia, c.1595, Academia Colecciones<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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\"Tr\u00e8s<\/a><\/figure>\n\n\n\n
\"Tr\u00e8s<\/a><\/figure>\n\n\n\n
\"Tr\u00e8s<\/a><\/figure>\n\n\n\n
\"Tr\u00e8s<\/a><\/figure>\n\n\n\n
\"Tr\u00e8s<\/a><\/figure>\n\n\n\n
\"Tr\u00e8s<\/a><\/figure>\n
Tr\u00e8s belle guitare baroque r\u00e9alis\u00e9e \u00e0 Venise vers la premi\u00e8re moiti\u00e9 du XVII\u00e8me si\u00e8cle, probablement par la famille Sellas.
Collection d’un important amateur europ\u00e9en. Instrument mis en vente par Vichy Ench\u00e8res le 13 avril 2024
\u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
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Cette guitare baroque a \u00e9t\u00e9 r\u00e9alis\u00e9e \u00e0 Venise durant la premi\u00e8re moiti\u00e9 du XVII\u00e8me si\u00e8cle. Elle nous offre un rare t\u00e9moignage de la lutherie v\u00e9nitienne \u00e0 l’\u00e9poque de son apog\u00e9e. Sa richesse d\u00e9corative, en particulier son travail du fond et des \u00e9clisses, indique que l\u2019instrument a \u00e9t\u00e9 con\u00e7u pour un riche commanditaire. Enti\u00e8rement recouverte d\u2019\u00e9b\u00e8ne et d\u2019ivoire sur l\u2019arri\u00e8re et les c\u00f4t\u00e9s, ses mat\u00e9riaux pr\u00e9cieux nous confirment la haute position sociale du propri\u00e9taire historique. La caisse est constitu\u00e9e de neufs c\u00f4tes en ivoire, s\u00e9par\u00e9es par des filets d\u2019\u00e9b\u00e8ne, et \u00e9galement incrust\u00e9es de motifs en \u00e9b\u00e8ne dessinant des arabesques et feuilles d’acanthe stylis\u00e9es. Ces motifs en mat\u00e9riaux nobles couvrent une grande partie de l\u2019instrument en se d\u00e9veloppant sur les \u00e9clisses, le petit talon, la poign\u00e9e et l’arri\u00e8re de la t\u00eate. En outre, l’int\u00e9rieur de l’instrument rend compte d\u2019un soin minutieux apport\u00e9 \u00e0 tous les \u00e9l\u00e9ments constitutifs du mod\u00e8le, m\u00eame cach\u00e9s, comme nous le confirme l\u2019int\u00e9rieur de la guitare int\u00e9gralement tapiss\u00e9 de parchemins.<\/p>\n<\/div>\n\n\n\n

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Attestant de la popularit\u00e9 de l\u2019instrument au sein de l\u2019\u00e9lite v\u00e9nitienne, plusieurs natures mortes s\u2019inscrivant dans des int\u00e9rieurs cossus figurent des mod\u00e8les proches de celui-ci. On retrouve ainsi, chez Bartolomeo Bettera, de nombreuses guitares similaires, dont un mod\u00e8le particuli\u00e8rement int\u00e9ressant en raison de son dos semblable \u00e0 celui de la guitare de la vente Vichy Ench\u00e8res du 13 avril 2024. En effet, on observe sur la gauche du tableau, une guitare dont le fond est, lui aussi, constitu\u00e9 de c\u00f4tes en ivoire orn\u00e9es d\u2019arabesques en \u00e9b\u00e8ne. Sur la droite du tableau, une autre guitare rappelle notre mod\u00e8le par son d\u00e9cor, notamment en ce qui concerne les bordures de la table et de la touche, r\u00e9alis\u00e9es en \u00e9b\u00e8ne incrust\u00e9 de triangles et losanges en nacre.<\/p>\n\n\n\n

L\u2019un des volets du Triptyque Agliardi<\/em> d\u2019Evaristo Baschenis est \u00e9galement tr\u00e8s int\u00e9ressant, puisqu\u2019il pr\u00e9sente Alessandro Agliardi jouant sur l\u2019une de ces pr\u00e9cieuses guitares. La minutie descriptive propre \u00e0 l\u2019art de Baschenis nous permet de lire, sur le cartouche de t\u00eate, le nom du luthier de la guitare en question, Giorgio Sellas, l\u2019un des membres de la plus c\u00e9l\u00e8bre famille de luthiers v\u00e9nitiens du XVIIe<\/sup> si\u00e8cle\u2026<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Bartolomeo<\/a>
Bartolomeo Bettera, Nature morte aux instruments de musique, deuxi\u00e8me moiti\u00e9 du XVII\u00e8me si\u00e8cle, Bergame, collection priv\u00e9e<\/figcaption><\/figure>\n\n\n\n
\"Bartolomeo<\/a>
Bartolomeo Bettera, Nature morte aux instruments de musique, deuxi\u00e8me moiti\u00e9 du XVII\u00e8me si\u00e8cle, collection priv\u00e9e<\/figcaption><\/figure>\n\n\n\n
\"Bartolomeo<\/a>
Bartolomeo Bettera, Nature morte aux instruments de musique et m\u00e9tronome, c. 1660, Accademia Carrara, Bergame<\/figcaption><\/figure>\n\n\n\n
\"Evaristo<\/a>
Evaristo Baschenis, Acad\u00e9mie de musique d’Evaristo Baschenis et Ottavio Agliardi, v.1665-1670, collection priv\u00e9e<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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La facture de Matteo Sellas<\/h1>\n\n\n\n
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\"Tr\u00e8s<\/a><\/figure>\n\n\n\n
\"Tr\u00e8s<\/a><\/figure>\n\n\n\n
\"Tr\u00e8s<\/a><\/figure>\n\n\n\n
\"Tr\u00e8s<\/a><\/figure>\n\n\n\n
\"Tr\u00e8s<\/a><\/figure>\n\n\n\n
\"Tr\u00e8s<\/a><\/figure>\n\n\n\n
\"Tr\u00e8s<\/a><\/figure>\n\n\n\n
\"Tr\u00e8s<\/a><\/figure>\n
Tr\u00e8s belle guitare baroque r\u00e9alis\u00e9e \u00e0 Venise vers la premi\u00e8re moiti\u00e9 du XVII\u00e8me si\u00e8cle, probablement par la famille Sellas.
Collection d’un important amateur europ\u00e9en. Instrument mis en vente par Vichy Ench\u00e8res le 13 avril 2024
\u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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Or, c\u2019est justement par l\u2019un des membres de la famille Sellas que cette guitare a certainement \u00e9t\u00e9 r\u00e9alis\u00e9e. L\u2019exceptionnelle qualit\u00e9 d\u00e9corative du fond, des \u00e9clisses, de la t\u00eate et de l\u2019arri\u00e8re du manche de l\u2019instrument trahit en effet la main d\u2019un grand luthier, dont tout porte \u00e0 croire qu\u2019il s\u2019agit de Matteo Sellas. Au XVII\u00e8me si\u00e8cle, Venise \u00e9tait un important foyer de lutherie et Matteo Sellas figurait parmi ses plus grands repr\u00e9sentants. Le style de l’instrument, avec ses c\u00f4tes en ivoire festonn\u00e9es et ses arabesques fantaisistes, est caract\u00e9ristique de la lutherie v\u00e9nitienne et particuli\u00e8rement du savoir-faire de Matteo Sellas. Bien que ce type de r\u00e9pertoire d\u00e9coratif se retrouve sur d\u2019autres instruments v\u00e9nitiens de l\u2019\u00e9poque, tels que ceux de Cristoforo Coch aujourd\u2019hui conserv\u00e9s au Mus\u00e9e de la Musique de Paris, il est sp\u00e9cifique et r\u00e9current dans l’\u0153uvre de Matteo Sellas.
Les exemples similaires \u00e0 cette guitare sont, en effet, pr\u00e9dominants chez Matteo Sellas. Ses instruments  pr\u00e9sentent, sur leur dos, des d\u00e9cors compos\u00e9s de volutes et d\u2019entrelacs dont le traitement, la sym\u00e9trie et la fluidit\u00e9 du dessin, sont typiques de sa facture. Plusieurs mod\u00e8les conserv\u00e9s en collections publiques nous permettent de constater la parent\u00e9 de facture entre les instruments de Matteo Sellas et le mod\u00e8le de la vente Vichy Ench\u00e8res, notamment les deux guitares du Mus\u00e9e de la Musique de Paris dat\u00e9es vers 1640, ou encore les instruments du Victoria & Albert Museum<\/em>.<\/p>\n<\/div>\n\n\n\n

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\"Cristoforo<\/a>
Cristoforo Koch, Guitare, v.1650, Mus\u00e9e de la Musique, Paris, cr\u00e9dits Jean-Marc Angl\u00e8s <\/figcaption><\/figure>\n\n\n\n
\"Cristoforo<\/a>
Cristoforo Koch, Archiluth, v.1654, Mus\u00e9e de la Musique, Paris, cr\u00e9dits Jean-Marc Angl\u00e8s<\/figcaption><\/figure>\n<\/figure>\n<\/div>\n<\/div>\n\n\n\n
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\"Matteo<\/a>
Matteo Sellas, Guitare, v.1640, Mus\u00e9e de la Musique, Paris, cr\u00e9dits Jean-Marc Angl\u00e8s <\/figcaption><\/figure>\n\n\n\n
\"Matteo<\/a>
Matteo Sellas, Guitare, v.1640, Mus\u00e9e de la Musique, Paris, cr\u00e9dits Jean-Marc Angl\u00e8s<\/figcaption><\/figure>\n\n\n\n
\"Matteo<\/a>
Matteo Sellas, Guitare, v.1630-40, Mus\u00e9e de la Musique, Paris, cr\u00e9dits Jean-Marc Angl\u00e8s<\/figcaption><\/figure>\n\n\n\n
\"Matteo<\/a>
Matteo Sellas, Guitare, v.1630-40, Mus\u00e9e de la Musique, Paris, cr\u00e9dits Jean-Marc Angl\u00e8s<\/figcaption><\/figure>\n\n\n\n
\"Matteo<\/a>
Matteo Sellas, Mandoline, 1652, Mus\u00e9e de la Musique, Paris, cr\u00e9dits Jean-Marc Angl\u00e8s<\/figcaption><\/figure>\n\n\n\n
\"Matteo<\/a>
Matteo Sellas, Archiluth, 1637, Victoria & Albert Museum, Londres, d\u00e9tail<\/figcaption><\/figure>\n\n\n\n
\"Matteo<\/a>
Matteo Sellas, Guitare, 1623, Victoria & Albert Museum, Londres, d\u00e9tail<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Matteo et les Sellas<\/h1>\n\n\n\n
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\"Fran\u00e7ois<\/a>
Fran\u00e7ois Sabatier – Eglise San Mo\u00efs\u00e9, 1864, Venise, Louvre<\/figcaption><\/figure>\n\n\n\n
\"Ecole<\/a>
Ecole italienne, Le Pont du Rialto, XVIII\u00e8me si\u00e8cle, Louvre<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Matteo Sellas est n\u00e9 entre 1599 et 1602 \u00e0 F\u00fcssen, dans le dioc\u00e8se de Tilinger en Bavi\u00e8re, au sein d\u2019une famille de luthiers. Il est le fils de Michele Sellas et le fr\u00e8re de Giorgio Sellas. \u00c0 l’\u00e2ge de douze ans, en 1614, il quitte sa ville natale pour rejoindre Venise, o\u00f9 son fr\u00e8re Giorgio exerce d\u00e9j\u00e0 le m\u00e9tier de luthier. Ensemble, ils \u00e9tablissent une bottega <\/em>pr\u00e8s de l’\u00e9glise de San Mo\u00efs\u00e9, dans le quartier anim\u00e9 de la Calle dei Stagneri<\/em> pr\u00e8s du Rialto, un lieu o\u00f9 \u00e9taient \u00e9tablis de nombreux luthiers. Son atelier, connu sous le nom “Alla Corona”, devient vite un haut lieu de la lutherie v\u00e9nitienne, attirant une client\u00e8le diverse et prestigieuse. La production de l\u2019atelier de Matteo Sellas \u00e9tait cons\u00e9quente, comme semblent l\u2019indiquer des archives attestant de la pr\u00e9sence d\u2019un grand nombre d\u2019ouvriers.<\/p>\n\n\n\n

Matteo Sellas a laiss\u00e9 derri\u00e8re lui une famille nombreuse comprenant sept enfants, dont Domenico (1639-1699) et Zuanne II (1624-c.1690), \u00e9galement luthiers. Le 19 novembre 1654, \u00e0 l’\u00e2ge de 55 ans, il d\u00e9c\u00e8de des suites d\u2019une fi\u00e8vre maligne dans sa maison de la Calle dei Preti <\/em>\u00e0 San Mois\u00e9[1]<\/sup><\/a>. Ses instruments sont r\u00e9put\u00e9s pour leur qualit\u00e9 et leur beaut\u00e9, fusionnant art et artisanat.<\/p>\n\n\n\n

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[1]<\/sup><\/a> Stefano Pio, Violin and lute makers of Venice, Venezia 1640 \u2013 1760, Brian Newnamm, Los Alamos, USA, 2004<\/p>\n<\/div>\n\n\n\n

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La famille Sellas est un parfait exemple de luthiers allemands venus faire carri\u00e8re en Italie au XVII\u00e8me si\u00e8cle. En effet, \u00e0 cette \u00e9poque, beaucoup d\u2019Allemands s\u2019install\u00e8rent en Italie pour \u00e9chapper aux r\u00e8gles strictes des corporations de leur pays limitant leur travail. Cette immigration de luthiers originaires du sud de l\u2019Allemagne est probablement \u00e0 l\u2019origine de l’augmentation du nombre de luths fabriqu\u00e9s \u00e0 Venise. Beaucoup de familles s\u2019implant\u00e8rent dans le quartier du Rialto et au Fondaco dei Tedeschi, comme les Tieffenbrucker, Seelos et Koch, qui italianis\u00e8rent leur nom en \u201cDieffopruchar\u201d, \u201cSellas\u201d et \u201cCoch\u201d. Jacob Stadler est un autre bon exemple de luthier allemand du XVII\u00e8me si\u00e8cle ayant \u0153uvr\u00e9 en Italie. \u00c9galement originaire de F\u00fcssen, comme les Sellas, il aurait d\u2019ailleurs \u00e9t\u00e9 en lien avec eux, comme le trahit sa facture.<\/p>\n\n\n\n

Pendant pr\u00e8s de 160 ans, la famille Sellas a produit d’excellents instruments pour les musiciens v\u00e9nitiens, contribuant ainsi \u00e0 la richesse culturelle de la ville. Le d\u00e9clin de la dynastie Sellas a commenc\u00e9 au d\u00e9but du XVIIIe si\u00e8cle, avec l’\u00e9mergence de nouveaux concurrents tels que Matteo Goffriller et Domenico Montagnana. En 1760, l’activit\u00e9 de la famille Sellas prend fin, Zuanne Sellas III \u00e9tant confront\u00e9 \u00e0 de grandes difficult\u00e9s financi\u00e8res. Leur nom reste associ\u00e9 \u00e0 l’excellence de la lutherie v\u00e9nitienne.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Domenico<\/a>
Domenico Sellas, Guitare, c.1670, National Music Museum of Dakota<\/figcaption><\/figure>\n\n\n\n
\"Domenico<\/a>
Domenico Sellas, Guitare, c.1670, National Music Museum of Dakota<\/figcaption><\/figure>\n\n\n\n
\"Giorgio<\/a>
Giorgio Sellas, Guitare, 1641, Historisches Museum Basel<\/figcaption><\/figure>\n\n\n\n
\"Exceptionnelle<\/a>
Exceptionnelle guitare faite par Jacob STADLER en 1629\nInstrument mis en vente par Vichy Ench\u00e8res le 15 d\u00e9cembre 2007 \n\u00a9 JH Bayle<\/figcaption><\/figure>\n\n\n\n
\"Exceptionnelle<\/a>
Exceptionnelle guitare faite par Jacob STADLER en 1629\nInstrument mis en vente par Vichy Ench\u00e8res le 15 d\u00e9cembre 2007 \n\u00a9 JH Bayle<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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La guitare battente<\/h1>\n\n\n\n
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\"Tr\u00e8s<\/a><\/figure>\n\n\n\n
\"Tr\u00e8s<\/a><\/figure>\n\n\n\n
\"Tr\u00e8s<\/a><\/figure>\n\n\n\n
\"Tr\u00e8s<\/a><\/figure>\n\n\n\n
\"Tr\u00e8s<\/a><\/figure>\n\n\n\n
\"Tr\u00e8s<\/a><\/figure>\n\n\n\n
\"Tr\u00e8s<\/a><\/figure>\n\n\n\n
\"Tr\u00e8s<\/a><\/figure>\n\n\n\n
\"Tr\u00e8s<\/a><\/figure>\n\n\n\n
\"Tr\u00e8s<\/a><\/figure>\n
Tr\u00e8s belle guitare baroque r\u00e9alis\u00e9e \u00e0 Venise vers la premi\u00e8re moiti\u00e9 du XVII\u00e8me si\u00e8cle, probablement par la famille Sellas.
Collection d’un important amateur europ\u00e9en. Instrument mis en vente par Vichy Ench\u00e8res le 13 avril 2024
\u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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Certainement pour assurer la p\u00e9rennit\u00e9 de cette guitare apr\u00e8s qu\u2019elle ait \u00e9t\u00e9 d\u00e9laiss\u00e9e au XVIII\u00e8me si\u00e8cle, celle-ci fut remani\u00e9e en guitare battente. A l’origine, ses cordes \u00e9taient en boyaux et la transformation a notamment eu pour objectif de monter des cordes m\u00e9talliques. La table a \u00e9t\u00e9 pli\u00e9e sur l’arri\u00e8re du chevalet pour cr\u00e9er un angle accru pour l’appui des cordes et les \u00e9clisses ont \u00e9t\u00e9 r\u00e9duites en hauteur. Comme le confirme l\u2019examen dendrochronologique de notre guitare, la table a bien \u00e9t\u00e9 remplac\u00e9e durant les ann\u00e9es 1760, \u00e0 l\u2019\u00e9poque o\u00f9 la guitare battente prosp\u00e8re. Il semble que l’on ait principalement cherch\u00e9 \u00e0 en faire un bel objet de collection, comme le sugg\u00e8re ses ornements et l’absence de tout syst\u00e8me pour attacher les cordes au bas de l’instrument.[1]<\/sup><\/a> Stylistiquement, la nouvelle table d’harmonie a \u00e9t\u00e9 con\u00e7ue en reprenant les motifs d\u00e9coratifs des XVII\u00e8me et XVIII\u00e8me si\u00e8cles. On peut ainsi observer, sur toute la bordure de la table, une succession de triangles en nacre, cern\u00e9s d\u2019un filet d\u2019ivoire et d\u2019\u00e9b\u00e8ne. Autour de la bouche, trois cercles reprennent ce motif de triangles de nacre sur \u00e9b\u00e8ne, eux-m\u00eames cern\u00e9s de 20 pastilles de nacre \u00e9voquant des p\u00e9tales. Celles-ci reprennent exactement la m\u00eame forme qu\u2019une pastille pr\u00e9sente sur le haut de la t\u00eate d\u2019origine. On retrouve ces m\u00eames motifs de p\u00e9tales aux extr\u00e9mit\u00e9s d\u2019un ensemble de ramifications pr\u00e9sentes sur le haut et le bas de la table, ainsi qu\u2019autour du chevalet. \u00c0 la base de la table, un insert de nacre en forme de c\u0153ur invers\u00e9 est \u00e9galement parcouru par ces fines lignes noires \u00e9voquant des ramifications v\u00e9g\u00e9tales.<\/p>\n\n\n\n

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[1]<\/sup><\/a> Falletti Franca, Meucci Renato, \u201cMarvels of sound and beauty : Italian Baroque musical instruments\u201d, cat. expo. Galleria dell’Accademia, Florence, 2007, Giunti, pp. 200-201, n\u00b032 (reproduit)<\/p>\n<\/div>\n\n\n\n

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On retrouve ce type de motifs d\u00e9coratifs sur la table d\u2019autres guitares des XVII\u00e8me et XVIII\u00e8me si\u00e8cles, \u00e0 l\u2019exemple d\u2019un instrument attribu\u00e9 \u00e0 Matteo Sellas, conserv\u00e9 au Metropolitan Museum<\/em>, qui pr\u00e9sente notamment un c\u0153ur invers\u00e9 sur le bas de la table ou des ramifications v\u00e9g\u00e9tales.<\/p>\n\n\n\n

Les motifs de triangles sont aussi courants, comme on peut notamment l\u2019observer sur l\u2019instrument de Giorgio Sellas de l\u2019Historisches Museum<\/em> de Basel, qui pr\u00e9sente une bordure de table en \u00e9b\u00e8ne et nacre dont notre guitare semble inspir\u00e9e.<\/p>\n\n\n\n

Le nom de \u201cguitare battente\u201d ou \u201cchitarra battente\u201d tire son origine d’une technique de jeu \u00e9labor\u00e9e au XVIIe si\u00e8cle, consistant \u00e0 relancer le son d’un accord autant de fois que n\u00e9cessaire au moyen de mouvements altern\u00e9s des doigts de la main droite. Si son h\u00e9ritage semble espagnol, son \u00e9panouissement se situe en Italie, o\u00f9 cette guitare devient l’instrument d’accompagnement par excellence. Arborant une table d’harmonie inclin\u00e9e et des cordes fix\u00e9es sur l’\u00e9clisse plut\u00f4t que sur le chevalet frontal, la guitare battente offre une sonorit\u00e9 puissante, id\u00e9ale pour les ensembles en plein air. \u00c0 la fois objet de luxe, compagnon des nobles et complice des f\u00eates populaires, elle porte en elle les \u00e9chos d’une \u00e9poque r\u00e9volue dont t\u00e9moigne ce magnifique mod\u00e8le.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Tr\u00e8s<\/a>
Tr\u00e8s belle guitare baroque r\u00e9alis\u00e9e \u00e0 Venise vers la premi\u00e8re moiti\u00e9 du XVII\u00e8me si\u00e8cle, probablement par la famille Sellas.\nCollection d’un important amateur europ\u00e9en.\nInstrument mis en vente par Vichy Ench\u00e8res le 13 avril 2024 \n\u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
\"Attribu\u00e9e<\/a>
Attribu\u00e9e \u00e0 Matteo Sellas, Guitare, Metropolitan Museum, NY<\/figcaption><\/figure>\n\n\n\n
\"Giorgio<\/a>
Giorgio Sellas, Guitare, 1641, Historisches Museum Basel<\/figcaption><\/figure>\n\n\n\n
\"Bartolomeo<\/a>
Bartolomeo Bettera, Nature morte avec instruments de musique, Saint Louis Art Museum<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Rendez-vous le samedi 13 avril 2024 pour la vente de ce bijou de la facture instrumentale v\u00e9nitienne \u00e0 l\u2019\u00e9poque de son apog\u00e9e.<\/p>\n<\/blockquote>\n\n\n\n

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A GUITAR WHICH REPRESENTS THE FINEST HOUR OF LA SERENISSIMA AND THE ART OF SELLAS<\/h1>\n\n\n\n
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A superb Venetian guitar from the 17th century, originating from an important European collection and preserved in the Gemeentemuseum in The Hague for several decades, will be sold at auction on Saturday 13 April 2024. Its decoration and construction are typical of the Sellas family. It is likely the work of Matteo Sellas, whose workshop took the craftsmanship of the instrument to a very high level of sophistication. Discover now this extremely rare testimony of the finest hour of La Serenissima.<\/p>\n<\/blockquote>\n\n\n\n

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J\u00e9r\u00f4me Casanova’s detailed study<\/a><\/div>\n\n\n\n
Catalog<\/a><\/div>\n\n\n\n
Sale on 12 April 2024<\/a><\/div>\n\n\n\n
Sale on 13 April 2024<\/a><\/div>\n\n\n\n
Contact<\/a><\/div>\n\n\n\n
Experts<\/a><\/div>\n\n\n\n
Version fran\u00e7aise<\/a><\/div>\n<\/div>\n\n\n\n
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A symbol of Venetian splendour in the 17th<\/sup> century<\/h1>\n\n\n\n
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\"Leandro
Leandro da Ponte Bassano, La Riva dei Schiavoni en Venecia, c.1595, Academia Colecciones<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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\"Tr\u00e8s<\/a><\/figure>\n\n\n\n
\"Tr\u00e8s<\/a><\/figure>\n\n\n\n
\"Tr\u00e8s<\/a><\/figure>\n\n\n\n
\"Tr\u00e8s<\/a><\/figure>\n\n\n\n
\"Tr\u00e8s<\/a><\/figure>\n\n\n\n
\"Tr\u00e8s<\/a><\/figure>\n
Tr\u00e8s belle guitare baroque r\u00e9alis\u00e9e \u00e0 Venise vers la premi\u00e8re moiti\u00e9 du XVII\u00e8me si\u00e8cle, probablement par la famille Sellas.
Collection d’un important amateur europ\u00e9en. Instrument mis en vente par Vichy Ench\u00e8res le 13 avril 2024
\u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
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This baroque guitar was made in Venice during the first half of the 17th<\/sup> century. It is a rare testimony of Venetian instrument making at its peak. Its elaborate decoration, particularly on the back and sides, points to the instrument having been destined to a wealthy patron. Its back and sides are entirely covered in ebony and ivory, precious materials that denote the high social status of its original owner. The body is made up of nine ivory ribs, separated by ebony purfling, and decorated with ebony inlays in the shape of arabesques and acanthus leaves. These decorative patterns cover a large part of the instrument, featuring on the sides, the small heel, the neck and the back of the head. In addition, the interior construction reveals the meticulous care given to every aspect of the instrument, even the hidden ones, as demonstrated by the parchment lining the entire interior of the guitar.<\/p>\n<\/div>\n\n\n\n

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Several still-life paintings, set in opulent interiors depicting similar instruments, attest to the popularity of the instrument amongst the Venetian elite. Indeed, a number of guitars similar to this one can be found in Bartolomeo Bettera\u2019s work, including in a painting which is particularly interesting as the instrument it represents has a back which is similar to that of the guitar in the Vichy Ench\u00e8res sale of 13 April 2024. The left of the painting depicts a guitar whose back is composed of ivory ribs decorated with ebony arabesques; on the right, another guitar representation is reminiscent of our instrument in its decoration, particularly to the borders of the front and the fingerboard, which is made of ebony inlaid with mother-of-pearl triangles and diamonds.<\/p>\n\n\n\n

One of the sections of the Agliardi Triptych<\/em> by Evaristo Baschenis is also very interesting, as it shows Alessandro Agliardi playing on one of these precious guitars. The detailed and accurate style of Baschenis allows us to read, on the head cartouche<\/em>, the name of the maker of the guitar: Giorgio Sellas, one of the members of the most famous family of Venetian guitar makers of the 17th century.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Bartolomeo<\/a>
Bartolomeo Bettera, Nature morte aux instruments de musique, deuxi\u00e8me moiti\u00e9 du XVII\u00e8me si\u00e8cle, Bergame, collection priv\u00e9e<\/figcaption><\/figure>\n\n\n\n
\"Bartolomeo<\/a>
Bartolomeo Bettera, Nature morte aux instruments de musique, deuxi\u00e8me moiti\u00e9 du XVII\u00e8me si\u00e8cle, collection priv\u00e9e<\/figcaption><\/figure>\n\n\n\n
\"Bartolomeo<\/a>
Bartolomeo Bettera, Nature morte aux instruments de musique et m\u00e9tronome, c. 1660, Accademia Carrara, Bergame<\/figcaption><\/figure>\n\n\n\n
\"Evaristo<\/a>
Evaristo Baschenis, Acad\u00e9mie de musique d’Evaristo Baschenis et Ottavio Agliardi, v.1665-1670, collection priv\u00e9e<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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The craftsmanship of Matteo Sellas<\/h1>\n\n\n\n
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\"Tr\u00e8s<\/a><\/figure>\n\n\n\n
\"Tr\u00e8s<\/a><\/figure>\n\n\n\n
\"Tr\u00e8s<\/a><\/figure>\n\n\n\n
\"Tr\u00e8s<\/a><\/figure>\n\n\n\n
\"Tr\u00e8s<\/a><\/figure>\n\n\n\n
\"Tr\u00e8s<\/a><\/figure>\n\n\n\n
\"Tr\u00e8s<\/a><\/figure>\n\n\n\n
\"Tr\u00e8s<\/a><\/figure>\n
Tr\u00e8s belle guitare baroque r\u00e9alis\u00e9e \u00e0 Venise vers la premi\u00e8re moiti\u00e9 du XVII\u00e8me si\u00e8cle, probablement par la famille Sellas.
Collection d’un important amateur europ\u00e9en. Instrument mis en vente par Vichy Ench\u00e8res le 13 avril 2024
\u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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Indeed, this guitar was most probably made by one of the members of the Sellas family. The exceptional quality of the decoration of the instrument\u2019s back, sides, head and back of the neck points to the hand of a great maker, most likely Matteo Sellas. In the 17th century, Venice was an important centre of instrument making, and Matteo Sellas was amongst its finest representatives. The style of the instrument, with its scalloped ivory ribs and elaborate arabesques, is typical of the Venetian school, and in particular of Matteo Sellas. Although this type of ornamentation can be found on other Venetian instruments of the period, such as those of Cristoforo Coch in the collection of the Musee de la Musique in Paris, it is typical and often found in the work of Matteo Sellas.
In fact, Matteo Sellas\u2019s production includes mostly guitars in this style. The backs of his instruments feature decorative volutes and interlacing shapes, which are distinctive in the symmetry and fluidity of their design. Several guitars by Matteo Sellas kept in public collections display craftsmanship that is similar to the example in the Vichy Ench\u00e8res sale, in particular two guitars in the Musee de la Musique<\/em> in Paris dating from around 1640, and the instruments in the Victoria & Albert Museum in London.<\/p>\n<\/div>\n\n\n\n

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\"Cristoforo<\/a>
Cristoforo Koch, Guitare, v.1650, Mus\u00e9e de la Musique, Paris, cr\u00e9dits Jean-Marc Angl\u00e8s <\/figcaption><\/figure>\n\n\n\n
\"Cristoforo<\/a>
Cristoforo Koch, Archiluth, v.1654, Mus\u00e9e de la Musique, Paris, cr\u00e9dits Jean-Marc Angl\u00e8s<\/figcaption><\/figure>\n<\/figure>\n<\/div>\n<\/div>\n\n\n\n
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\"Matteo<\/a>
Matteo Sellas, Guitare, v.1640, Mus\u00e9e de la Musique, Paris, cr\u00e9dits Jean-Marc Angl\u00e8s <\/figcaption><\/figure>\n\n\n\n
\"Matteo<\/a>
Matteo Sellas, Guitare, v.1640, Mus\u00e9e de la Musique, Paris, cr\u00e9dits Jean-Marc Angl\u00e8s<\/figcaption><\/figure>\n\n\n\n
\"Matteo<\/a>
Matteo Sellas, Guitare, v.1630-40, Mus\u00e9e de la Musique, Paris, cr\u00e9dits Jean-Marc Angl\u00e8s<\/figcaption><\/figure>\n\n\n\n
\"Matteo<\/a>
Matteo Sellas, Guitare, v.1630-40, Mus\u00e9e de la Musique, Paris, cr\u00e9dits Jean-Marc Angl\u00e8s<\/figcaption><\/figure>\n\n\n\n
\"Matteo<\/a>
Matteo Sellas, Mandoline, 1652, Mus\u00e9e de la Musique, Paris, cr\u00e9dits Jean-Marc Angl\u00e8s<\/figcaption><\/figure>\n\n\n\n
\"Matteo<\/a>
Matteo Sellas, Archiluth, 1637, Victoria & Albert Museum, Londres, d\u00e9tail<\/figcaption><\/figure>\n\n\n\n
\"Matteo<\/a>
Matteo Sellas, Guitare, 1623, Victoria & Albert Museum, Londres, d\u00e9tail<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Matteo et les Sellas<\/h1>\n\n\n\n
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\"Fran\u00e7ois<\/a>
Fran\u00e7ois Sabatier – Eglise San Mo\u00efs\u00e9, 1864, Venise, Louvre<\/figcaption><\/figure>\n\n\n\n
\"Ecole<\/a>
Ecole italienne, Le Pont du Rialto, XVIII\u00e8me si\u00e8cle, Louvre<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Matteo Sellas was born between 1599 and 1602 in F\u00fcssen, in the diocese of Tilinger in Bavaria, into a family of instrument makers. He is the son of Michele Sellas and the brother of Giorgio Sellas. In 1614, aged 12, he left his hometown to go to Venice, where his brother Giorgio was already working as a maker. Together, they established a bottega<\/em> near the church of San Mo\u00efs\u00e9, in the bustling area of Calle dei Stagneri<\/em> near the Rialto, a place where many other makers were already established. His workshop, known as \u201cAlla Corona\u201d, quickly became a mecca for Venetian instrument making, attracting a diverse and prestigious clientele. The production of Matteo Sellas’s workshop would have been substantial, judging by the number of makers employed there, according to information gathered from historical documents.<\/p>\n\n\n\n

Matteo Sellas was born between 1599 and 1602 in F\u00fcssen, in the diocese of Tilinger in Bavaria, into a family of instrument makers. He is the son of Michele Sellas and the brother of Giorgio Sellas. In 1614, aged 12, he left his hometown to go to Venice, where his brother Giorgio was already working as a maker. Together, they established a bottega<\/em> near the church of San Mo\u00efs\u00e9, in the bustling area of Calle dei Stagneri<\/em> near the Rialto, a place where many other makers were already established. His workshop, known as \u201cAlla Corona\u201d, quickly became a mecca for Venetian instrument making, attracting a diverse and prestigious clientele. The production of Matteo Sellas’s workshop would have been substantial, judging by the number of makers employed there, according to information gathered from historical documents.[1]<\/sup><\/a>. His instruments are renowned for their quality and beauty, merging art and craft.<\/p>\n\n\n\n

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[1]<\/sup><\/a> Stefano Pio, Violin and lute makers of Venice, Venezia 1640 \u2013 1760, Brian Newnamm, Los Alamos, USA, 2004<\/p>\n<\/div>\n\n\n\n

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The Sellas family is a perfect example of German makers who emigrated to Italy and built a career there in the 17th century. Indeed, at that time, many Germans moved to Italy to escape the strict rules of their country’s corporations, which restricted their work. This migration of makers from southern Germany is probably behind the rise in the number of lutes made in Venice. Many families settled in the Rialto district and at the Fondaco dei Tedeschi, such as the Tieffenbruckers, Seelos and Koch, who Italianized their names to \u201cDieffopruchar\u201d, \u201cSellas\u201d and \u201cCoch\u201d. Jacob Stadler is another good example of a 17th century German maker who worked in Italy. He was also from F\u00fcssen, like the Sellas, and probably collaborated with them at some point, judging by his making style.<\/p>\n\n\n\n

For almost 160 years, the Sellas family produced superior instruments for Venetian musicians, contributing to the cultural richness of the city. The decline of the Sellas dynasty began in the early 18th century, with the emergence of competition from the likes of Matteo Goffriller and Domenico Montagnana. The year 1760 marked the end of the Sellas family business, as Zuanne Sellas III faced great financial difficulties. Their name remains associated with the excellence of Venetian instrument making.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Domenico<\/a>
Domenico Sellas, Guitare, c.1670, National Music Museum of Dakota<\/figcaption><\/figure>\n\n\n\n
\"Domenico<\/a>
Domenico Sellas, Guitare, c.1670, National Music Museum of Dakota<\/figcaption><\/figure>\n\n\n\n
\"Giorgio<\/a>
Giorgio Sellas, Guitare, 1641, Historisches Museum Basel<\/figcaption><\/figure>\n\n\n\n
\"Exceptionnelle<\/a>
Exceptionnelle guitare faite par Jacob STADLER en 1629\nInstrument mis en vente par Vichy Ench\u00e8res le 15 d\u00e9cembre 2007 \n\u00a9 JH Bayle<\/figcaption><\/figure>\n\n\n\n
\"Exceptionnelle<\/a>
Exceptionnelle guitare faite par Jacob STADLER en 1629\nInstrument mis en vente par Vichy Ench\u00e8res le 15 d\u00e9cembre 2007 \n\u00a9 JH Bayle<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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The chitarra battente<\/em><\/h1>\n\n\n\n
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\"Tr\u00e8s<\/a><\/figure>\n\n\n\n
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\"Tr\u00e8s<\/a><\/figure>\n\n\n\n
\"Tr\u00e8s<\/a><\/figure>\n\n\n\n
\"Tr\u00e8s<\/a><\/figure>\n\n\n\n
\"Tr\u00e8s<\/a><\/figure>\n
Tr\u00e8s belle guitare baroque r\u00e9alis\u00e9e \u00e0 Venise vers la premi\u00e8re moiti\u00e9 du XVII\u00e8me si\u00e8cle, probablement par la famille Sellas.
Collection d’un important amateur europ\u00e9en. Instrument mis en vente par Vichy Ench\u00e8res le 13 avril 2024
\u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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In order to prolong the use of this guitar after it was abandoned in the 18th century, it was converted into a chitarra battente. Its original strings were made of gut, and the conversion was designed, in particular, to allow the use of metal strings. The front was bent below the bridge to create an increased angle to support the higher string tension, and the ribs were shortened. As confirmed by a dendrochronological analysis, the front was indeed replaced during the 1760s, at a time when the chitarra battente was in high demand. It seems that the main purpose of the conversion was to turn it into a beautiful collector’s item, as suggested by its ornamentation and the absence of any system for attaching the strings at the bottom of the instrument[1]<\/sup><\/a>. Stylistically, the new front was designed using decorative elements from the 17th and 18th centuries. The edges of the front are decorated throughout with a series of mother-of-pearl triangles, surrounded by ivory and ebony purfling. Around the mouth, three circles recall this motif of mother-of-pearl triangles on ebony, which are themselves surrounded by 20 decorative floral mother-of-pearl inlays. The latter are exact reproductions of the ornament at the top of the original head. We find these same floral patterns at the end of a set of branches present on the top and bottom of the front, as well as around the bridge. At the base of the front, a mother-of-pearl inlay in the shape of an inverted heart is crossed by these fine black lines representing plant branches.<\/p>\n\n\n\n

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[1]<\/sup><\/a> Falletti Franca, Meucci Renato, \u201cMarvels of sound and beauty : Italian Baroque musical instruments\u201d, cat. expo. Galleria dell’Accademia, Florence, 2007, Giunti, pp. 200-201, n\u00b032 (reproduit)<\/p>\n<\/div>\n\n\n\n

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We find this type of decorative motifs on the fronts of other guitars from the 17th and 18th centuries, such as an instrument attributed to Matteo Sellas, kept at the Metropolitan Museum<\/em> in NY, which features, in particular, an inverted heart at the bottom of the front and plant branches.<\/p>\n\n\n\n

Triangular motifs are also common, as can be seen in particular on the instrument by Giorgio Sellas in the Historisches Museum <\/em>in Basel, which has ebony and mother-of-pearl decoration at its edges on the front, from which our guitar\u2019s decoration seems to have been inspired.<\/p>\n\n\n\n

The name chitarra battente<\/em> comes from a playing technique developed in the 17th century, consisting of repeatedly striking a chord by means of alternating movements of the fingers of the right hand. Although this technique originated in Spain, it was developed in Italy, where this type of guitar became the accompaniment instrument par excellence<\/em>. Featuring a bent front and strings attached to the ribs, rather than the bridge, the chitarra battente<\/em> produced a powerful tone, ideally suited to outdoor performances. In turn luxury object, companion of the nobles and instrument of popular festivals, it attests to a bygone era, as exemplified by this magnificent instrument.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Tr\u00e8s<\/a>
Tr\u00e8s belle guitare baroque r\u00e9alis\u00e9e \u00e0 Venise vers la premi\u00e8re moiti\u00e9 du XVII\u00e8me si\u00e8cle, probablement par la famille Sellas.\nCollection d’un important amateur europ\u00e9en.\nInstrument mis en vente par Vichy Ench\u00e8res le 13 avril 2024 \n\u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
\"Attribu\u00e9e<\/a>
Attribu\u00e9e \u00e0 Matteo Sellas, Guitare, Metropolitan Museum, NY<\/figcaption><\/figure>\n\n\n\n
\"Giorgio<\/a>
Giorgio Sellas, Guitare, 1641, Historisches Museum Basel<\/figcaption><\/figure>\n\n\n\n
\"Bartolomeo<\/a>
Bartolomeo Bettera, Nature morte avec instruments de musique, Saint Louis Art Museum<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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We hope to see you on Saturday 13 April 2024 for the sale of this jewel of Venetian instrument making at its peak.<\/em><\/p>\n<\/blockquote>\n\n\n\n

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\ud83d\ude80 Suivez-nous !<\/strong><\/h2>\n\n\n\n