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Lot Essay
This seemingly simple yet very modern looking box is mounted with Japanese lacquer decorated in the shippo-tsunagi pattern, a design of interlocking circles symbolising the continuous connection of the "Seven Treasures" of Buddhist tradition. Originating in ancient China, the motif was introduced to Japan and became firmly established during the Heian period (794-1185), when it gained particular favour at the imperial court. It appeared on textiles, court costume and lacquerware, becoming one of the most enduring motifs of Japanese decorative art.
By the 18th century, Japan's isolationist sakoku policy restricted European trade to the Dutch East India Company (VOC), which operated through the artificial island of Dejima in Nagasaki Bay. Following the VOC's decision in 1693 to cease the importation of large Japanese lacquer furnishings, owing to rising production costs, increasing bureaucratic restrictions and declining quality. Trade shifted towards smaller luxury objects intended for private commerce, including incense boxes, trays and tea utensils.
The scarcity of newly imported Japanese lacquer furniture created a flourishing secondary market in Europe, particularly in France. The Marchands-Merciers dominated the second-hand market of 17th century lacquer objects which they would acquire at auction, adapting and remounting them for an elite clientele. The present box reflects this enduring European fascination with Japanese lacquer and its highly prized decorative vocabulary.
Pierre-François Delafons was the son of the goldsmith of the same name. Born in 1737, he was apprenticed to his father, a renowned maker of gold boxes, who also sponsored him when he registered his master's mark in 1761. Although he initially worked alongside his father, he moved to the provinces in 1776. His father retired the following year.
By the 18th century, Japan's isolationist sakoku policy restricted European trade to the Dutch East India Company (VOC), which operated through the artificial island of Dejima in Nagasaki Bay. Following the VOC's decision in 1693 to cease the importation of large Japanese lacquer furnishings, owing to rising production costs, increasing bureaucratic restrictions and declining quality. Trade shifted towards smaller luxury objects intended for private commerce, including incense boxes, trays and tea utensils.
The scarcity of newly imported Japanese lacquer furniture created a flourishing secondary market in Europe, particularly in France. The Marchands-Merciers dominated the second-hand market of 17th century lacquer objects which they would acquire at auction, adapting and remounting them for an elite clientele. The present box reflects this enduring European fascination with Japanese lacquer and its highly prized decorative vocabulary.
Pierre-François Delafons was the son of the goldsmith of the same name. Born in 1737, he was apprenticed to his father, a renowned maker of gold boxes, who also sponsored him when he registered his master's mark in 1761. Although he initially worked alongside his father, he moved to the provinces in 1776. His father retired the following year.