tabatière en or et émail par Georges-Antoine Croze, Paris, 1781

ovale, le couvercle orné d'un panneau émaillé peint en plein d'une scène allégorique sur le Mont Parnasse, à fond blanc 'oeil de perdrix' et fond  'bleu usé' translucide, bordé de perles opalescentes alternant avec des trèfles en émail vert, la bâte à décor de panneaux et d'urnes, poinçon de maître, charge et décharge de H. Clavel, la bordure gauche numérotée 553

oval, the lid inset with an oval enamel panel painted with Apollo, Cupid and a muse on Mount Parnassus, the ground in white 'oeil de perdrix' on a translucent 'bleu usé' ground within borders of raised opalescent beads alternating with green enamelled quatrefoilson a sablé ground, the side panels divided by urns, maker's mark, charge and discharge marks of H. Clavel, the left rim numbered: 553

Collection of Mrs F. Meyer, sale, Sotheby's, 5 December 1960, lot 67

A striking and colourful box in generally good order. There are minor enamel losses: on white outer rim of lid at 2-3 o'clock and on small beads and white enamel rim on side below; the bases of three urns have small chips; there are losses on green enamel leaves and red flowers on sides and a very small patch of restoration to enamel panel on front bottom right. There is slight scratching to the surface of the medallion and it is possible that, although contemporary, the medallion has been later set.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Georges-Antoine Croze accéda à la maîtrise le 20 décembre 1777, rue de la Calandre, cautionné par Pierre Delobel. En 1781, il tint boutique rue St Louis jusqu'en 1788 puis est recensé pour la dernière fois en 1790, rue Filles St Thomas. Croze faisait partie du groupe d'orfèvres connus pour avoir été fournisseurs du marchand-mercier Grancher Au Petit Dunkerque, au coin du quai de Conti et de la rue Dauphine. Il semble avoir été l'un des derniers fabricants de boîtes parisiens à organiser un système de numérotation consécutif.

Il semble que le motif "œil de perdrix" soit devenu très à la mode en 1781. Un modèle presque identique, sans urnes sur la bâte et orné de vraies perles au lieu d'émail opalescent, fut exécuté la même année par Joseph-Etienne Blerzy  et est conservé aujourd'hui au Louvre, voir Serge Grandjean, Les tabatières du musée du Louvre, Paris, 1981, no. 38. Un autre modèle, également par Blerzy, 1781, mais sans médaillon se trouve dans les collections Thyssen, voir Somers Cocks & Truman, The Thyssen-Bornemisza Collection, Renaissance jewels, gold boxes, etc., Londres, 1984, no.79.

 

Georges-Antoine Croze became master in Paris on 20 December 1777 from the rue de la Calandre, sponsored by Pierre Delobel. In 1781 he moved to the rue St Louis where he remained until 1788 and he is last recorded in the rue Filles St Thomas in 1790. Croze was one of the illustrious group of goldsmiths known to have supplied the marchand-mercier Grancher at the petit Dunkerque, on the corner of the quai de Conti and the rue Dauphine. He also seems to have been one of the few Parisian gold box makers to operate a straightforward, consecutive numbering system.

It would appear that this distinctive 'oeil de perdrix' pattern became extremely fashionable in 1781. For an almost identical snuff box in the Louvre, of the same year and by Joseph-Etienne Blerzy, the opalescent beads replaced by pearls and omitting the urns on the sides, see Serge Grandjean, Les tabatières du musée du Louvre, Paris, 1981, no. 38. For a patterned example without a medallion, again by Blerzy, 1781, in the Thyssen Collection, see Somers Cocks & Truman, The Thyssen-Bornemisza Collection, Renaissance jewels, gold boxes, etc., London, 1984, no. 79.