The Wallace Collection

The Wallace Collection, A Family Collection, A National Museum, An International Treasure House
Snuff box
  • Snuff box
  • Louis Roucel (+1787) , Goldsmith
  • After Jean-Baptiste Greuze (1725 - 1805), (miniatures)
  • Paris, France
  • 1766 - 1767
  • Gold and enamel, engraved and chased
  • Object size: 3.9 x 7.9 x 5.7 cm
    Weight: 191.6 g
  • Maker's mark: 'L.R'.
    Warden's mark: Crowned 'C', for 1766-7
    Discharge mark: A dog's head, for Jean-Jaques Prévost (1762-68)
    Charge mark: A crossed laurel, for sous-fermier Jean-Jacques Prévost (1762-68)
    Inscription: '609' or '906'
    Inscription: 'Roucel, orfe du Roi A Paris' Engraved
    Mark: For sous-fermier Julien Alaterre (1768-75) Counter mark
    Inscription: 'Soyecourt' Scratched twice
    Inscription: 'Comte de Soyecourt'
  • G44
  • Boudoir Cabinet
Images & Media
Further Reading
  • The six larger enamelled subjects on this box are all taken from engravings after paintings by Jean-Baptiste Greuze. On the cover is L’accordée du village after an engraving by J-J Flipart. The original painting, now in the Louvre, was shown at the Salon of 1761and was in the collection of the marquis de Marigny before being bought at his sale in 1782 by Louis XVI. On the base is La trompette after an engraving by L. Cars. Greuze’s original was exhibited at the Salon of 1759, when it was in the collection of Jean de Julienne, and is now in the Royal Collection. On the front wall is La bonne Education after an engraving by P-C. Ingouf, and on the back is La maman after the engraving by J-F. Beauvarlet. The right hand side shows La curieuse after the engraving by J-F. Beauvarlet, and on the left hand side is La belle blanchisseuse, painted in 1761, formerly in the collection of the comtesse de la Ferronaye, and now in the J. Paul Getty Museum, after an engraving by J-C. Danze.

    The enamels on this box are of the highest quality and it is therefore exceptionally frustrating not to be able to give the artist responsible a name, nor even to hazard a guess at a name.

    Greuze’s contemporary moral scenes enjoyed an enormous vogue in the 1760s.Unlike earlier rococo boxes where the painted scenes and goldsmith’s work provide a riot of decoration, this box shows the new austerity of neo-classicism more in keeping with Greuze’s subject matter. Here the enamels fill the flat areas and are simply edged with gold rather like being miniature paintings in their gilded frames.