tabatière en or de quatre couleurs par Jean-Baptiste Carnay, Paris, 1764

en forme de navette, ciselée de médaillons ronds contenant des trophées musicaux sur un fond de flutes rayonnantes, la bâte décorée de guirlandes en or jaune citron, bordée d'entrelacs sur un fond sablé

of navette form, chased with circular medallions containing trophies of pastoral music against a channelled rayed ground, the sides looped with lemon-gold swags, interlaced borders on a sablé ground

probablement vendu sous le régime Soviet, chez Ball und Graupe, 8 mai 1928, lot 215;
Lempertz, Cologne, 20 avril 1954, lot 234;
Property of a Lady, Sotheby's Genève, 15 novembre 1994, lot 70

Very good crisp condition apart from tiny patch of late engraving to bagpipe bag on central medallion of lid presumably where time-rubbed.
"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."

J.B Carnay devint apprenti auprès de Jean-Gabriel Agard en 1747. A la mort de Agard en 1750, Carnay devint apprenti auprès de Louis-Claude Godin. Il accéda à la maîtrise en mars 1764, cautionné par Pierre-Genest Leguerinière, reconnu comme joaillier, metteur en oeuvre à l'enseigne de la ‘Couronne de diamants’ sur le quai de l’Horloge et le quai des Morfondus jusqu'en 1793. Il lança deux avis d'objets perdus, l'un pour une canne au manche d'or, l'autre pour un bracelet (‘Perdu brasselet d’or ciselé avec portrait, recompense honnête chez Carnay'). L'oeuvre de Carnay semble avoir essentiellement joué avec les ors de différents tons, même s'il existe au Metropolitan Museum une tabatière en or et émail (Clare le Corbeiller, European and American Snuff Boxes 1730-1830, London, 1966, no. 127.)

 

Provenance
Probably sold under Soviet rule, sale, Ball und Graupe, 8 May 1928, lot 215;
Lempertz, Cologne, 20 April 1954, lot 234;
Property of a Lady, Sotheby's Geneva, 15 November 1994, lot 70

J.B. Carnay was apprenticed in 1747 to Jean-Gabriel Agard. On Agard’s death in 1750, Carnay’s apprenticeship was transferred to Louis-Claude Godin. He became master in March 1764, sponsored by Pierre-Genest Leguerinière. Carnay was listed as joaillier, metteur en oeuvre at the signe of the ‘Couronne de diamants’ in the quai de l’Horloge and the quai des Morfondus until 1793. Two advertisements for objects lost from his premises describe a cane with a gold handle and a chased gold bracelet with a portrait (‘Perdu brasselet d’or ciselé avec portrait, recompense honnête chez Carnay’. Most of Carnay’s extant work appears to be in coloured golds although a gold and enamel snuff box in the Metropolitan Museum is illustrated by Clare Le Corbeiller, European and American Snuff Boxes 1730-1830, London, 1966, no. 127.