Snuffbox thumbnail 1
Snuffbox thumbnail 2
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Not currently on display at the V&A

Snuffbox

c. 1820 (made)
Artist/Maker
Place of origin

This scene is in a tradition of landscapes inspired by 17th-century artists which had become fashionable once again in the late-18th and 19th centuries.

The term 'micromosaic' is used to describe mosaics made of the smallest glass pieces. Some micromosaics contain more than 5000 pieces per square inch. The earliest attempts at micromosaic revealed visible joins between the pieces (known as tesserae) and a lack of perspective. Later artists such as Antonio Aguatti made huge advances in micromosaic technique, resulting in renderings that were truer to life. Glass micromosaic technique developed in the 18th century, in the Vatican Mosaic Workshop in Rome, where they still undertake restoration work today.

Sir Arthur Gilbert and his wife Rosalinde formed one of the world's great decorative art collections, including silver, mosaics, enamelled portrait miniatures and gold boxes. Arthur Gilbert donated his extraordinary collection to Britain in 1996.


Object details

Categories
Object type
Materials and techniques
Chased gold, micromosaic and hardstone
Brief description
Snuffbox with landscape. Micromosaic, hardstone and gold, Rome, ca. 1820
Physical description
A rectangular snuffbox made of hardstone with canted corners. The cover is set with a micromosaic depicting a river landscape with ruins on the right and a distant mountain town on the left. The gold sides and top border of the cover are chased with flowers, leaves and beading.
Dimensions
  • Height: 2.2cm
  • Width: 9cm
  • Depth: 5.4cm
Published dimensions
Gallery label
  • 3. Snuffbox with river landscape, about 1820 Museum no. Loan:Gilbert.478-2008(16/11/2016)
  • Snuffbox with river landscape About 1820 Italy Glass micromosaic and gold Museum no. Loan:Gilbert.478-2008(2009)
Credit line
The Rosalinde and Arthur Gilbert Collection on loan to the Victoria and Albert Museum, London
Object history
Provenance: D.S. Lavender, London, 1983.

Historical significance: There was a revival of interest in Arcadian landscape in the late eighteenth and nineteenth centuries.
Historical context
The micromosaic plaque represents an Arcadian landscape in the tradition of Nicholas Poussin (1594-1665) and Claude Lorraine (1600-82). The representation of the ruin is from the imagination and therefore a capriccio.
Subjects depicted
Summary
This scene is in a tradition of landscapes inspired by 17th-century artists which had become fashionable once again in the late-18th and 19th centuries.

The term 'micromosaic' is used to describe mosaics made of the smallest glass pieces. Some micromosaics contain more than 5000 pieces per square inch. The earliest attempts at micromosaic revealed visible joins between the pieces (known as tesserae) and a lack of perspective. Later artists such as Antonio Aguatti made huge advances in micromosaic technique, resulting in renderings that were truer to life. Glass micromosaic technique developed in the 18th century, in the Vatican Mosaic Workshop in Rome, where they still undertake restoration work today.

Sir Arthur Gilbert and his wife Rosalinde formed one of the world's great decorative art collections, including silver, mosaics, enamelled portrait miniatures and gold boxes. Arthur Gilbert donated his extraordinary collection to Britain in 1996.
Bibliographic references
  • Gabriel, Jeanette Hanisee with contributions by Anna Maria Massinelli and essays by Judy Rudoe and Massimo Alfieri. Micromosaics: The Gilbert Collection. London: Philip Wilson Publishers Ltd. in association with The Gilbert Collection, 2000. 310 p., ill. Cat. no. 125, p. 194. ISBN 0856675113.
  • Wheeler, Daniel (ed.) Princely Taste : Treasures from Great Private Collections Israel Museum, Jerusalem, 1995 p.78
Other numbers
  • GB 65 - Arthur Gilbert Number
  • 1996.359 - The Gilbert Collection, Somerset House
  • MIN 73 - Arthur Gilbert Number
Collection
Accession number
LOAN:GILBERT.478-2008

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Record createdJune 19, 2008
Record URL
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