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Lot Essay
Principally there are two types of wedding caskets, rectangular caskets with a domed cover and secondly circular caskets. Both are usually engraved with love and marriage scenes.
Although the rectangular caskets outnumber the circular ones, the latter appear in a greater variety. Especially in the case of the covers silversmiths choose different decorative techniques [1]. Frans Rienks Baard for example made a casket with a flat open-worked cover and Alger Mensma choose for a domed cover with engraving [2]. The present casket has a chased gadrooned cover. The finial still bears traces of gilding, just like the cherub's heads and the feet.
The majority of wedding caskets is just struck with a maker's mark. It is assumed that they were not taken to the assay-office because of the low weight [3]. On the bottom of the present casket we find the maker's mark of Lolle Jeltes. Jeltes was born around 1600 in Parrega, Friesland, and was apprenticed to Gerrit Hendriks in 1614, who was a silversmith and later also became burgomaster of the town of Bolsward. Jeltes became a master in 1624 and between 1632 and 1644 he had four apprentices, including his son Jelte Lolles. Jeltes is mentioned for the last time in a document in 1661. He is especially known for his detailed and varied engravings. The communion beaker of the church of Wijnaldum, which Jeltes made in 1646, may be reckoned among his best works and is found in many of the standard works on Frisian and Dutch silver [4].
COMPARATIVE LITERATURE:
[1] Exh.Cat. De Zilveren Eeuw. Fries Pronkzilver uit de Zeventiende Eeuw, Leeuwarden, Fries Museum, 2000, pp.76-79
Boschma C., 'Friese en Noordhollandse knottekistjes' in: Antiek 3 (1968/69), pp. 559-566.
[2] Fredriks, J.W. Dutch Silver III, 1960, p.89, no. 279
[3] Exh.Cat. Leeuwarden, 2000, (note 1), p. 78
[4] Exhibition Catalogue, Nederlands Zilver/Dutch silver 1580-1830, Amsterdam-Toledo-Boston, Rijksmuseum-The Toledo Museum of Art-Museum of Fine Arts, 1979-1980, pp. 92-93; Exh.Cat. Leeuwarden, 2000, pp. 74-75 (note 1)
See illustration
Although the rectangular caskets outnumber the circular ones, the latter appear in a greater variety. Especially in the case of the covers silversmiths choose different decorative techniques [1]. Frans Rienks Baard for example made a casket with a flat open-worked cover and Alger Mensma choose for a domed cover with engraving [2]. The present casket has a chased gadrooned cover. The finial still bears traces of gilding, just like the cherub's heads and the feet.
The majority of wedding caskets is just struck with a maker's mark. It is assumed that they were not taken to the assay-office because of the low weight [3]. On the bottom of the present casket we find the maker's mark of Lolle Jeltes. Jeltes was born around 1600 in Parrega, Friesland, and was apprenticed to Gerrit Hendriks in 1614, who was a silversmith and later also became burgomaster of the town of Bolsward. Jeltes became a master in 1624 and between 1632 and 1644 he had four apprentices, including his son Jelte Lolles. Jeltes is mentioned for the last time in a document in 1661. He is especially known for his detailed and varied engravings. The communion beaker of the church of Wijnaldum, which Jeltes made in 1646, may be reckoned among his best works and is found in many of the standard works on Frisian and Dutch silver [4].
COMPARATIVE LITERATURE:
[1] Exh.Cat. De Zilveren Eeuw. Fries Pronkzilver uit de Zeventiende Eeuw, Leeuwarden, Fries Museum, 2000, pp.76-79
Boschma C., 'Friese en Noordhollandse knottekistjes' in: Antiek 3 (1968/69), pp. 559-566.
[2] Fredriks, J.W. Dutch Silver III, 1960, p.89, no. 279
[3] Exh.Cat. Leeuwarden, 2000, (note 1), p. 78
[4] Exhibition Catalogue, Nederlands Zilver/Dutch silver 1580-1830, Amsterdam-Toledo-Boston, Rijksmuseum-The Toledo Museum of Art-Museum of Fine Arts, 1979-1980, pp. 92-93; Exh.Cat. Leeuwarden, 2000, pp. 74-75 (note 1)
See illustration