Lot 1061 - A214 Works of Art & Decorative Arts - Thursday, 18. September 2025, 01.30 PM
OUTSTANDING COLLECTION OF 312 SEAL MATRICES
13th–17th century. Mainly Italy, partly France and Germany.
Various metals engraved and chased, including patinated bronze, gilt bronze, and silver. The seal matrices are stored in a specially made walnut box with individual, numbered slots for each seal. The drawers are lined with red velvet. Box: 50 × 37 × 75 cm.
Summary by type
Ecclesiastical seal matrices:
Cardinal (No. 1), Bishops (Nos. 2–6), Bishopric (No. 7), Scriniarius (No. 8), Protonotary (No. 9), scribe (No. 10), Canons (No. 11–21), Archpriests (No. 22–24), Archdeacons (No. 25–26), Provosts (No. 27–28), Parish Priests (pievano) (No. 29–31), Priors (No. 32–34), Rectors (No. 35), Priests (No. 36–42), Clerics (No. 43), Ecclesiastical Dignitaries of unknown rank (No. 44–45), Churches (No. 46–48), Chapters (No. 49–52), Abbots (No. 53–63), Provincial Superiors (No. 64), Conventual Priors (No. 65–67), Monks (No. 68–80), Monasteries (No. 81–89), Church Proverbs (No. 90–94)
Secular civil seal dies:
Communities (No. 95–99), towns, estates and castles (No. 100–102), military alliances (No. 103), guilds (104–106), judges (No. 107–112), notaries (Nos. 113–117), doctors of Law (Nos. 118–119), Counts Palatine (Nos. 120–121), patronage (No. 122), Governors (Podestà) (No. 123)
Family names and personal seal matrices:
Sorted from A–Z (No. 124–274). These include surnames such as Pietro Alamanni (No. 127), Zanobi di Betto de Bardi from the same family as the artist Donatello (No. 141), the Venetian Francesco Bembo (No. 145), the French architect Jacques Caron (No. 158), Fregosino Fregoso, son of Paulo Fregoso, Doge of the Republic of Genoa (No. 182), Cante de Gabrielli, the Podestà who initiated Dante's exile (No. 183), Andrea Loredan (No. 216), Federico Pio di Carpi (No. 234), Tommaso Todini, Podestà of Florence (No. 263)
Remaining seal matrices:
Motto (No. 275), symbolic pictorial without inscription (Nos. 276–302), Undefined (Nos. 303–312)
Summary by type
Ecclesiastical seal matrices:
Cardinal (No. 1), Bishops (Nos. 2–6), Bishopric (No. 7), Scriniarius (No. 8), Protonotary (No. 9), scribe (No. 10), Canons (No. 11–21), Archpriests (No. 22–24), Archdeacons (No. 25–26), Provosts (No. 27–28), Parish Priests (pievano) (No. 29–31), Priors (No. 32–34), Rectors (No. 35), Priests (No. 36–42), Clerics (No. 43), Ecclesiastical Dignitaries of unknown rank (No. 44–45), Churches (No. 46–48), Chapters (No. 49–52), Abbots (No. 53–63), Provincial Superiors (No. 64), Conventual Priors (No. 65–67), Monks (No. 68–80), Monasteries (No. 81–89), Church Proverbs (No. 90–94)
Secular civil seal dies:
Communities (No. 95–99), towns, estates and castles (No. 100–102), military alliances (No. 103), guilds (104–106), judges (No. 107–112), notaries (Nos. 113–117), doctors of Law (Nos. 118–119), Counts Palatine (Nos. 120–121), patronage (No. 122), Governors (Podestà) (No. 123)
Family names and personal seal matrices:
Sorted from A–Z (No. 124–274). These include surnames such as Pietro Alamanni (No. 127), Zanobi di Betto de Bardi from the same family as the artist Donatello (No. 141), the Venetian Francesco Bembo (No. 145), the French architect Jacques Caron (No. 158), Fregosino Fregoso, son of Paulo Fregoso, Doge of the Republic of Genoa (No. 182), Cante de Gabrielli, the Podestà who initiated Dante's exile (No. 183), Andrea Loredan (No. 216), Federico Pio di Carpi (No. 234), Tommaso Todini, Podestà of Florence (No. 263)
Remaining seal matrices:
Motto (No. 275), symbolic pictorial without inscription (Nos. 276–302), Undefined (Nos. 303–312)
Provenance:
- By inheritance, now in a Swiss private collection, acquired by the testator in the 1950s/1960s, with a handwritten reference to Leo Planiscig.
This collection of seals comprises 312 exhibits, most of which date from the 13th and 14th centuries. The extensive collection is not limited to a specific region or type of seal, although a preference for Italian seals is evident. The diversity of the collection is meticulously photographed, inventoried, and classified in an accompanying dossier. According to oral tradition and handwritten references, the collection was assembled by the famous art historian Leo Planiscig (1887–1952). However, it cannot be confirmed with certainty that the inventory was compiled by Planiscig. However, the precision and scientific approach of the dossier would suggest that it was. According to oral tradition, the seal collection, as it exists today, was acquired in the 1950s and remained in the same important Swiss German private collection through inheritance.
Seal collections of this size are rare and significant in many ways. A comparable collection, “The Schøyen Collection of Medieval Seal Matrices,” was auctioned at Christie's in London in July 2019. Other important collections, such as “Corvisieri” in the Palazzo Venezia in Rome or the rich collection of seal matrices in the Museo del Bargello, are also worth mentioning here. The seal collection presented here is distinguished not only by the historical and artistic quality of its exhibits, but also by its excellent curation and inventory, which can probably be attributed to the previous owner and presumed collector, the eminent art historian Leo Planiscig.
Leo Planiscig was born in 1887 in Gorizia, Austria, located on the road between Vienna and Venice. Planiscig studied classical archaeology and art history in Vienna under Julius von Schlosser, with a particular interest in Italian Gothic and Renaissance sculptors, and earned his doctorate with a dissertation on “The History of Venetian Sculpture in the 14th Century.” In 1914, following the assassination of Archduke Franz Ferdinand of Austria-Este, whose advisor on art he was, Planiscig became curator of the Kunsthistorisches Museum in Vienna. Important catalogs of the “Estensische Kunstsammlung” (1919) and the “Bronzeplastiken – Statuetten, Reliefs, Geräte und Plaketten” (1924) were the fruits of this work. In 1933, Planiscig was appointed director of the Collection of Sculpture and Decorative Arts. In addition to numerous important publications on the subject of Renaissance sculpture, including a monograph on the important sculptor Andrea Riccio (1927), the energetic art historian also advised private sculpture collectors, as reflected in the catalog of the Vienna collection Camillo Castiglione “Collezione Camillo Castiglioni: Catalogo dei Bronzi” (1923) and the first part of the “Sammlung Dr. Albert Figdor” (1930). The series of illustrated monographs on the most important sculptors of the Renaissance, Donatello, Lorenzo Ghiberti, Lucca della Robbia, Verrocchio, Desiderio da Settignano, and Rosselino (between 1939 and 1942), aimed at a wider audience, increased Planiscig's fame beyond the specialist public. He wrote these monographs in Florence, where he moved in 1938 and lived until his death in 1952.
Sphragistics, the study of seals, had been practiced scientifically since the 17th century, which also sparked an interest in collecting seals. Over the centuries, this interest grew steadily and became associated with related disciplines such as heraldry and genealogy. Seals combine an image with information about the (religious or secular) owner and their social status, making them important witnesses not only to cultural history, but also to social and legal history. Seal impressions have different functions and are used as “undersignatures” on documents, but also as ‘seals’ to close rooms and containers, or as “seals” on objects to serve as proof of quality and origin, like a brand. An intact seal impression is essential as proof of integrity and unlawful opening. As the Latin word “sigillum,” translated as “small image/relief,” already suggests, a seal represents the owner of the stamp. This is not only in a visual sense with writing, images, and symbols, but also on a legal level, where it served as proof of authenticity, for example as a means of authentication on documents. A striking symbol is the “+” that appears at the beginning of some inscriptions, symbolizing the name of God, which should precede all Christian actions. This sign was introduced as early as the 10th century.
The artistic value of these seals is in no way inferior to their historical value. Many are characterized by particular precision in their execution, fine engraving, and classic relief, with designs that are both sculptural and lively. The shapes of the seals are as varied as their sizes, ranging from round, oval, and pointed oval to shield-shaped, some of which have not only a front side but also a counter seal.
Twenty-three of the most important seal matrices are presented below. The descriptions and classifications are based on the complete inventory of 312 seal matrices, presumably compiled by Leo Planiscig, which is available as a PDF and can be viewed in the online catalog. To view the complete dossier, please consult the lot description on our website.
1 (1) IOANES.VENETUS.CAR.SANCTI.ALIOR–M.ABBATIE.BALME.COMMDATARE
Ioanes venetus cardinalis sancti (?) abbatiae balme comm(en)datar(ius).
Italy, 15th century. Bronze engraved with traces of gilding. Pointed oval shape. H 7.7 cm. Depiction of St. Peter in Gothic architecture, below a coat of arms crowned by a cardinal's hat. Probably the coat of arms of Cardinal Giovanni Michiel (1446–1503).
Balma – reference to today's Baume, Arrondissement Saint-Claude, France. An old monastery founded around the middle of the 5th century by Saints Romanus and Lupicinus, who settled there with their sister, the “Mother of Virgins,” and a community of 100 nuns. The basilica, which housed the body of Saint Romanus, belonged to this monastery. After it was dissolved, it was converted into a priory of monks and given the name Saint-Romain-de-Roche, which is still the name of the current church. A convent of San Pietro was also located in Beaume-les-Moines, founded at the end of the 4th century and rebuilt in 926; it belongs to the diocese of Besançon. The coat of arms crowned by the cardinal's hat refers to Cardinal Giovanni Michiel. See a stone coat of arms relief in the Cardinal's Palace in Verona near Piazza Vescovado. (Catalogo Bene Culturali, Inv. No. 0500089410).
Giovanni Michiel was elevated to cardinal by his uncle, Pope Paul II, on November 21, 1468. In 1471, he became bishop of Verona. As cardinal, he participated in the conclave of 1484, which elected Pope Innocent VIII (see website Catholic Hierarchy, keyword “Giovanni Michiel”).
2 (217) S. IOHIS' DEI GRA–EPI–CI–VITAT. CA–ST(EL)LA
Sigillum Johannis Dei Gratia Episcopi Civitatis Castellanae.
Italy, late 14th/early 15th century. Dark patinated and engraved bronze. Pointed oval shape. H 5.4 cm. Depiction of the Holy Mother with Child, below two saints in Gothic architecture. Below, a bishop flanked by two coats of arms.
Giovanni degli Arcioni from Rome was appointed Bishop of Civita Castellana by Pope Boniface IX on April 30, 1395, and held this office until his death in 1406 (see website Diocesi di Civita Castellana). During his episcopate, the Chapel of St. Nicholas was founded by Pietro di Somma from Naples, then rector and governor of Civita Castellana. The bishopric of Civita Castellana had already incorporated that of Gallese since 1252; in 1437, that of Orte was also added. This type of seal was common in Italian and French church seals from the 14th to the late 15th century.
4 (57) PAPYR. DESILVES. EPS: MACER. ET. TOLEN
Papyrius De Silvestris Episcopus Maceratae et Tolentini.
Italy, 17th century. Finely engraved bronze. Round shape with a powerful piston handle on the back. Ø 4.9 cm. Depiction of a coat of arms cartouche with a scorpion emblem crowned by a prelate's hat, cordwork and two cherubs.
Papirio Silvestri (1592–1659), a nobleman from Cingoli, was an advisor to the Roman Inquisition, known for his piety, moral integrity, and scholarship. He was appointed Bishop of Macerata and Tolentino by Pope Urban VIII on July 14, 1642. Francesco Silvestri, bishop of Florence from 1323 to 1341, belonged to the same family. The bishopric of Tolentino was united with that of Macerata in 1586.
5 (146) +S.FRIS. IOHIS. DEI.G-RA. EPI. VULTURARIESI
Sigillum Fratris Iohannis Dei Gratia Episcopi Vulturariensis.
Italy, 14th century. Bronze with dark patina and engraved. Pointed oval shape with thickened and curved central ridge on the reverse and later engraved S. CLARE. H 6 cm. Depiction of the Holy Mother with Child, below a St. Bishop and John the Baptist in Gothic architecture, below a kneeling bishop.
Brother Giovanni di Montepulciano, a Tuscan from the Order of Hermits of St. Augustine, Doctor of Theology, was appointed Bishop of Vulturara by Pope Innocent VI on March 28, 1353, and remained so until 1359. The bishopric of Vulturara had been subordinate to Benevento since 969; In 1433, it was annexed to Montecorvino.
6 (224) +S FRIS NICOLAY EPIECLE YSERNIESIS
Sigillum Fratris Nicolay Episcopi Ecclesiae Yserniensis.
Italy, 13th century. Early bishop's seal. Bronze with dark patina. Pointed oval shape. H 4.6 cm. Depiction of a bishop standing frontally.
Three bishops with the name Nicholas from the bishopric of Isernia are known: one held office from 1258 to after 1263; a second from 1376 to 1379 and a third, a monk of the Benedictine order, was initially bishop of Gaeta, but was transferred back to Isernia on May 14, 1404, and died under Pope John XXIII. The type of seal with a bishop standing frontally wearing a mitre became increasingly rare from the second half of the 13th century. It is therefore likely that the first of the three bishops mentioned was the owner of the seal.
7 (13) +S VICARIATVS EPATVS CONCORDIEN
Sigillum Vicariatus Episcopatus Concordiensis.
Italy, 14th century. Engraved bronze and parcel-gilt. Round shape. Ø 4.6 cm. Depiction of St. Stephen on a diamond background.
Vicarial seal of the Diocese of Concordia. Concordia Sagittaria (now in the province of Venice) was a bishopric during the Lombard period, assigned to the patriarchal title of Aquileia and later Grado until the end of the 6th century. After that, it remained under the jurisdiction of Aquileia, with which it continued to be associated. The title was transferred to Portogruaro in 1585. The cathedral of Concordia is dedicated to St. Stephen.
9 (56) (AE)NEAS.TVRRIVS.I.V.D.CAN.ARRET.ET.PROTH.APLICVS.
Aeneas Turrius Iuris Utriusque Doctor Canonicus Arretinus et Prothonotarius Apostolicus.
Italy, 17th century. Engraved bronze. Round shape, baluster-shaped handle with counter seal. Front depicting a coat of arms cartouche with a tower on six honeycomb hills, crowned by a prelate's hat and flanked by cords and arabesques. Counter seal oval, same depiction. Front Ø 4.1 cm, reverse H 2.7 cm.
The owner of this seal was a high-ranking official and dignitary, as the numerous titles indicate. Aeneas Turrius held a doctorate, was a canon (member of the cathedral chapter) of the Arretinus (Italian: Arrezzo) cathedral chapter, and was an apostolic protonotary. The coat of arms with the tower is a reference to the surname Turrius.
27 (27) +S' ALESII*TRVLIE*PPOSITI*SCI*GEORGI*INPALLATIO
Sigillum Alesii Trulie Praepositi Sancti Georgii in Pallatio.
Italy, Milan, 14th century. Engraved bronze and parcel-gilt. Pointed oval shape. H 5.4 cm. Depiction of St. George on horseback slaying a dragon with his lance, below a coat of arms divided into two parts with an eagle and stars.
The church of San Giorgio al Palazzo in Via Torino in Milan is one of the oldest churches in the city. The origins of the church date back to the 8th century, founded by St. Natale, Bishop of Milan, in 746–747; the present church was consecrated on January 15, 1129. 14th century. The owner of the seal, Provost ‘Alesius Truli’, has not yet been identified.
48 (201) +S SANCTE MARIE SANCTIQVE THEOBALDI METENSIS
Sigillum Sancte Marie Sanctique Theobaldi Metensis.
France, Metz, second half of the 13th century. Engraved bronze with dark patina. Pointed oval shape. H 6.6 cm. Depiction of the enthroned Mother of God with the infant Jesus on her lap, flanked by two angels, below which is a kneeling figure in prayer.
Metensis refers to Metz, suffragan bishopric initially of Trier, later of Besançon. The Virgin also appears on the seal of the cathedral chapter of Metz (cf. Roman, Manuel de sigillographie française, Paris 1912, p. 172). Another example is known from the Abbé Jobal collection (Sotheby's auction, London, July 6, 2021, lot 20). Our seal can probably be traced back to the churches of Sainte-Marie (destroyed in 1833) and Saint-Thiébault (destroyed before 1740), which no longer exist.
51 (206) +S CAPITVLI SCI GRISOGONII
Sigillum Capituli Sancti Grisogoni.
Probably Croatia, early 14th century. Engraved bronze. Round shape. Ø 5.3 cm. Depiction of St. James and St. Grisogonus facing each other, below in a broken line inscribed S ANASTASIA and the kneeling, praying St. Anastasia. Between the two saints are three stars.
The depiction of St. Anastasia suggests that this is the Church of St. Grisogono in Zara (today Zadar, Croatia), where this saint is venerated as the patron saint of the cathedral. However, it cannot be ruled out that it refers to the Roman church of St. Grisogonus, as according to legend, the cult of this saint originated in Rome in the 6th century and is linked to the martyrdom of four saints, including Anastasia. This seal is particularly valuable due to its fine workmanship.
53 (6) +S. PRIS.
BLASI(AB) BIS–MON–SCE. TRINITATIS. DE. FLOR(EN)
Sigillum Prioris Blasii Abbatis Monasterii Sanctae Trinitatis De Florentia.
Italy, Florence, late 15th century/early 16th century. Bronze with dark patina, worked in relief. Pointed oval shape. H 6 cm. Depiction of the Holy Trinity in frontal view. God the Father enthroned, in front of him Jesus on the cross and the dove, crowned with a mitre. Below, a kneeling monk.
Don Biagio Milanesi, General of the Vallombrosani Order, biographer, died in 1505. Author of a memoir on various works and the history of his order. The manuscript is said to be in the archives of Vallombrosa. A portrait of him, by Pietro Perugino, is in the Uffizi Gallery.
56 (60) S.MARTINI (x) ABBATIS.SCTI.PETRI.A GERIN
Sigillum Abbatis Martini Sancti Petri Agerinensis.
Spain, Catalonia, 15th century. Bronze, partly engraved, indistinct. Pointed oval shape with curved handle on the back. Largest seal in the collection. H 9.2 cm. Depiction of St. Peter standing in Gothic architecture, below a coat of arms crowned with a miter.
San Pedro d'Àger (Sant Pere d'Àger), a Benedictine monastery in the mountains of Urgell (Lleida), was founded in the 11th century by the Viscount of Castellbò, Arnald Mir de Tost, who took the territory of this principality from the Arabs. However, there is no abbot named Martin in the list of known abbots of this monastery. A convent also called Aggerinensis existed in Enger near Erfurt in Saxony, Diocese of Mainz, founded in 990; however, it is more likely that our seal belongs to the former monastery.
102 (210) + VRBIS ME DIGNV ASISII NOSCI(TE) SIGNV
Urbis Me Dignum Asisii Noscite Signum.
Italy, Assisi, 13th century. Old city seal of Assisi. Engraved bronze. Pointed oval shape. H 5.8 cm. Depiction of a rising lion.
This is the old coat of arms of Assisi before it was divided by a Latin cross in the first field. The inscription is a so-called “versus leoninus,” a verse in which the last syllable of the second half of the verse rhymes with that of the first. Many Italian cities had their own “leoninus” as a historical, political, religious, or laudatory city motto.
120 (2) +S.ANTONII.DE.PRIIOLIS.I.PERIALIS.COMITIS.PALATINI.P.V.
Sigillum Antonii De Priiolis Imperialis Comitis Palatini Procuratoris Veneti.
Italy, Venice, 17th century. Bronze with brown patina and engraved. Round shape with handle on the back designed as a dolphin. Ø 4.2 cm. Depiction of a coat of arms with a decorative griffin's head.
Antonio Priuli (1548–1623) came from a family documented in Venice since 1297, which amassed a large fortune through land ownership and trade. From 1603, he held the second highest office in the Republic of Venice as Procurator of San Marco, and then even ruled as Doge of Venice from April 5, 1618, until his death on August 12, 1623. Prior to this, Antonio Priuli played a key role in the negotiations with the Habsburgs to end the Uskok War, which was sealed with Archduke Ferdinand in the Treaty of Madrid in 1617. This seal matrix dates back to the time when Priuli was still procurator of San Marco. The Priuli family coat of arms is divided: red at the top, gold at the bottom with blue stripes.
121 (10) R D P FRANCISCI.COMITIS.PALATINI.VERFIGURA.PORCELINO.NOBILI.D.GENTE.CREATI
Sigillum Francisci Comitis Palatini Veronensis Figura Porcelinorum Nobili De Gente Creati.
Italy, 17th century. Engraved bronze and parcel-gilt. Round shape with opening at the top, handle on the back in the shape of a calyx. Ø 6.3 cm. Detailed depiction with three coats of arms, the middle one with a piglet surmounted by a decorative ornament in the shape of a leopard (?). Flanked by a papal coat of arms with crossed keys crowned by the papal tiara and a coat of arms with a double-headed eagle with a secular crown. The inscription is in a curved banner.
The lower coat of arms with the piglet probably refers to a certain Pietro Francesco Porcelli, who was known in Fiesole around 1650. (See stone relief in Fiesole with identical coat of arms, Catalogo generale dei Beni Culturali Inv. No. 0900007441).
123 (8) +S.NICHOLAI.BADU(AR)IO.POT.P(AR)ENCII
Sigillum Nicholai Baduario Potestatis Parencii.
Italy, probably Venice, 14th century. Bronze with brown patina and engraved. Round shape. Ø 4.7 cm. Depiction of the winged lion of St. Mark with an open holy book.
Nicolò Badoero was mayor of Parenzo. A Nicoleto Badoero was mint master in Venice in 1362 under Doge Lorenzo Celsi.
145 (3) +S FRANCISCI PENPO
Sigillum Francisci Bembo.
Italy, Venice, 15th century. Bronze with brown patina and engraved. Round shape. Ø 4.5 cm. Depiction of the winged lion of St. Mark with an open holy book, below which is the coat of arms of the Bembo family.
One of the important Venetian families. Their coat of arms shows a golden slanted triangle on a blue background, accompanied by three golden roses. Francesco di Giovanni Bembo was a central political figure in Venetian history: in 1397 he was commander against Gian Galeazzo Visconti, Duke of Milan, in 1400 Podestà of Padua, in 1405 fleet commissioner in the Gulf, in 1411 captain in Padua, in 1422 he was commissioner in Verona, in 1425 governor of Friuli, in 1426 commander-in-chief on the Po and participant in the naval battle of Ancona against Milan. From 1427 onwards, all traces of him are lost (cf. Silvano Borsari: “Francesco Bembo,” in Dizionario biografico degli italiani, vol. 8, Rome, Istituto dell'Enciclopedia Italiana, 1966).
173 (9) +SIGILVM.TOME.DE.MOLINO
Sigillum Tome de Molino.
Italy, Venice, second half of the 14th century. Bronze with brown patina and engraved. Round shape. Ø 4.4 cm. Depiction of the winged lion of St. Mark with an open holy book, below which is the coat of arms of the Molin family.
This was also an important Venetian patrician family, which produced, for example, Francesco Molin (1575–1655), Doge of Venice.
184 (7) +SIGILVM.IACOBI.GEORGIO
Sigillum Iacobi Georgio
Italy, Venice, 2nd half of the 14th century. Polished and engraved bronze. Round shape. Ø 4.2 cm. Depiction of the winged lion of St. Mark with an open holy book, below which is a coat of arms, probably that of the Zorzi family.
The Zorzi family was a Venetian family of doges. The coat of arms is silver with a red bar. Marino Zorzi was the 50th Doge of Venice from 1311 to 1312. There is no direct reference to a Iacopo, but he probably belonged to the family in the second half of the 14th century. The origins of the family date back to the founding of the city of Venice. Many of its members held high offices.
204 (21) +SIGILVM ANDREA LAVREDANO
Sigillum Andrea Loredano.
Italy, Venice, 15th century. Bronze with brown patina and engraved. Round shape. Ø 4.5 cm. Depiction of the winged, haloed lion of St. Mark with an open holy book, below which is the coat of arms of the Loredan family.
Another important Venetian family. It is not clear which member of the Loredan family is meant. The accompanying dossier cites Andrea Loredan, who apparently fought against the Turkish army in 1498. It is likely that this Andrea Loredan can be recognized in the bust of a young Venetian nobleman in the Museo Correr, attributed to Andrea Riccio. Whether our seal is that of the famous Andrea Loredan (1440–1513), the art collector, remains to be seen.
263 (262) +S.DNI.TOMASSI.DE.TODENIS.DE.ANCONA
Sigillum Domini Tomassi De Todenis De Ancona.
Italy, Florence, 14th century. Engraved bronze and parcel-gilt. Round shape. Ø 4 cm. Depiction of a six-arched cartouche with a coat of arms crowned by a hybrid creature.
Tommaso Todini di Ancona was Podestà of Florence for a short time in the first half of 1364.
273 (202) S VINCENCII.IOANNE.DE.VIPP-HEN-BERG.DNI.PP.PRIS
Sigillum Vincencii Ioanne De Vipphenberg Domini Papae Procuratoris.
Probably Germany, late 15th century. Dark patinated and engraved bronze. Pointed oval shape. H 6.2 cm. Depiction of the standing Holy Mother with the baby Jesus in her arms, flanked by St. Peter and St. Paul in Gothic architecture. Below, a seated figure with a scepter and a kneeling figure flanked by a coat of arms with a rising lion.
This type of seal is found on episcopal seals from the 16th century. However, based on the lettering and other characteristics, our example can be dated to the late 15th century. The geographical location remains difficult to determine. It may refer to the town of Pfaffenberg in the Black Forest.
300 (211) Without inscription
15th century. Bronze with brown patina and engraved. Round shape. Ø 4.5 cm. Depiction of a lion striding to the left with a decorative band around it.
Seal collections of this size are rare and significant in many ways. A comparable collection, “The Schøyen Collection of Medieval Seal Matrices,” was auctioned at Christie's in London in July 2019. Other important collections, such as “Corvisieri” in the Palazzo Venezia in Rome or the rich collection of seal matrices in the Museo del Bargello, are also worth mentioning here. The seal collection presented here is distinguished not only by the historical and artistic quality of its exhibits, but also by its excellent curation and inventory, which can probably be attributed to the previous owner and presumed collector, the eminent art historian Leo Planiscig.
Leo Planiscig was born in 1887 in Gorizia, Austria, located on the road between Vienna and Venice. Planiscig studied classical archaeology and art history in Vienna under Julius von Schlosser, with a particular interest in Italian Gothic and Renaissance sculptors, and earned his doctorate with a dissertation on “The History of Venetian Sculpture in the 14th Century.” In 1914, following the assassination of Archduke Franz Ferdinand of Austria-Este, whose advisor on art he was, Planiscig became curator of the Kunsthistorisches Museum in Vienna. Important catalogs of the “Estensische Kunstsammlung” (1919) and the “Bronzeplastiken – Statuetten, Reliefs, Geräte und Plaketten” (1924) were the fruits of this work. In 1933, Planiscig was appointed director of the Collection of Sculpture and Decorative Arts. In addition to numerous important publications on the subject of Renaissance sculpture, including a monograph on the important sculptor Andrea Riccio (1927), the energetic art historian also advised private sculpture collectors, as reflected in the catalog of the Vienna collection Camillo Castiglione “Collezione Camillo Castiglioni: Catalogo dei Bronzi” (1923) and the first part of the “Sammlung Dr. Albert Figdor” (1930). The series of illustrated monographs on the most important sculptors of the Renaissance, Donatello, Lorenzo Ghiberti, Lucca della Robbia, Verrocchio, Desiderio da Settignano, and Rosselino (between 1939 and 1942), aimed at a wider audience, increased Planiscig's fame beyond the specialist public. He wrote these monographs in Florence, where he moved in 1938 and lived until his death in 1952.
Sphragistics, the study of seals, had been practiced scientifically since the 17th century, which also sparked an interest in collecting seals. Over the centuries, this interest grew steadily and became associated with related disciplines such as heraldry and genealogy. Seals combine an image with information about the (religious or secular) owner and their social status, making them important witnesses not only to cultural history, but also to social and legal history. Seal impressions have different functions and are used as “undersignatures” on documents, but also as ‘seals’ to close rooms and containers, or as “seals” on objects to serve as proof of quality and origin, like a brand. An intact seal impression is essential as proof of integrity and unlawful opening. As the Latin word “sigillum,” translated as “small image/relief,” already suggests, a seal represents the owner of the stamp. This is not only in a visual sense with writing, images, and symbols, but also on a legal level, where it served as proof of authenticity, for example as a means of authentication on documents. A striking symbol is the “+” that appears at the beginning of some inscriptions, symbolizing the name of God, which should precede all Christian actions. This sign was introduced as early as the 10th century.
The artistic value of these seals is in no way inferior to their historical value. Many are characterized by particular precision in their execution, fine engraving, and classic relief, with designs that are both sculptural and lively. The shapes of the seals are as varied as their sizes, ranging from round, oval, and pointed oval to shield-shaped, some of which have not only a front side but also a counter seal.
Twenty-three of the most important seal matrices are presented below. The descriptions and classifications are based on the complete inventory of 312 seal matrices, presumably compiled by Leo Planiscig, which is available as a PDF and can be viewed in the online catalog. To view the complete dossier, please consult the lot description on our website.
1 (1) IOANES.VENETUS.CAR.SANCTI.ALIOR–M.ABBATIE.BALME.COMMDATARE
Ioanes venetus cardinalis sancti (?) abbatiae balme comm(en)datar(ius).
Italy, 15th century. Bronze engraved with traces of gilding. Pointed oval shape. H 7.7 cm. Depiction of St. Peter in Gothic architecture, below a coat of arms crowned by a cardinal's hat. Probably the coat of arms of Cardinal Giovanni Michiel (1446–1503).
Balma – reference to today's Baume, Arrondissement Saint-Claude, France. An old monastery founded around the middle of the 5th century by Saints Romanus and Lupicinus, who settled there with their sister, the “Mother of Virgins,” and a community of 100 nuns. The basilica, which housed the body of Saint Romanus, belonged to this monastery. After it was dissolved, it was converted into a priory of monks and given the name Saint-Romain-de-Roche, which is still the name of the current church. A convent of San Pietro was also located in Beaume-les-Moines, founded at the end of the 4th century and rebuilt in 926; it belongs to the diocese of Besançon. The coat of arms crowned by the cardinal's hat refers to Cardinal Giovanni Michiel. See a stone coat of arms relief in the Cardinal's Palace in Verona near Piazza Vescovado. (Catalogo Bene Culturali, Inv. No. 0500089410).
Giovanni Michiel was elevated to cardinal by his uncle, Pope Paul II, on November 21, 1468. In 1471, he became bishop of Verona. As cardinal, he participated in the conclave of 1484, which elected Pope Innocent VIII (see website Catholic Hierarchy, keyword “Giovanni Michiel”).
2 (217) S. IOHIS' DEI GRA–EPI–CI–VITAT. CA–ST(EL)LA
Sigillum Johannis Dei Gratia Episcopi Civitatis Castellanae.
Italy, late 14th/early 15th century. Dark patinated and engraved bronze. Pointed oval shape. H 5.4 cm. Depiction of the Holy Mother with Child, below two saints in Gothic architecture. Below, a bishop flanked by two coats of arms.
Giovanni degli Arcioni from Rome was appointed Bishop of Civita Castellana by Pope Boniface IX on April 30, 1395, and held this office until his death in 1406 (see website Diocesi di Civita Castellana). During his episcopate, the Chapel of St. Nicholas was founded by Pietro di Somma from Naples, then rector and governor of Civita Castellana. The bishopric of Civita Castellana had already incorporated that of Gallese since 1252; in 1437, that of Orte was also added. This type of seal was common in Italian and French church seals from the 14th to the late 15th century.
4 (57) PAPYR. DESILVES. EPS: MACER. ET. TOLEN
Papyrius De Silvestris Episcopus Maceratae et Tolentini.
Italy, 17th century. Finely engraved bronze. Round shape with a powerful piston handle on the back. Ø 4.9 cm. Depiction of a coat of arms cartouche with a scorpion emblem crowned by a prelate's hat, cordwork and two cherubs.
Papirio Silvestri (1592–1659), a nobleman from Cingoli, was an advisor to the Roman Inquisition, known for his piety, moral integrity, and scholarship. He was appointed Bishop of Macerata and Tolentino by Pope Urban VIII on July 14, 1642. Francesco Silvestri, bishop of Florence from 1323 to 1341, belonged to the same family. The bishopric of Tolentino was united with that of Macerata in 1586.
5 (146) +S.FRIS. IOHIS. DEI.G-RA. EPI. VULTURARIESI
Sigillum Fratris Iohannis Dei Gratia Episcopi Vulturariensis.
Italy, 14th century. Bronze with dark patina and engraved. Pointed oval shape with thickened and curved central ridge on the reverse and later engraved S. CLARE. H 6 cm. Depiction of the Holy Mother with Child, below a St. Bishop and John the Baptist in Gothic architecture, below a kneeling bishop.
Brother Giovanni di Montepulciano, a Tuscan from the Order of Hermits of St. Augustine, Doctor of Theology, was appointed Bishop of Vulturara by Pope Innocent VI on March 28, 1353, and remained so until 1359. The bishopric of Vulturara had been subordinate to Benevento since 969; In 1433, it was annexed to Montecorvino.
6 (224) +S FRIS NICOLAY EPIECLE YSERNIESIS
Sigillum Fratris Nicolay Episcopi Ecclesiae Yserniensis.
Italy, 13th century. Early bishop's seal. Bronze with dark patina. Pointed oval shape. H 4.6 cm. Depiction of a bishop standing frontally.
Three bishops with the name Nicholas from the bishopric of Isernia are known: one held office from 1258 to after 1263; a second from 1376 to 1379 and a third, a monk of the Benedictine order, was initially bishop of Gaeta, but was transferred back to Isernia on May 14, 1404, and died under Pope John XXIII. The type of seal with a bishop standing frontally wearing a mitre became increasingly rare from the second half of the 13th century. It is therefore likely that the first of the three bishops mentioned was the owner of the seal.
7 (13) +S VICARIATVS EPATVS CONCORDIEN
Sigillum Vicariatus Episcopatus Concordiensis.
Italy, 14th century. Engraved bronze and parcel-gilt. Round shape. Ø 4.6 cm. Depiction of St. Stephen on a diamond background.
Vicarial seal of the Diocese of Concordia. Concordia Sagittaria (now in the province of Venice) was a bishopric during the Lombard period, assigned to the patriarchal title of Aquileia and later Grado until the end of the 6th century. After that, it remained under the jurisdiction of Aquileia, with which it continued to be associated. The title was transferred to Portogruaro in 1585. The cathedral of Concordia is dedicated to St. Stephen.
9 (56) (AE)NEAS.TVRRIVS.I.V.D.CAN.ARRET.ET.PROTH.APLICVS.
Aeneas Turrius Iuris Utriusque Doctor Canonicus Arretinus et Prothonotarius Apostolicus.
Italy, 17th century. Engraved bronze. Round shape, baluster-shaped handle with counter seal. Front depicting a coat of arms cartouche with a tower on six honeycomb hills, crowned by a prelate's hat and flanked by cords and arabesques. Counter seal oval, same depiction. Front Ø 4.1 cm, reverse H 2.7 cm.
The owner of this seal was a high-ranking official and dignitary, as the numerous titles indicate. Aeneas Turrius held a doctorate, was a canon (member of the cathedral chapter) of the Arretinus (Italian: Arrezzo) cathedral chapter, and was an apostolic protonotary. The coat of arms with the tower is a reference to the surname Turrius.
27 (27) +S' ALESII*TRVLIE*PPOSITI*SCI*GEORGI*INPALLATIO
Sigillum Alesii Trulie Praepositi Sancti Georgii in Pallatio.
Italy, Milan, 14th century. Engraved bronze and parcel-gilt. Pointed oval shape. H 5.4 cm. Depiction of St. George on horseback slaying a dragon with his lance, below a coat of arms divided into two parts with an eagle and stars.
The church of San Giorgio al Palazzo in Via Torino in Milan is one of the oldest churches in the city. The origins of the church date back to the 8th century, founded by St. Natale, Bishop of Milan, in 746–747; the present church was consecrated on January 15, 1129. 14th century. The owner of the seal, Provost ‘Alesius Truli’, has not yet been identified.
48 (201) +S SANCTE MARIE SANCTIQVE THEOBALDI METENSIS
Sigillum Sancte Marie Sanctique Theobaldi Metensis.
France, Metz, second half of the 13th century. Engraved bronze with dark patina. Pointed oval shape. H 6.6 cm. Depiction of the enthroned Mother of God with the infant Jesus on her lap, flanked by two angels, below which is a kneeling figure in prayer.
Metensis refers to Metz, suffragan bishopric initially of Trier, later of Besançon. The Virgin also appears on the seal of the cathedral chapter of Metz (cf. Roman, Manuel de sigillographie française, Paris 1912, p. 172). Another example is known from the Abbé Jobal collection (Sotheby's auction, London, July 6, 2021, lot 20). Our seal can probably be traced back to the churches of Sainte-Marie (destroyed in 1833) and Saint-Thiébault (destroyed before 1740), which no longer exist.
51 (206) +S CAPITVLI SCI GRISOGONII
Sigillum Capituli Sancti Grisogoni.
Probably Croatia, early 14th century. Engraved bronze. Round shape. Ø 5.3 cm. Depiction of St. James and St. Grisogonus facing each other, below in a broken line inscribed S ANASTASIA and the kneeling, praying St. Anastasia. Between the two saints are three stars.
The depiction of St. Anastasia suggests that this is the Church of St. Grisogono in Zara (today Zadar, Croatia), where this saint is venerated as the patron saint of the cathedral. However, it cannot be ruled out that it refers to the Roman church of St. Grisogonus, as according to legend, the cult of this saint originated in Rome in the 6th century and is linked to the martyrdom of four saints, including Anastasia. This seal is particularly valuable due to its fine workmanship.
53 (6) +S. PRIS.
BLASI(AB) BIS–MON–SCE. TRINITATIS. DE. FLOR(EN)
Sigillum Prioris Blasii Abbatis Monasterii Sanctae Trinitatis De Florentia.
Italy, Florence, late 15th century/early 16th century. Bronze with dark patina, worked in relief. Pointed oval shape. H 6 cm. Depiction of the Holy Trinity in frontal view. God the Father enthroned, in front of him Jesus on the cross and the dove, crowned with a mitre. Below, a kneeling monk.
Don Biagio Milanesi, General of the Vallombrosani Order, biographer, died in 1505. Author of a memoir on various works and the history of his order. The manuscript is said to be in the archives of Vallombrosa. A portrait of him, by Pietro Perugino, is in the Uffizi Gallery.
56 (60) S.MARTINI (x) ABBATIS.SCTI.PETRI.A GERIN
Sigillum Abbatis Martini Sancti Petri Agerinensis.
Spain, Catalonia, 15th century. Bronze, partly engraved, indistinct. Pointed oval shape with curved handle on the back. Largest seal in the collection. H 9.2 cm. Depiction of St. Peter standing in Gothic architecture, below a coat of arms crowned with a miter.
San Pedro d'Àger (Sant Pere d'Àger), a Benedictine monastery in the mountains of Urgell (Lleida), was founded in the 11th century by the Viscount of Castellbò, Arnald Mir de Tost, who took the territory of this principality from the Arabs. However, there is no abbot named Martin in the list of known abbots of this monastery. A convent also called Aggerinensis existed in Enger near Erfurt in Saxony, Diocese of Mainz, founded in 990; however, it is more likely that our seal belongs to the former monastery.
102 (210) + VRBIS ME DIGNV ASISII NOSCI(TE) SIGNV
Urbis Me Dignum Asisii Noscite Signum.
Italy, Assisi, 13th century. Old city seal of Assisi. Engraved bronze. Pointed oval shape. H 5.8 cm. Depiction of a rising lion.
This is the old coat of arms of Assisi before it was divided by a Latin cross in the first field. The inscription is a so-called “versus leoninus,” a verse in which the last syllable of the second half of the verse rhymes with that of the first. Many Italian cities had their own “leoninus” as a historical, political, religious, or laudatory city motto.
120 (2) +S.ANTONII.DE.PRIIOLIS.I.PERIALIS.COMITIS.PALATINI.P.V.
Sigillum Antonii De Priiolis Imperialis Comitis Palatini Procuratoris Veneti.
Italy, Venice, 17th century. Bronze with brown patina and engraved. Round shape with handle on the back designed as a dolphin. Ø 4.2 cm. Depiction of a coat of arms with a decorative griffin's head.
Antonio Priuli (1548–1623) came from a family documented in Venice since 1297, which amassed a large fortune through land ownership and trade. From 1603, he held the second highest office in the Republic of Venice as Procurator of San Marco, and then even ruled as Doge of Venice from April 5, 1618, until his death on August 12, 1623. Prior to this, Antonio Priuli played a key role in the negotiations with the Habsburgs to end the Uskok War, which was sealed with Archduke Ferdinand in the Treaty of Madrid in 1617. This seal matrix dates back to the time when Priuli was still procurator of San Marco. The Priuli family coat of arms is divided: red at the top, gold at the bottom with blue stripes.
121 (10) R D P FRANCISCI.COMITIS.PALATINI.VERFIGURA.PORCELINO.NOBILI.D.GENTE.CREATI
Sigillum Francisci Comitis Palatini Veronensis Figura Porcelinorum Nobili De Gente Creati.
Italy, 17th century. Engraved bronze and parcel-gilt. Round shape with opening at the top, handle on the back in the shape of a calyx. Ø 6.3 cm. Detailed depiction with three coats of arms, the middle one with a piglet surmounted by a decorative ornament in the shape of a leopard (?). Flanked by a papal coat of arms with crossed keys crowned by the papal tiara and a coat of arms with a double-headed eagle with a secular crown. The inscription is in a curved banner.
The lower coat of arms with the piglet probably refers to a certain Pietro Francesco Porcelli, who was known in Fiesole around 1650. (See stone relief in Fiesole with identical coat of arms, Catalogo generale dei Beni Culturali Inv. No. 0900007441).
123 (8) +S.NICHOLAI.BADU(AR)IO.POT.P(AR)ENCII
Sigillum Nicholai Baduario Potestatis Parencii.
Italy, probably Venice, 14th century. Bronze with brown patina and engraved. Round shape. Ø 4.7 cm. Depiction of the winged lion of St. Mark with an open holy book.
Nicolò Badoero was mayor of Parenzo. A Nicoleto Badoero was mint master in Venice in 1362 under Doge Lorenzo Celsi.
145 (3) +S FRANCISCI PENPO
Sigillum Francisci Bembo.
Italy, Venice, 15th century. Bronze with brown patina and engraved. Round shape. Ø 4.5 cm. Depiction of the winged lion of St. Mark with an open holy book, below which is the coat of arms of the Bembo family.
One of the important Venetian families. Their coat of arms shows a golden slanted triangle on a blue background, accompanied by three golden roses. Francesco di Giovanni Bembo was a central political figure in Venetian history: in 1397 he was commander against Gian Galeazzo Visconti, Duke of Milan, in 1400 Podestà of Padua, in 1405 fleet commissioner in the Gulf, in 1411 captain in Padua, in 1422 he was commissioner in Verona, in 1425 governor of Friuli, in 1426 commander-in-chief on the Po and participant in the naval battle of Ancona against Milan. From 1427 onwards, all traces of him are lost (cf. Silvano Borsari: “Francesco Bembo,” in Dizionario biografico degli italiani, vol. 8, Rome, Istituto dell'Enciclopedia Italiana, 1966).
173 (9) +SIGILVM.TOME.DE.MOLINO
Sigillum Tome de Molino.
Italy, Venice, second half of the 14th century. Bronze with brown patina and engraved. Round shape. Ø 4.4 cm. Depiction of the winged lion of St. Mark with an open holy book, below which is the coat of arms of the Molin family.
This was also an important Venetian patrician family, which produced, for example, Francesco Molin (1575–1655), Doge of Venice.
184 (7) +SIGILVM.IACOBI.GEORGIO
Sigillum Iacobi Georgio
Italy, Venice, 2nd half of the 14th century. Polished and engraved bronze. Round shape. Ø 4.2 cm. Depiction of the winged lion of St. Mark with an open holy book, below which is a coat of arms, probably that of the Zorzi family.
The Zorzi family was a Venetian family of doges. The coat of arms is silver with a red bar. Marino Zorzi was the 50th Doge of Venice from 1311 to 1312. There is no direct reference to a Iacopo, but he probably belonged to the family in the second half of the 14th century. The origins of the family date back to the founding of the city of Venice. Many of its members held high offices.
204 (21) +SIGILVM ANDREA LAVREDANO
Sigillum Andrea Loredano.
Italy, Venice, 15th century. Bronze with brown patina and engraved. Round shape. Ø 4.5 cm. Depiction of the winged, haloed lion of St. Mark with an open holy book, below which is the coat of arms of the Loredan family.
Another important Venetian family. It is not clear which member of the Loredan family is meant. The accompanying dossier cites Andrea Loredan, who apparently fought against the Turkish army in 1498. It is likely that this Andrea Loredan can be recognized in the bust of a young Venetian nobleman in the Museo Correr, attributed to Andrea Riccio. Whether our seal is that of the famous Andrea Loredan (1440–1513), the art collector, remains to be seen.
263 (262) +S.DNI.TOMASSI.DE.TODENIS.DE.ANCONA
Sigillum Domini Tomassi De Todenis De Ancona.
Italy, Florence, 14th century. Engraved bronze and parcel-gilt. Round shape. Ø 4 cm. Depiction of a six-arched cartouche with a coat of arms crowned by a hybrid creature.
Tommaso Todini di Ancona was Podestà of Florence for a short time in the first half of 1364.
273 (202) S VINCENCII.IOANNE.DE.VIPP-HEN-BERG.DNI.PP.PRIS
Sigillum Vincencii Ioanne De Vipphenberg Domini Papae Procuratoris.
Probably Germany, late 15th century. Dark patinated and engraved bronze. Pointed oval shape. H 6.2 cm. Depiction of the standing Holy Mother with the baby Jesus in her arms, flanked by St. Peter and St. Paul in Gothic architecture. Below, a seated figure with a scepter and a kneeling figure flanked by a coat of arms with a rising lion.
This type of seal is found on episcopal seals from the 16th century. However, based on the lettering and other characteristics, our example can be dated to the late 15th century. The geographical location remains difficult to determine. It may refer to the town of Pfaffenberg in the Black Forest.
300 (211) Without inscription
15th century. Bronze with brown patina and engraved. Round shape. Ø 4.5 cm. Depiction of a lion striding to the left with a decorative band around it.
CHF 350 000 / 700 000 | (€ 360 820 / 721 650)
Sold for CHF 218 501 (including buyer’s premium)
All information is subject to change.