↗France, late 19th century-early 20th century · c. 1915–26
Water Lilies (Agapanthus)
Claude Monet
ARTWORK STUDY
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Read the artwork notes and catalogue information.Christie’s archived catalogue · Catalogue source ↗ · Image policy ↗
France · 1784–1789
Gold-lined Japanese-style Lacquer Bonbonnière
- Date
- 1784–1789
- Medium
- Lacquer with gold lining
- Dimensions
- Not listed in the source consulted
- Country / context
- France
- Movement / tradition
- European and American art
- Collection
- Christie’s archived catalogue
- Attribution / role
- Uncertain: maker’s mark FC, François Chazeray OR François Cousin; not a securely attributed Chazeray work.
- Pathway
- European and American art ↗
ABOUT THIS WORK
This box is an attribution comparison, not a securely identified Chazeray work. The archived catalogue interprets an FC maker’s mark as Chazeray or Cousin. That uncertainty must remain part of any comparison of its lacquer and gold surfaces.
Original educational overview · based on the linked museum recordPlace in the artist’s career
The securely marked enamel snuffbox and later multicolour-gold box permit comparison of pictorial ornament and worked-metal pattern. A third lacquer box is explicitly attributed to Chazeray OR François Cousin: it teaches attribution uncertainty and must not be counted as secure authorship. These objects document changing luxury materials, not a proven three-stage stylistic evolution.
The artist’s practice
Artist-wide context; individual works may differ.
Media and surface
Gold, enamel and attributed lacquer examples belong to specialised luxury-box manufacture.
Marks and structure
Small-scale borders, repeated motifs and maker’s marks organise surface and attribution evidence.
Palette and light
Enamel imagery and multicolour gold achieve different colour effects; the lacquer example has uncertain authorship.
A MOMENT TO LOOK
Start with what you can see: shapes, surface, colour and scale. How might the listed materials affect the way this object was made and experienced?
Looking prompt · an invitation to observe, not a historical interpretation.
