Ivory Salt-cellar at the Met

Title
Lidded Saltcellar

Date
15th–16th century

Culture
Sapi-Portuguese

Geography
Sierra Leone, Guinea Coast

Medium
Ivory

Dimensions
Height x Diam.: 11 3/4 x 4 1/4 in. (29.8 x 10.8 cm)

Credit Line
Gift of Paul and Ruth W. Tishman, 1991

Accession Number
1991.435a, b

Description
This saltcellar is both an extraordinary example of skilled workmanship and an artifact that epitomizes a singularly important convergence of cultures. In the second half of the fifteenth century, Portuguese explorers and traders were impressed by the considerable talent of ivory carvers along the coast of West Africa. As a result, they were inspired to commission works of this kind for their patrons, which ingeniously combine both European and African aesthetics and forms. During this period, salt and pepper were costly commodities and elaborate receptacles were appropriate for their storage in princely homes.

This work contains imagery relating to indigenous Sapi belief systems. The four snakes, associated with mystical wealth, appear to confront four growling dogs. According to regional traditions, dogs are considered spiritually astute animals able to see spirits and ghosts that are invisible to humans. This depiction of the dogs, with teeth bared, hair bristling, and ears laid back, may relate to that ability. However, the level of animation in this scene could also derive from chivalric hunting scenes in European woodcuts, which were furnished to local African artists by their European patrons.

Provenance
Jay C. Leff, Uniontown, PA; Paul and Ruth W. Tishman, New York, 1991.

http://www.metmuseum.org/Works_of_Art/collection_database/arts_of_africa%2C_oceania%2C_and_the_americas/lidded_saltcellar/objectview.aspx?OID=50009109&collID=5&dd1=5

CHRISTIES - A PAIR OF SILVER GILT-FRAMES WITH TWO PAINTED IVORY PANELS

A PAIR OF SILVER GILT-FRAMES WITH TWO PAINTED IVORY PANELS OF THE ADORATION OF THE MAGI AND THE VIRGIN AND CHILD WITH SAINT ANTHONY OF PADUA - THE PAINTINGS BY MARIA-FELICE SUBLEYRAS-TIBALDI (1707-1770) AND THE FRAMES BY GIUSEPPE RUSCA (MASTER 1695-1745), CIRCA 1745

Price Realized (Set Currency) £373,250
($601,306)
Price includes buyer's premium
Estimate£50,000 - £80,000
($76,000 - $120,000)

Sale Information
Sale 7745
important european furniture, sculpture & clocks
9 July 2009
London, King Street

Lot Description
A PAIR OF SILVER GILT-FRAMES WITH TWO PAINTED IVORY PANELS OF THE ADORATION OF THE MAGI AND THE VIRGIN AND CHILD WITH SAINT ANTHONY OF PADUA
THE PAINTINGS BY MARIA-FELICE SUBLEYRAS-TIBALDI (1707-1770) AND THE FRAMES BY GIUSEPPE RUSCA (MASTER 1695-1745), CIRCA 1745
The reverse of each frame elaborately engraved with strapwork and foliage; both frames bearing the Rome city stamp and the maker's mark; the former panel signed and dated 'Ma· Felice Tibaldi Subleyras Pinx. 1745'; the latter signed and dated 'Ma. Felice Tibaldi Subleyras Pinx. 1744'; very minor wear, one of the suspension loops lacking
7¾ x 5¾ in. (19.8 x 14.7 cm.) the painted panels; 11¾ x 8½ in. (29.8 x 21.6 cm.) the frames (2)


Special Notice
No VAT will be charged on the hammer price, but VAT at 15% will be added to the buyer's premium which is invoiced on a VAT inclusive basis.

Saleroom Notice
Please note that there is new provenance for this lot. Records from the Portuguese royal archives show that the present two framed miniatures were commissioned by the king, John V of Portugal, along with a third miniature depicting St. Joseph, now lost. Payment was made in three instalments on 29 July and 18 November 1744, and 30 January 1745, for a total of 300 scudi. The miniatures are minutely described, including the fact that a first set of ebony frames were rejected in favour of the present silver-gilt ones.

For more precise details please contact the department.

We would like to thank Jennifer Montagu for bringing this additional documentation to our attention.


Pre-Lot Text
PROPERTY FROM A PORTUGUESE DUCAL FAMILY

Lot Notes
Maria-Felice Tibaldi Subleyras (1707-1770) was a talented miniaturist who was also married to the French artist Pierre Subleyras (1699-1749). She was renowned both for her portraits and her depictions of religious scenes, many of them painted after compositions by her husband.

Although beautifully painted, the present lot is equally notable for the sumptuous silver-gilt frames by the Roman goldsmith Giuseppe Rusca (master 1696-1745). The cast frames have been exquisitely punched and chased, and the reverse of each frame has also been covered with a plate which is extensively decorated with strapwork and foliate decoration.

The fashion for Roman silver among aristocratic Portuguese families was at its height in the mid 18th century, promoted as it was by the monarch, John V of Portugal (1689-1750). Funded by the vast wealth pouring into his coffers from the natural resources of Brazil, the king was considered the most important artistic patron of his day. This patronage is perhaps best exemplified by the Chapel of St. John the Baptist in the church of Sao Roque, Lisbon. Commissioned by the king in 1740, it was constructed in Rome of mosaics, gilt-bronze and precious hardstones such as lapis lazuli and porphyry, and the elaborate liturgical candlesticks and vessels were made of silver by Roman craftsmen. The entire chapel was then dismantled, packed onto three boats and shipped to Lisbon where it was re-assembled. It was said to be the most expensive chapel in its day.