.jpg?w=1)
拍品專文
In her recent publication on the painted enamels of the Wallace Collection (loc. cit.), Higgott summarises the discussion of a group of over twenty similar caskets. Formerly attributed to the Limoges enameller Couly Nouailher, this attribution is now being questioned by scholars who have not, to date, reached a consensus as to who might be responsible for the distinctive subject and painting style of the enamel plaques.
The caskets in the group all have a closely similar overall form, with variations to the gilt-copper carcase which include different handles feet and lock-plates, The enamels all portray putti playing in a landscape, often with different attributes and with abbreviated inscriptions in gold lettering which are often difficult to decipher. The plaques can have a blue, black or red ground.
The existence of locks on many such enamelled caskets suggests that they were intended to contain precious items, and the existence of inscriptions on several of the caskets discussing gifts has led Suzanne Higgott to suggest that they may have been intended as jewel boxes, given on the occasion of a wedding or betrothal.
In comparison to the other known caskets, the example offered here is particularly interesting for its very bold palette and painterly style. It is also notable for its good state of preservation and for its reverse, which sees the traditional enamelled plaques substituted with four etched brass plaques identifying the person - apparently a cardinal archbishop - who commissioned the casket or the one who received it.
The caskets in the group all have a closely similar overall form, with variations to the gilt-copper carcase which include different handles feet and lock-plates, The enamels all portray putti playing in a landscape, often with different attributes and with abbreviated inscriptions in gold lettering which are often difficult to decipher. The plaques can have a blue, black or red ground.
The existence of locks on many such enamelled caskets suggests that they were intended to contain precious items, and the existence of inscriptions on several of the caskets discussing gifts has led Suzanne Higgott to suggest that they may have been intended as jewel boxes, given on the occasion of a wedding or betrothal.
In comparison to the other known caskets, the example offered here is particularly interesting for its very bold palette and painterly style. It is also notable for its good state of preservation and for its reverse, which sees the traditional enamelled plaques substituted with four etched brass plaques identifying the person - apparently a cardinal archbishop - who commissioned the casket or the one who received it.