A FINE LOUIS XVI GOLD AND ENAMEL BOÎTE-À-MINIATURE

Details
A FINE LOUIS XVI GOLD AND ENAMEL BOÎTE-À-MINIATURE
by Adrien-Jean-Maximilien Vachette, Paris, the base 1787, with the charge and discharge marks of Henry Clavel, the cover 1789, with the charge and countermark of Jean-François Kalendrin, the flange engraved "Vachette à Paris.", the miniature signed and dated "J.J. DeGault in 1788"

Circular box, the independent cover set with a miniature painted in sepia on opaline glass depicting Aurora, the goddess of the dawn, driving her two-horse chariot, in a frame surrounded by a translucent blue enamel band, the burnished gold base centered by a swirling foliate rosette of translucent blue enamel surrounded by six smaller similarly enamelled rosettes and a matching enamel band, the polished gold sides with eight identical rosettes and enamel borders -- 79 mm diam.
Further details
END OF GOLD BOXES SESSION

Lot Essay

Vachette (1753-1839) is one of the best known of the Parisian goldsmiths working at the turn of the 18th and 19th Centuries. Under Napoléon, he collaborated with Nitot, one of the jewellers to the Emperor, and during the Restoration, he worked with Ouizille. Henry Nocq (Le poinçon de Paris, reprint Paris, 1968, p. 76) praises Vachette thus: "Avant et après la Révolution les plus belles tabatières d'or sont marquées du poinçon de Vachette." Serge Grandjean (et alii, The James A. de Rothschild Collection at Waddesdon Manor, Fribourg, 1975, p. 344) points out the importance of his cooperation with the miniaturist Jacques-Joseph de Gault (circa 1738-1817), as in the present case. The Louvre owns thirty-one boxes by Vachette, others are in the Wallace Collection, the Victoria and Albert Museum, and in the Metropolitan Museum of Art.

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