Important French Renaissance Revival Silver, Lapis Lazuli, Jeweled Covered Box

Description

An Important French Renaissance Revival Covered Box, Crafted in Silver and Mounted with Lapis Lazuli Panels, Gilt Bronze Figures, and Jeweled Cabochons. The piece is signed in two locations: on the interior lip engraved “GROGNIER ARNAUD LYON,” and beneath the lid stamped “WIÈSE PARIS.” The cartouche atop the lid bears the inscription “À DARDEL ARCHITECTE DE LA BOURSE MDCCCLX,” referencing the architect Alexandre Dardel and dated 1860. The lid is also surmounted by a monogrammed shield with the interlaced initials “AD,” which likely refer to Dardel and may indicate the box was a presentation piece or commemorative gift. The rectangular box is clad in hand-cut and fitted lapis lazuli panels of deep cobalt blue with veining in lighter and darker tones. Each panel is precisely beveled and inlaid into the silver framework, which forms a rigid armature along the edges, top, and base. The lapis lazuli sections are divided into six main exterior faces—four sides, one lid, and one elevated central top section—each adorned with gilt silver medallions and vertical bands. These lapis surfaces serve as a background for a sequence of applied decorative mounts, many of which include portrait busts of figures in Renaissance attire rendered in high relief. Each of these busts is framed by a wreath-like setting mounted with turquoise and coral cabochons. The top of the box features a stepped platform, also clad in lapis lazuli, which supports the cartouche monogram. Four gilt silver hippocamp or winged seahorse figures with lion paws are placed at the corners, set atop foliate scrollwork panels. The upper section of the lid is further enriched with openwork fret motifs flanking red square-cut stones and a central round black stone mounted within a pierced gilt frame. Around the main body of the box, vertical bands of gilded silver serve as architectural pilasters. These are composed of winged caryatid-style female figures with bare torsos, draped skirts, and classical hairstyles, flanked by red and turquoise stones. The base edge is enclosed by a beaded and chased silver molding that outlines the perimeter above an elaborate footed support system. Each corner is buttressed by a foliate scrolled foot with volutes terminating in floral bosses and additional mounted stones—predominantly lapis, turquoise, and coral cabochons in various sizes and settings. The underside of the lid and interior cavity are lined with silver. The box opens on a hinged mechanism connected to the inner lid by two gold-toned suspension chains. The lower edge of the front bears additional marks including the names “GROGNIER ARNAUD LYON,” which identifies the silversmith or workshop responsible for this highly elaborate creation. The combination of Parisian and Lyonnais marks suggests collaboration between multiple artisans. The Paris mark “WIÈSE” refers to the house of Jean-Valentin Morel, later directed by Jules Wièse (1818–1890), known for high-quality silver and goldwork in the mid-19th century. Wièse’s workshop frequently produced pieces in the Renaissance Revival style using chased silver, cabochons, and hardstone inlay. The mark of Grognier Arnaud, active in Lyon, likely denotes the lapidary or coordinating metalwork atelier responsible for the lapis lazuli cutting and structural assembly. The piece was probably made as a formal presentation box to commemorate Dardel’s work as architect of the Bourse de Lyon. This casket follows the vocabulary of French Renaissance Revival decorative arts, with its blend of architectural structure, allegorical figures, and materials popularized during the Second Empire. The selection of lapis lazuli, combined with mounted hardstones and an extensive application of silver and vermeil, reflects the historicist interest in medieval and Renaissance object types, often seen in works presented at international exhibitions in the mid-1800s. The formal complexity, multi-material integration, and complete figural program suggest the object was a bespoke commission intended for public or ceremonial display. The engraved monogram and dedicatory plaque support this interpretation. Measuring over the footed base and lid extension, the box is supported by four composite feet cast as open scrolls with vegetal detailing, each rising into a pilaster-form corner joint. The panels along the long sides are each centered with twin portrait medallions flanking a full-relief caryatid, while the narrow sides feature single portrait busts. The recessed base is framed with pierced floral garlands linked by horizontal silver bands set with additional coral, lapis, and turquoise stones. The underside of the box, where the Wièse mark is stamped, further confirms the high-level Parisian origin of the upper metalwork. The combination of mounted portrait medallions, full-relief mythological and allegorical figures, hand-carved hardstone panels, and multi-colored cabochon stones indicates that this object was intended as a prestige commission. The inscribed name of Dardel, coupled with the date 1860 and the architectural associations, suggests it was created to commemorate a civic achievement or honor. The execution in heavy silver and the mounting of calibrated and selected stones is consistent with the types of pieces found in mid-19th century French state and diplomatic gifting traditions, as well as presentation objects linked to architectural milestones or industrial exhibitions. France, Circa: 1860

Details

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