ANTIQUE ARMENIAN JEWELLED & ENAMELLED SILVER CASKET WITH POLYCHROME CLOISONNE ENAMEL & DOMED & HINGED COVER – 18TH CENTURY

£4,850.00

Description

ANTIQUE ARMENIAN JEWELLED & ENAMELLED SILVER CASKET WITH POLYCHROME CLOISONNE ENAMEL & DOMED & HINGED COVER – 18TH CENTURY

This intricate and finely crafted jewelled casket is a stunning example of Armenian silverware showcasing the Armenians’ mastery of working in precious metals and their expertise in enamelling.

The casket has been extremely well designed and superbly executed. It displays great symmetry and balance. The shape is very complex; with straight sides to front and rear and with matching stepped and scalloped sides to the other two, shorter, sides, surmounted by a domed and shaped hinged cover. The interior of the casket has been gilded and the well- engineered, seven-part hinge supporting the cover is still in fine working order. An object of this quality would only have been made for, or commissioned by, a very wealthy and high-ranking individual, family, or organisation.

This beautiful casket is eye catching and has great tactile appeal. It is a delight to hold and to examine closely. It is engrossing, offering a plethora of different surface treatments, colours, shapes and patterns to investigate, run your fingertips over or ponder upon. Every element has been beautifully crafted. Ropes of finely twisted silver wire form the raised walls of the cells holding the enamel. These cells vary in shape and have been arranged in panels. The design and shape of the individual panels vary but they are symmetrical and mirrored on the opposing side of the container. Each panel is framed by a simple silver border. There are many silver borders of differing form on the casket, such as rope, beaded and plaited, sometimes small and used singly and in other places much larger, or sometimes grouped, with different simple borders stacked to form a more prominent multi-layered border.

Just above the base of the container is a repeating enamel border which wraps around the sides of the casket at their lowest point. This differs from the other panels of enamel work, in that this border has also been hand pierced on two levels, with the silver background between some enamel motifs carefully cut out and removed.

The enamelling has been rendered in a pleasing muted palette of lemon yellow, ultramarine, turquoise and black. The colours used and the assorted shapes of the individual enamel motifs are typical of those found in Armenian metalwork of the late eighteenth and early nineteenth centuries. Some shapes are reminiscent of the wing of a bird, a leaf, a feather, a perching bird and drop or cone shapes These are simple outlines containing one field to hold the enamel. One shape is different, resembling a face with two eyes, or inverted, a skull. This motif is used as a repeating border around the flat rim which surrounds the dome of the cover, and as a border to the left and right sides of the panels and to those on the front and back of the casket, also appearing occasionally, in various panels.

The casket bears no silver marks, stamps or signatures but may well have been made in the same workshop as some of the enamelled and jewelled items mentioned above and illustrated in ‘Aspects of Armenian Art’, by Hassiotis et al.

Enamelling, along with niello - a technique which was developed in, and emerged from Van - were the principal techniques used by Armenian master gold and silversmiths. Later, these techniques spread to other workshops throughout the Ottoman Empire and others within the Armenian diaspora. We do not know exactly where this casket was made. By repute, the workshops of the Ottoman Mint in Istanbul and those located in Van, were considered the finest.

“From earliest times, the art of ornamentation has played a unique role in Armenian civilization and its rich culture. The profound imprint of Armenian ornamental art is to be found in Armenian gold and silver-making. Among the characteristic and stylistically and pictorially diverse motifs in these twin crafts are those of flowers, animals, especially birds, and buildings. In addition to these themes, ornamental designs include symbols of faith and worship, expressed in rigorously geometric and free-flowing shapes.” (History Museum of Armenia, Yerevan)

“In the eighteenth century, the wealth of the Armenian community in the Ottoman Empire was held in the hands of a small number of wealthy and influential figures. Supreme amongst these were a number based in Constantinople whose wealth stemmed from duties undertaken on behalf of the Ottoman Government, the Sublime Porte. This group formed a class of super-merchants, known as ‘amiras’ and due to their heightened contact with the Ottoman authorities. they were able to assert a greater influence on their own behalf as well as that of the whole Armenian community.

Many of the finest works of Armenian patronage date from the 18th century “ … The concentration of wealth amongst the ‘amiras’ allowed for largesse and perhaps vain gestures.” (Aspects of Armenian Art, Hassiotis et al)

Armenia was the world’s first Christian nation, and the finest Armenian metalwork of the 18th century is often found in objects which were destined for the Armenian Orthodox Church. The ecclesiastical objects which seem to be closest in design to this casket are incense containers (chrismatories) and tabernacles, used on the holy altar tables in churches. These and other important objects for use on the holy altar table were frequently fashioned from silver and enamel and sometimes also encrusted with jewels. (For examples of similar enamel work, see ‘Aspects of Armenian Art’, Hassiotis et al:- gospel binding, plate 62; tabernacle, plate 73; and incense containers, plates 74,75 and 76.) Also note that the cut away, or pierced technique used on this casket’s lower border, has also been employed on the pendant skirts around the feet of the last three examples.

Large individual gemstones have been mounted to the centre front and centre back of the casket and to the apex of the cover. To the front of the casket is an almandine garnet, to the back, a rhodonite, and to the apex of the domed cover there is a foil backed rock crystal. The gemstones have all been faceted and set into similar silver mounts with a scalloped edge framing the jewel. The selection of these three different gemstones and their positional placements may have a hidden meaning, probably religious, but possibly romantic. If religious, it is likely that the three stones were intended to represent the Holy Trinity. (See ‘Aspects of Armenian Art’ Hassiotis et al, for jewelled altar crosses, plates 67 and 69.)

Although this casket has the style, shape and undoubtedly the quality, associated with objects destined for ecclesiastical use on the holy altar table of an Armenian Orthodox Church, it lacks the usual additional religious iconography of holy figures, saints and other religious symbols associated with Armenian silver objects intended for ecclesiastical use. Therefore, we have concluded that this casket was probably made for a secular purpose and intended as a betrothal gift, dowry chest, domestic incense container or similar. It is also possible that it was commissioned by, or intended for, a non-Christian recipient.

According to Tokat, the Ottomans battled the Safavids for control of Armenian land for many years until the early sixteenth century when most of historic Armenia was ceded to the Ottomans whilst Yerevan (Van) passed to the Safavid Persians, leaving a small part of Armenian land under Armenian control. This occurred during the reigns of Ottoman Sultans Selim I (1512 – 20) and Suleyman I (1520 – 26).

Unusually, these two Sultans had both learned the art of gold and silver making in their youth, although working with precious metals was not a popular employment in the Islamic world. Consequently, they had a fondness for this art and were both keen to promote it within their capital, Istanbul, and right across the Ottoman empire.

Recognising the mastery of Armenian gold and silversmiths from Van, Suleyman moved a large group of Armenian master craftsman from Van, (Yerevan/Erevan), the former Armenian royal capital, often referred to as the cradle of Armenian civilisation, to Istanbul. Almost one hundred years later, in 1639, Sultan Murat IV (1623 – 1640) resettled more Armenian master craftsmen from Van to Istanbul for the same purpose. In Van, the crafts of gold and silver metal working were the foremost of the arts, with the knowledge and expertise passing down from father to son. Notably, the niello technique was also developed in, and emerged from, Van.

All aspects of Armenian culture initially thrived under Ottoman rule, especially the working of precious metals. According to Osep Tokat, “In the 18th and 19th centuries the Ottoman Mint was transformed into a creative centre for the arts of gold and silver making, as Armenian masters headed the Mint as both craftsmen and managers.”

In time, the Armenians managed to dominate the precious metal trade within the Ottoman Empire, replacing the former dominance of the Greek workshops. This period coincided with the further expansion of the Ottoman Empire and increased prosperity within it. By the beginning of the 19th century, seventeen of the top eighteen silversmiths in Istanbul were Armenian, catering for the requirements of the Court, the government and the general population.

Armenian art and design were influenced by many things including Armenia’s geographical position at the western end of the ancient Silk Road, which was a conduit for the exchange of goods, cultures, languages, religions, ideas and technological innovations. Many Armenians became traders and were active in countries along the Silk Road, the overland trade route, and in port cities of the East serving the East/West maritime trade route. There are many contemporary journals and accounts which mention the presence of Armenian traders in Asia and at one time they controlled the trade routes for Indian textiles and are credited with creating the first chintz.

In 1604, the forced transfer of the Armenian merchants of Julfa to Isfahan, the Safavid Capital of Persia by Shah Abbas I led to the establishment of New Julfa, a suburb or Isfahan. This relocation involved approximately 20 Armenian merchant families who were involved in the silk trade. Initially, they were managed by the Safavid Crown. Their well-established trade network stretched from East Asia to the Atlantic Coast. After the death of Shah Abbas in 1629 they were less controlled with more freedom to operate on their own account and prosper. By the late 17th century, they had trading posts across Anatolia, Persia, Egypt the Holy Land and in Russia, Poland and India with traders in Bombay, Surat, Agra, Calcutta and Madras. The Armenians controlled the trade in Indian textiles and were renowned as great linguists, an essential part of trading was good communication. Each family operated as a firm with all family members involved in the business and each taking a share of the ensuing profits.

One example of these mercantile families is Marcara Avanchintz and his brothers, who were powerful 17th-century Armenian traders from New Julfa. Isfahan, Persia (Iran) working in India. Marcara entered the service of the French monarch, Louis XIV and was appointed Director, of the newly founded “La Compagnie des Indes Orientales” (the French East Indian Company) because of his prior experience in the East and his excellent trading connections within India and beyond. His life and activities were well chronicled during his lifetime, primarily because of well documented court cases which Avanchintz initiated, and later won, against the French East Indian Company. These contemporary accounts shine a light on the activities of Armenian trading families like Avanchintz’s, how they were organised, the relationships they formed and how they managed their negotiations and extensive trade networks in the east and the west during the mid-seventeenth century.



Influences on Armenian art came from the Islamic art of their immediate neighbours, from the artistic traditions of other cultures they encountered during trading internationally and from the ancient traditions and religious beliefs of their own culture, including their tradition of erecting carved stone crosses, or Khashkar, from around the 8th to the 18th century, the unique and distinctive architectural style of Armenian buildings, the Armenian tradition of colourful and beautifully illuminated manuscripts, particularly religious works. Armenian carpet and textile design and the ornamentation of the magnificent Vank Cathedral (also known as the Holy Saviour Cathedral and by Armenians as Amenaprkich Vank) in the suburb of New Julfa, Isfahan, Iran, the mother church of the Armenian diaspora. Work on the Cathedral commenced in 1606 and was completed about 50 years later. The interior is covered with many fine and brilliantly coloured frescoes, gilded carvings and includes rich tile work. The ceiling above the entrance has been painted with delicate floral motifs in the style of Persian miniature painting and pendentives throughout the church are painted with a motif of a cherub's head surrounded by folded wings, a typical and recurring image found in many expressions and different disciplines of Armenian art.

From the latter half of the 19th century through to the Russian revolution of 1917 and even afterwards, huge quantities of Russian silverware were ornamented with enamels, and these were mainly cloisonne enamels. These Russian objects were manufactured with great precision. The cloisons were applied precisely and the enamels were made from highly refined pigments, often intensely coloured. The Russian designers took their inspiration from the much older, 17th & 18th century ethnic and religious cultural items which had been created in Armenian workshops.

These Russian enamelled objects were striking, offering immediate appeal and great visual impact. They became extremely popular and desirable amongst the aristocratic and nouveau riche as articles which demonstrated their wealth, fashionable taste and social status, particularly those objects made by Faberge, the Artels, Ovchinnikov et al.

This Armenian casket is in an altogether different category. It is an extremely interesting and intriguing authentic ethnic and cultural object, which was made to be used for a purpose, probably ritual. Regarding the enamel work: the Armenian enamels do not contain industrially refined products and the palette consists of a few colours only, which are gentler, less vivid, and of more natural and earthy tones than the later Russian creations. The design of this casket is free flowing and spontaneous, allowing the individual craftsman more opportunity for self-expression than his later Russian counterpart.

Fundamentally, this wonderful object represents the complex, turbulent and ancient history of the Armenian people and their continuing struggle to maintain their unique cultural and religious heritage, which became such an integral part of their identity, no matter where they resided or travelled to, within the great Armenian diaspora.

Few Armenian enamelled objects from the 17th and 18th centuries have survived. They were not as rugged as the later Russian enamelled wares which were also produced in far larger numbers. Objects of a comparable age, size and condition to this casket are now exceedingly scarce, even within Musuem and eminent privatecollections, few comparable examples exist today.





Provenance:- U.K Antique Market

Dimensions:-

Height 12.5 cm

Width 14.0 cm

Depth 9.5 cm

Weight: 417 grams



References:-

Osep Tokat, Armenian Master Silversmiths, Aras Publishing Company, Istanbul 2009

I K Hassiotis et al, Aspects of Armenian Art, The Kalfayan Collection, Museum of Byzantine Culture, Athens 2010

Collected Papers of the East India Company (Recueil ou Collection Des Titres, Edits, Declarations, Arrets, Reglemens, & autres Pieces concernant la Compagnie des Indes Orientale etablie au mois d’Aout 1664) Bibliotheque Nationale de France.

Ani Babaian, Revealing the Murals of Amenaprkich Vank of New Julfa

David Jeselsohn, Christina Marand, Michael Stone, Armenian Manuscripts of the David and Jemima Jeselsohn Collection, NAASR

Ina Baghdiantz McCabe, Marcara Avanchintz: Story of an Armenian Merchant (AGBU webtalks)

Helen Evans, Armenian Art and Creative Exchange on Medieval Trade Routes (AGBU webtalks)

C Griffith Mann – Armenia at The Met: Three Objects from the Exhibition at the Metroplitan Museum, New York (AGBU webtalks)

History Museum of Armenia, Yerevan.

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