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拍品專文
The nineteenth century saw a rebirth of interest in Russia’s artistic heritage. The present casket embodies this distinctive revival of traditional Russian subject matter and technique. This is reflected not only in its magnificent cloisonné and en plein enamel work, but also in the casket's traditional form.
Moscow’s leading silversmiths often drew on Konstantin Makovsky's historical paintings and boyar series as inspiration for their en plein panels. These richly-coloured paintings evoked the romance of medieval Russia. They were a perfect match for enamelled caskets designed in the Pan-Russian style. Konstantin Makovsky’s work The Russian Bride’s Attire from 1887 was the inspiration for the present casket. This painting is part of the collection of the Museum of The Legion of Honor, San Francisco, bequest of M.H. de Young, 53161. Another earlier version of this painting is in the State Museum of History and Art, Serpukhov.
For a further discussion of the topic and comparable examples of enamelled works after Konstantin Makovsky, see Wendy Salmond, et al., Konstantin Makovsky: The Tsar’s Painter in America and Paris, London, 2015, pp. 46-48.
Moscow’s leading silversmiths often drew on Konstantin Makovsky's historical paintings and boyar series as inspiration for their en plein panels. These richly-coloured paintings evoked the romance of medieval Russia. They were a perfect match for enamelled caskets designed in the Pan-Russian style. Konstantin Makovsky’s work The Russian Bride’s Attire from 1887 was the inspiration for the present casket. This painting is part of the collection of the Museum of The Legion of Honor, San Francisco, bequest of M.H. de Young, 53161. Another earlier version of this painting is in the State Museum of History and Art, Serpukhov.
For a further discussion of the topic and comparable examples of enamelled works after Konstantin Makovsky, see Wendy Salmond, et al., Konstantin Makovsky: The Tsar’s Painter in America and Paris, London, 2015, pp. 46-48.