A silver and crystal table snuff box
found on trade me (
http://www.trademe.co.nz/antiques-collectables/silver-metalware-tins/silver/sterling/auction-587007867.htm
), auctioned by the user mopar110 and described as follows:
“A really nice sterling and crystal
antique art nouveau table snuff box in excellent condition.
Hallmarked for 1904 in the town of Birmingham by silversmith Deakin &
Francis this snuff box stands 2.5cm high,7cm wide & 3.5 cm deep.
There are no rub holes or tears the sterling lid is golded
(sic)
on the inside the crystal has a couple of small flea bites.”
This silver and
crystal table snuff box was put on auction by a user with the alias
of mopar110. He claims it is a art nouveau design and I am inclined
to concur. Looking at the box we can observe complex carving
representing flowers and what seems to be an aubergine. These motifs
are in accord with the traditional curvilinear organic and botanical
aspects of Art Nouveau design that is derived from a historical
influence from Rococo that also originated in France. They are very
reminiscent of the drawings of Hernst Heackle in “Art Forms in
Nature” (Germany 1862). The box is further decorated with elements
related to the exotic nature of art nouveau. Along the side of the
lid we can observe a frieze made up of crescent shapes, very
reminiscent of Islamic and, in general, Middle-Eastern art and
architecture as the crescent is a recurring symbol in the
Middle-East. Moreover, the sides of the box are decorated with
geometric patterns, yet again, reminiscent of Middle-Eastern art and
architecture, more specifically tiles
and mosaics that can be found in Middle-Eastern architecture.
Finally, the bottom of the box is decorated with a compass rose, this
element also implies the theme of travel that goes with the exotic
influence of Art Nouveau. The materials out of which the box is made
also account for the Art Nouveau style of the box; having been made
of crystal, sterling silver and gilded on
the inside, these are pretty expensive
if not exotic materials. Finally, the last element that supports
this box being an Art Nouveau piece is the date at which it was
created, 1904 is towards the end of the Art Nouveau period.
Someone like A. W.
N. Pugin, who was an important figure of the Gothic Revival, would
have been extremely critical about this box as it displays its
opposition to “the true principles of art and design” and
displays “cheap and false magnificence” (A. W. N. Pugin,
1843) because of it's ostentatious nature and the way the silver is
shaped to resemble flowers which wouldn't be, according to Pugin,
appropriate decoration for the function that the object serves. A
defender of the Arts and Craft movement would also say something
similar, considering this box to be amoral.
Though I respect
both these points of view, I find this box to be fairly subtle as the
choice of materials makes for a relatively “white” and discreet
piece that while not being suitable for all interiors could fit
harmoniously into even certain modern interiors. It is a nice and
well crafted box.
Bibliography:
Pugin, A.W.N. (1843). An Apology for the Revival of Christian Architecture in England. London, Great Britain: John Weale
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