Philipp Von Stosch (1691-1757) and the Forgery of Ancient Engraved Gems
DOI:
https://doi.org/10.12797//SAAC.29.2025.29.09Keywords:
ancient engraved gems, fake antiquities, forgery, glass gems, glass pastes, Johann Joachim Winckelmann, Lorenz Natter, Philipp von Stosch, proto-archaeology, signatures on gemsAbstract
Philipp von Stosch (1691-1757) was one of the most prominent connoisseurs and collectors of ancient engraved gems. He assembled an extensive collection of approximately 3,500 pieces and published the pioneering book Gemmae antiquae caelatae in 1724. Despite this, Stosch has frequently been accused of practices that would tarnish his image as an exceptional collector and learned scholar, such as supporting the production of fake intaglios and glass gems. These claims have continued to circulate to this day, and this article examines and evaluates evidence for and against his possible conscious/direct and unconscious/indirect involvment in the creation of counterfeit gems in the eighteenth century. The discovery of Stosch’s substantial archive of gem drawings, a detailed analysis of his collecting habits, and a close examination of his collabortaions with contemporary gem engravers, among others, allow us to conclude that his activities were often misunderstood. His primary goal was to study and comprehend the techniques and styles of engraving employed by ancient artists.
References
Arnold-Rutkiewicz B. 2005. O kolekcji odlewów gemm w Zamku Królewskim w Warszawie. Kronika Zamkowa 1-2/49-50, 45-65.
Barthélemy J. J. 1802 [1801]. Voyage en Italie de M. l’Abbé Barthelemy. Paris.
Boardman J., Kagan J. and Wagner C. 2017. Natter’s Museum Britannicum: British Gem Collections and Collectors of the Mid-Eighteenth Century. Oxford.
Boardman J., Scarisbrick D., Wagner C. and Zwierlein-Diehl E. 2009. The Marlborough Gems Formerly at Blenheim Palace, Oxfordshire. Oxford.
Borbein A. H., Kunze M. and Rügler A. 2013. Johann Joachim Winckelmann: Description des Pierres gravées du feu Baron de Stosch. Mainz am Rhein.
Borbein A. H., Kunze M. and Rügler A. 2019. Description des Pierres gravées du feu Baron de Stosch. Kommentar. Volumes 1-2. Mainz am Rhein.
Borchia M. 2019. Le reti della diplomazia: arte, antiquaria e politica nella corrispondenza di Alessandro Albani. Trento.
Borroni Salvadori F. 1978. Tra la fine del Granducato e le reggenza: Filippo Stosch a Firenze. AnnPisa 8/2, 565-614.
Bracci D. A. 1784-1786. Memorie degli antichi incisori che scolpirono i loro nomi in gemme e cammei con molti monumenti inediti di antichità statue bassorilievi gemme opera di Domenico Augusto Bracci della Società reale antiquaria di Londra. Volumes 1-2. Florence.
Breckenridge J. D. 1979. Three Portrait Gems. Gesta 18/1, 7-18.
De Brosses C. 1861 [1768]. Le président de Brosses en Italie. Lettres familières écrits en Italie en 1739 et 1740. Paris.
Brunn H. 1889. Geschichte der griechischen Künstler. Stuttgart. https://doi.org/10.34726/dig.17678013.
Campbell I. and Nesselrath A. 2006. The Codex Stosch: Surveys of Ancient Buildings by Giovanni Battista da Sangallo. Pegasus. Berliner Beiträge zum Nachleben der Antike 8, 9-90.
Claridge A. and Dodero E. 2022. The Paper Museum of Cassiano dal Pozzo. Series A: Antiquities and Architecture. Volume 3.1-4: Sarcophagi and Other Reliefs. Turnhut.
Coen P. and Fidanza G. B. (eds) 2011. Le pietre rivelate: Lo “Studio di molte pietre” di Pier Leone Ghezzi, Manoscritto 322 della Biblioteca Universitaria Alessandrina. Rome.
Cremer M. 1997. Eine Unbekannte Arbeit des Gemmenschneiders Lorenz Natter in Köln. Wallraf-Richartz-Jahrbuch 58, 143-152.
Dalton O. M. 1915. Catalogue of the Engraved Gems of the Post-Classical Periods in the Department of British and Mediaeval Antiquities and Ethnography in the British Museum. London.
Dorati da Empoli M. C. 2008. Pier Leone Ghezzi. Un protagonista del Settecento romano. Rome.
Eggers H. 1926. Philipp von Stosch und die für seinen Atlas beschäftigen Künstler. In J. Bick (ed.), Festschrift der Nationalbibliothek in Wien, herausgegeben zur Feier des 200-Jahrigen Bestehens des Gebäudes, 221-234. Vienna.
Fileti Mazza M. 1996. Note su Domenico Augusto Bracci “antiquariolo” a Roma dal 1747 al 1769. In F. Caglioti, M. Fileti Mazza and U. Parrini (eds), Ad Alessandro Conti (1946-1994), 221-246. Pisa.
Furtwängler A. 1896. Beschreibung der Geschnittenen Steine im Antiquarium. Berlin.
Furtwängler A. 1900. Die antiken Gemmen. Geschichte der Steinschneidekunst im klassischen Altertum. Volumes 1-3. Berlin–Lipsk.
Gere Ch., Rudoe J., Tait H. and Wilson T. 1984. The Art of the Jeweller: A Catalogue of the Hull Grundy Gift to the British Museum. London.
Gołyźniak P. 2020. Engraved Gems and Propaganda in the Roman Republic and under Augustus. Oxford.
Gołyźniak P. 2023. Hieronymus Odam, Engraved Gems, and Antiquarianism. OpAthRom 16, 183-224. https://doi.org/10.30549/opathrom-16-09.
Gołyźniak P., Hansson U. R. and Rambach H. J. 2025. Philipp von Stosch: Collecting, Drawing, Studying and Publishing Engraved Gems. Leiden–Boston.
Gori A. F. 1731-1732. Museum Florentinum: exhibens insigniora vetustatis monumenta quae Florentiae sunt. Volume 1. Florence.
Gori A. F. 1742. Difesa dell’alfabeto degli antichi Toscani pubblicato nel 1737 dall’autore del Museo Etrusco: disapprovato dall’illustrissimo… Scipione Maffei nel tomo 5o delle sue Osservazioni letterarie date in luce in Verona. Florence.
Gori A.-F. and Zanetti G. F. 1750. Le gemme antiche di Anton-Maria Zanetti. Venice.
Gross H. 1990. Rome in the Age of Enlightenment: The Post-Tridentine Syndrome and the Ancien Regime. Cambridge.
Guerrieri Borsoi M. B. 2009. Il cavaliere Girolamo Odam: erudizione e disegni di un arcade romano. Studiolo 7/1, 161-180. https://doi.org/10.3406/studi.2009.1237.
Guerrini L. 1971. Marmi antichi nei disegni di Pier Leone Ghezzi. Vatican City.
Hansson U. R. 2014. “Ma passion… ma folie dominante”: Stosch, Winckelmann, and the Allure of the Engraved Gems of the Ancients. MDCCC 1800 3, 13-33.
Hansson U. R. 2020. “Uno de’ più rimarcabili intagli che sinora si è visto”: The Engraved Gems of the Ancient Etruscans, from Stosch to Furtwängler and beyond. In K. Mustakallio, M. Silver and S. Örmä (eds), Mehr Licht, More Light, Più Luce. Studia in honorem Arja Karivieri, 57-72. Turku.
Hansson U. R. 2021a. “An Oracle for Collectors”: Philipp von Stosch and the Collecting and Dealing in Antiquities in Early Eighteenth-Century Rome and Florence. In A. Turpin and S. Bracken (eds), Art Markets, Agents and Collectors: Collecting Strategies in Europe and the United States, 1550-1950, 113-128. New York.
Hansson U. R. 2021b. Philipp von Stosch. In M. Magrini (ed.), Anton Maria Zanetti di Girolamo. Il carteggio, 59-69. Venezia.
Haskell F. and Penny N. 1981. Taste and the Antique. New Heaven.
Henig M., Scarisbrick D. and Whiting M. 1994. Classical Gems: Ancient and Modern Intaglios and Cameos in the Fitzwilliam Museum, Cambridge. Cambridge.
Heringa J. 1976. Die Genese von Gemmae Antiquae Caelatae. BABESCH 51, 75-91.
Heringa J. 1981. Philipp von Stosch als Vermittler bei Kunstankäufen François Fagels. Nederlands Kunsthistorisch Jaarboek 32/1, 55-110.
Jenkins I. and Sloan K. 1996. Vases & Volcanoes: Sir William Hamilton and His Collection. London.
Justi C. 1871. Antiquarische Briefe des Baron Philipp von Stosch. Marburg.
Justi C. 1872. Philipp von Stosch und seine Zeit. Zeitschrift für bildende Kunst 7, 294-308, 333-346.
Justi C. 1956. Winckelmann und seine Zeitgenossen. Volumes 1-3. Cologne.
Kagan J. 1985. Philipp von Stosch in Porträts auf geschnittenen Steinen aus den Sammlungen der Leningrader Ermitage und der Berliner Museen und einige Fragen der Ikonographie. Forschungen und Berichte 25, 9-15. https://doi.org/10.2307/3880956.
Kagan J. and Neverov O. 2000. Splendeurs des collections de Catherine II de Russie: Le cabinet de pierres gravées du Duc d’Orléans. Paris.
Kanzler P. 1900. Un congresso di archeologi nell’anno MDCXXVIII: Caricatura di Pier Leone Ghezzi pubblicata in occasione del II Congresso di Archeologia Cristiana. Rome.
Köhler H. K. E. 1851. Abhandlung über die geschnittenen Steine mit den Namen der Künstler. St. Petersburg.
Lang J. 2007. Netzwerke von Gelehrten. Eine Skizze antiquarischer Interaktion im 18. Jh. Am Beispiel des Philipp von Stosch (1691-1757). In J. Broch, M. Rasiller and D. Scholl (eds), Netzwerke der Moderne. Erkundungen und Strategien, 203-226. Würzburg.
Lang J. 2012. Mit Wissen geschmückt? Zur bildlichen Rezeption griechischer Dichter und Denker in der römischen Lebenswelt. Wiesbaden.
Lewis L. 1961. Connoisseurs and Secret Agents in Eighteenth Century Rome. London.
Lippert Ph. D. 1755. Dactyliotheca Universalis signorum exemplis nitidis redditae. Volume 1, Part 2. Leipzig.
Maaskant-Kleibrink M. 1978. Catalogue of the Engraved Gems in the Royal Coin Cabinet, The Hague: The Greek, Etruscan and Roman Collections. The Hague–Wiesbaden.
MacKay Quynn D. 1941. Philipp von Stosch: Collector, Bibliophile, Spy, Thief (1611[sic]-1757). The Catholic Historical Review 27/3, 332-344.
Mannoni C. 2021. Protecting Antiquities in Early Modern Rome: The Papal Edicts as Paradigms for the Heritage Safeguard in Europe. Open Research Europe 1/48. https://doi.org/10.12688/openreseurope.13539.1.
Natter L. 1754. Traité de la méthode antique de graver en pierres fines, comparée avec la méthode moderne, et expliqué en diverses planches. London.
Nau E. 1966. Lorenz Natter 1705-1763. Gemmenschneider und Medailleur. Biberach an der Riss.
Neverov O. 1976. Antique Intaglios in the Hermitage Collection. Leningrad.
Osborne D. 1912. Engraved Gems, Signets, Talismans and Ornamental Intaglios: Ancient and Modern. New York.
Pietrzak A. 2018. Fameux Amateur Baron Philipp von Stosch and the Unknown Provenance of Lost Old Masters’ Drawings from the Collection of Count Stanisław Kostka Potocki. Polish Libraries 6, 115-163.
Platz-Horster G. 1993. Der “Ölgießer” des Gnaios Granat in der Walters Art Gallery. JWalt 51, 11-21.
Rambach H. J. 2025. Lorenz Natter (1705-1763). `Having engraved myself at London on a small Diamond for Lord James Cavendisch’. British Art Journal: Online 25/2. https://britishartjournal.co.uk/lorenz-natter-1705-1763/?fbclid=IwZXh0bgNhZW0CMTAAYnJpZBExRjlSTk50Q0lLcmROcXYzOXNydGMGYXBwX2lkEDIyMjAzOTE3ODgyMDA4OTIAAR5d0qjx2LXuHfqDvjqW97cImtFhrcuvRENRhMf4BoHhpWF33_blmXPGu4bJAQ_aem_guCoeaQz6XG0EFhjuval9Q (accessed 29.12.2025).
Raspe R. E. and Tassie J. 1791. A Descriptive Catalogue of a General Collection of Ancient and Modern Engraved Gems, Cameos as Well as Intaglios, Taken from the Most Celebrated Cabinets in Europe; and Cast in Coloured Pastes, White Enamel, and Sulphur. London.
Reinach S. 1895. Pierres gravées des collections Marlborough et d’Orléans: des recueils d’Eckhel, Gori, Lévesque de Gravelle, Mariette, Millin, Stosch, réunies et rééditées avec un texte nouveau. Paris.
Ridley R. T. 2017. The Prince of Antiquarians: Francesco de Ficoroni. Rome.
Rudoe J. 2003. Engraved Gems: The Lost Art of Antiquity. In K. Sloan and A. Burnett (eds), Enlightenment: Discovering the World in the Eighteenth Century, 132-138. London.
Spier J. and Kagan J. H. 2000. Sir Charles Frederick and the Forgery of Ancient Coins in Eighteenth-Century Rome. Journal of the History of Collections 12, 35-90.
Stosch von P. 1724. Gemmae antiquae caelatae, scalptorum nominibus insignitae. Ad ipsas gemmas, aut earum ectypos delineatae & aeri incisae, per Bernardum Picart. Ex praecipuis Europae museis selegit & commentariis illustravit Philippus de Stosch / Pierres antiques gravées, sur les quelles les graveurs ont mis leurs noms. Dessinées et gravées en cuivre sur les originaux ou d’après les empreintes par Bernard Picart. Tirées des principaux cabinets de l’Europe, expliquées par M. Philippe de Stosch. Amsterdam.
Stosch von P. 1754. Geschichte des Freiherrn Baron Philipp von Stosch, Königlich Großbritannischen Ministers und Königl. Polnischen Raths zu Florenz. Das Neue Gelehrten Europa. Fünfter Theil, 1-54. https://doi.org/10.11588/diglit.22554.
Stosch von P. 1757. Fortsetzung der Geschichte des Freiherrn Baron Philipp von Stosch zu Florenz. Das Neue Gelehrten Europa. Zehntel Theil, 257-301. https://doi.org/10.11588/diglit.22560.
Tassinari G. 2010a. Antonio Pichler e gli incisori di pietre dure a Napoli: ipotesi e suggestioni. Napoli Nobilissima 67, 23-52.
Tassinari G. 2010b. Lettere dell’incisore di pietre dure Francesco Maria Gaetano Ghinghi (1689-1762) ad Anton Francesco Gori. LANX 7, 61-149.
Tassinari G. 2012. Giovanni Pichler. Raccolta di impronte di intagli e di cammei del Gabinetto Numismatico e Medagliere delle Raccolte Artistiche del Castello Sforzesco di Milano. Milan.
Tassinari G. 2018. L’Iliade, un intaglio Marlborough e una gemma al Museo di Como. Rivista Archeologica dell’antica provincia e diocesi di Como 200, 28-50.
Tassinari G. 2019a. Winckelmann e la glittica del suo tempo. In E. Agazzi and F. Slavazzi (eds), Winckelmann, l’antichità classica e la Lombardia, 223-250. Rome.
Tassinari G. 2019b. Giuseppe Torricelli, un incisore di pietre dure negletto. In A. M. Massinelli (ed.), De lapidibus. Il trattato delle pietre di Giuseppe Antonio Torricelli, 35-49. Livorno.
Tassinari G. 2022. Collezionisti, committenti e incisori di pietre dure a Venezia nel Settecento. In A. Gariboldi (ed.), Collezionisti e collezioni di antichità e di numismatica a Venezia nel Settecento. Atti del convegno del 6-7 dicembre 2019, 99-211. Trieste.
Toynbee P. J. 1903. The Letters of Horace Walpole, Fourth Earl of Orford. Volume 1: 1732-1743. Oxford.
Trube C. and Trube G. W. 1999. “Creduto antico” (für antik gehalten). Zu Giovanni Pichlers Reifenspieler-Intaglio im Cabinet des Médailles in Paris. Antike Welt 30/6, 565-568.
Trube C. and Trube G. W. 2001. “Marcus Iunius Brutus” oder “Quintus Pompeius Rufus”? Antike Welt 32/6, 615-620.
Ubaldelli M.-L. 2001. Corpus Gemmarum: Dactyliotheca Capponiana. Rome.
Vettori F. 1739. Dissertatio glyptographica, sive Gemmae duae vetustissimae emblematibus et graeco artificis nomine insignitae quae exstant Romae in Museo Victorio explicatae, et illustratae. Accedunt nonnulla veteris elegantiae, & eruditionis inedita Monimenta. Florence.
Vollenweider M.-L. 1966. Die Steinschneidekunst und ihre Künstler in spätrepublikanischer und augusteischer Zeit. Baden-Baden.
Walpole H. 1954. The Yale Edition of Horace Walpole’s Correspondence. Volume 17: With Sir Horace Mann. W. S. Lewis (ed.). New Haven.
Walpole H. 1960. The Yale Edition of Horace Walpole’s Correspondence. Volume 20: With Sir Horace Mann. W. S. Lewis (ed.). New Haven.
Walters H. B. 1926. Catalogue of Engraved Gems & Cameos, Greek, Etruscan & Roman in the British Museum. London.
Winckelmann J. J. 1760. Description des pierres gravées du feu Baron de Stosch. Florence.
Winckelmann J. J. 1952. Briefe. In Verbindung mit Hans Diepolder. Herausgegeben von Walther Rehm. Band 1: 1742-1759. Berlin.
Zadoks-Josephus Jitta A. N. 1952. La Collection Hemsterhuis au Cabinet Royal des Médailles à la Haye. The Hague.
Zazoff P. and Zazoff H. 1983. Gemmensammler und Gemmenforscher, von einer noblen Passion zur Wissenschaft. Munich.
Zwierlein-Diehl E. 1986. Glaspasten im Martin-von-Wagner-Museum der Universität Würzburg. Band 1: Abdrücke von antiken und ausgewählten nachantiken Intagli und Kameen. Munich.
Zwierlein-Diehl E. 2007. Antike Gemmen und ihr Nachleben. Berlin–New York.
Downloads
Published
Issue
Section
License

This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
