Series of small silversmith-engravings

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Titel: Series of small silversmith-engravings [Print] : 29 prints made after designs of a silversmith = 29 prenten gemaakt naar ontwerpen van een zilversmid

Annotatie: These prints were made by a silversmith from the Northern Netherlands (Amsterdam?) who was active around 1650. Most likely they were made after designs for so-called 'Knottekistjes' (bridal boxes) and wedding and family medals. These were made to propose or to remember a marriage. They often use both secular and religious heraldry. For example, the fidelity in Cana was often depicted, the hunting scenes probably refer to game of love and one image refers to the infidelity in love. The prints were made by the silversmith to ensure that the design was correct and to have a model book for future designs and customers. Because they were not originally intended to be printed, both the composition and the applied texts are reproduced in reverse. Sometimes a counter-print was made so that the goldsmith could see his composition correctly again (see eg. S.III 99014 and counter-print S.III 99016). The bridal caskets and medallions were popular throughout the 17th century and were frequently copied. The prints are a continuation of the Nielli tradition from the fifteenth century in which goldsmiths preserve their compositions in a similar way.

ISBD: Bekijk de ISBD weergave; Series of small silversmith-engravings [Print] : 29 prints made after designs of a silversmith. - [Amsterdam?], [Around 1643]. - 29 : engraving. - These prints were made by a silversmith from the Northern Netherlands (Amsterdam?) who was active around 1650. Most likely they were made after designs for so-called 'Knottekistjes' (bridal boxes) and wedding and family medals. These were made to propose or to remember a marriage. They often use both secular and religious heraldry. For example, the fidelity in Cana was often depicted, the hunting scenes probably refer to game of love and one image refers to the infidelity in love. The prints were made by the silversmith to ensure that the design was correct and to have a model book for future designs and customers. Because they were not originally intended to be printed, both the composition and the applied texts are reproduced in reverse. Sometimes a counter-print was made so that the goldsmith could see his composition correctly again (see eg. S.III 99014 and counter-print S.III 99016). The bridal caskets and medallions were popular throughout the 17th century and were frequently copied. The prints are a continuation of the Nielli tradition from the fifteenth century in which goldsmiths preserve their compositions in a similar way.

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