A DUTCH RENAISSANCE SILVER-GILT MOUNTED NAUTILUS CUP
A DUTCH RENAISSANCE SILVER-GILT MOUNTED NAUTILUS CUP
A DUTCH RENAISSANCE SILVER-GILT MOUNTED NAUTILUS CUP
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A DUTCH RENAISSANCE SILVER-GILT MOUNTED NAUTILUS CUP

APPARENTLY UNMARKED, NORTHERN HOLLAND, DATED 1595

细节
A DUTCH RENAISSANCE SILVER-GILT MOUNTED NAUTILUS CUP
APPARENTLY UNMARKED, NORTHERN HOLLAND, DATED 1595
On a domed circular base chased with strapwork, masks and lion’s heads on matted ground, the vase shaped stem cast and chased with lions and foliage, and applied with three scrolling handles, the nautilus shell carved with foliage and grotesques, the shell enclosed by four engraved foliate straps, the rim mount cast and chased with lion’s heads and applied with ropes, engraved with foliage, the nautilus scroll applied with an open-mouthed lion, engraved on the everted spout with inscription SYMON PIETERS ZOON KURT LYSBET LOURIS DOCHTER 1595, marked on the rim mount and with later Dutch control mark
11. 3⁄4 in. (29.8 cm.) high
19 oz. 2 dwt. (595 gr.) gross weight
来源
Baron Alphonse de Rothschild (1827-1905), in Entresol, hôtel Saint-Florentin, Paris.
Baron Edouard de Rothschild (1868-1949), in Fumoir sur la rue de Rivoli (petite vitrine), hôtel Saint-Florentin, Paris.
By descent to the present owners.

拍品专文

The inscription engraved under the silver lip of the cup SYMON PIETERS ZOON KURT LYSBET LOURIS DOCHTER 1595 which might loosely translates as 'Symon Pieter's son Kurt and Lysbeth, daughter of Louris 1595' refers to a family whose name appears in the municipal archives of Nieuwe Niedorp near Alkmaar, an important trade center from the 16th century, in the province of north Holland (Oud-rechterlijke en weeskamerarchieven van de regio-gemeenten, inventarisnummer 5656 Niedorp, schepenrol 1576-1595).

The shell of this nautilus was probably carved in Guangzhou, also known as Canton, by sailors inspired by the Chinese porcelain and works of arts their ships were taking to Europe. Although the basic technique consisted in the removal of the outer lime layer thus exposing the opalescent mother-of-pearl under layer to create texture and contrasting motifs, the end result was not always of the greatest quality.
As a seafaring nation, the Dutch had an ample supply of exotic shells that collectors liked to place in their Kunstkammer. In Holland, nautilus shells were a favorite object set in elaborate mounts and Delft and Rotterdam goldsmiths notably specialized in them, such as for the one by Cornelis Jansz van der Burch dated 1607 (lot 13 in this sale).

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