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Magnificent gold and enamel snuffbox by Freres Jordan. Hanau, circa 1800
Magnificent gold and enamel snuffbox by Freres Jordan. Hanau, circa 1800
This unique snuffbox, created in the workshop of the Jordan brothers in Hanau around 1800, is an outstanding example of German decorative art from the turn of the 18th and 19th centuries. Made of 14-karat gold, it has a rectangular shape, decorated with magnificent enamel decor. Of particular artistic value is the lid of the snuffbox, made using the technique of painted enamel en pleine. It reproduces a scene based on the painting by the English artist John Russell (1745-1806) Tom and his Pigeons (1792). This image symbolizes kindness, showing a child saving pigeons. The central drawing on the lid is surrounded by an ornament of green ivy, inlaid inside gold stripes framed with white enamel. The sides and central parts of the snuff box are decorated with white enamel inserts with gold bands, on the sides of which there are also elements depicting green ivy. The floral ornament, executed with a burin in gold and two-tone enamel, creates a harmonious contrast with the gold body of the product, emphasizing its sophistication and refinement. On the inside of the base and lid of the snuff box you can see the maker`s marks: the initials FJ with a crown, the hallmark of the city of Vienna, an intertwined S, a sunbeam and a monogram. There is also an inventory number 5340 on the flange. The snuff box is attributed to the Jordan brothers from Hanau, craftsmen who flourished in the Rhineland, especially in Hanau and Berlin, in the late 18th - early 19th centuries. The dimensions of the product are 7.4 x 6.9 x 2 cm, the total weight is 74 g. Literature: see cat. No. 44 in Charles Truman, The Gilbert Gold Box Collection, Vol. 2, and J. Clark, Swiss Snuff Boxes 1785–1835, in H. Williams, Enamels of the World 1700–2000: The Khalili Collection, London, 2009.
Begins 30.11.2024
Painting. Tax collectors or Publicans. Follower of Marinus van Reymerswaele. Turn of the 17th18th century.
Painting. Tax collectors or Publicans. Follower of Marinus van Reymerswaele. Turn of the 17th18th century.
The painting, executed in the manner of Marinus van Reymerswaele, depicts two tax collectors with grotesque faces, sitting at a table in clothes typical of the 15th century. The character closest to the viewer, dressed in a black turban and pince-nez, with a concentrated expression on his face, writes text in a book reminding tax evaders of their obligations before the law. The second collector, in a dark blue turban and red caftan, looking meaningfully at the viewer, points his hand to this text, clutching an empty coin purse in the other hand, emphasizing the need to replenish the treasury. The collectors` clothes stand out against the background of the interior, indicating the status and class of the characters . The faces depicted by the author emphasize the satirical meaning of the picture, hinting at human greed and stinginess. In this plot, the master created a grandiose satirical image of predatory financial capitalism, which arose in the light of the economic and cultural boom in Antwerp in the 16th century, which actually turned the once small Flemish city into the financial center of the world. According to experts, the recognizable scene of two misers was borrowed and recreated in many variations by the artist Marinus van Reimerswaele from the great Flemish author Quentin Massys. This plot was one of the most popular and recognizable in Europe during the period of the 16th - 17th centuries. Similar works adorned royal collections as well as collections of aristocrats and nobility of the time. Nowadays, Marinus van Reimerswaele`s works on the theme of Tax Collectors are part of the exhibition of museums around the world, including the Louvre in Paris, the National Gallery in London and the Prado Museum in Madrid. The recognizable plot is located in Windsor Castle, in the king’s personal chambers, as well as in the Royal Collection of Liechtenstein. One of the paintings of Tax Collector attributed to Marinus van Reimerswaal is included in the collection of the State Hermitage Museum in St. Petersburg, acquired from the heirs of the first Prime Minister of England Sir Robert Walpole at the end of the 18th century by the Russian Empress Catherine II. Follower of Marinus van Reymerswaele (Marinus van Reymerswaele) 1493-1567 Period: Turn of the 17th-18th century. Material: Canvas, oil, duplicated canvas. Canvas dimensions: 117 x 97 cm.
Begins 30.11.2024
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