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Lot 34
A pair of late 17th/early 18th century Continental silver-gilt gem set frames unmarked, possibly Turkish or Transylvanian (2)
21 November 2012, 11:00 GMT
London, New Bond StreetSold for £1,750 inc. premium
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A pair of late 17th/early 18th century Continental silver-gilt gem set frames
unmarked, possibly Turkish or Transylvanian
Rectangular form with beaded rims, the border set with swags of turquoise around table-cut amethysts in raised foil settings on matted ground, each frame surmounted by central scrolled hinge suspension mounts, partly engraved to the reverse, height 14.3 x 11.5cm. (2)
Rectangular form with beaded rims, the border set with swags of turquoise around table-cut amethysts in raised foil settings on matted ground, each frame surmounted by central scrolled hinge suspension mounts, partly engraved to the reverse, height 14.3 x 11.5cm. (2)
Footnotes
Transylvanian and Hungarian goldsmiths in the 16th/17th centuries received heavy design influence from Turkey due to increased Transylvanian interest in Turkish fashions in the first half of the 17th century, especially in the princely court and among noble families connected with the prince.
Records suggest that various princes employed Turkish goldsmiths to execute fashionable designs with some giving their envoys instructions to by Turkish imports, including weapons and precious stones, especially turquoise and rubies, to furnish their royal palaces.
This Turkish influence is most evident in luxury arms made in Transylvania, most of which were produced with richly embellished hilts and scabbards, studded with precious stones in raised mounts. The abundant use of turquoise bore witness to Ottoman influence and reflected the popularity of its ornamental appeal in the late 17th century.
A similar example of a late 17th century Transylvanian Prayerbook cover can be found in the Magyar Nemzeti Museum, Budapest, Inv. No. 59.35.C.
Literature:
Istvan Fodor et al, 'Baroque Splendor: The Art of the Hungarian Goldsmith' (The Bard Graduate Center for Studies in the Decorative Arts 1994)