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Lot Essay
This charming snuff-box is undoubtedly intended for a lady considering not only its size but also the scenes enamelled on all panels, which illustrate maternal and filial love.
The cover depicts Le Bouquet after Charles Eisen (1720-1778) circa 1755 and engraved by René Gaillard (c.1719-1790), whilst the underside shows La Mère laborieuse after Jean Siméon Chardin (1699-1779) circa 1740 and engraved by Bernard Lepicié (1698-1755). Both paintings were celebrated by the French court and although Le Bouquet is no longer located, the first version of La Mère laborieuse was in the collection of King Louis XV, now in the Louvre Museum, Paris, INV 3201; MR 1324.
Indeed, both painters were favourites of the King and his entourage, notably Madame de Pompadour: Eisen was a royal painter and draughtsman to King Louis XV while Chardin was granted a royal pension by Louis XV and accommodation in the Louvre Palace. The use of such popular and contemporary images suggests this snuff-box was a commission, possibly from the royal court, where the imagery would have been familiar to the patron and much admired.
This colourful snuff-box predates lot 33 and shows a very different style of enamelling. Unfortunately unsigned as was often the case, the colour palette is rich and the scenes more jovial than the original paintings. In the case of the scene after Chardin where both figures smile, seemingly finding pleasure in each other's company as they perform their task, in Chardin's original painting both figures work in modest silence, a dutiful mother teaching the ‘domestic arts’ to her obedient child.
Once again, much like lot 33, Formey opts for a lighter and happier design while producing a fashionable box to be seen and admired. For a biography of Jean Formey see lot 33.
The cover depicts Le Bouquet after Charles Eisen (1720-1778) circa 1755 and engraved by René Gaillard (c.1719-1790), whilst the underside shows La Mère laborieuse after Jean Siméon Chardin (1699-1779) circa 1740 and engraved by Bernard Lepicié (1698-1755). Both paintings were celebrated by the French court and although Le Bouquet is no longer located, the first version of La Mère laborieuse was in the collection of King Louis XV, now in the Louvre Museum, Paris, INV 3201; MR 1324.
Indeed, both painters were favourites of the King and his entourage, notably Madame de Pompadour: Eisen was a royal painter and draughtsman to King Louis XV while Chardin was granted a royal pension by Louis XV and accommodation in the Louvre Palace. The use of such popular and contemporary images suggests this snuff-box was a commission, possibly from the royal court, where the imagery would have been familiar to the patron and much admired.
This colourful snuff-box predates lot 33 and shows a very different style of enamelling. Unfortunately unsigned as was often the case, the colour palette is rich and the scenes more jovial than the original paintings. In the case of the scene after Chardin where both figures smile, seemingly finding pleasure in each other's company as they perform their task, in Chardin's original painting both figures work in modest silence, a dutiful mother teaching the ‘domestic arts’ to her obedient child.
Once again, much like lot 33, Formey opts for a lighter and happier design while producing a fashionable box to be seen and admired. For a biography of Jean Formey see lot 33.