SMALL CABINET serving as a jewelry box, made of blackened wo - Lot 84

Lot n° 84
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Estimation :
1500 - 2000 EUR
Result with fees
Result : 2 688EUR
SMALL CABINET serving as a jewelry box, made of blackened wo - Lot 84
SMALL CABINET serving as a jewelry box, made of blackened wood adorned with cut-metal fillets; it opens via a flap in the crown molding, features a drawer in the lower section, and two hinged doors on the front revealing an interior with seven drawers arranged in four rows; the backs of the drop-down panel and the two doors are decorated with oil paintings on copper depicting Venus at her bath and signed by Paul BALZE (1815–1884); it rests on four small ball feet and has movable side handles. Germany, 17th century. 46 x 41 x 30 cm (normal wear and tear and restoration) Note: Jean Étienne Paul Balze (Rome 1815–Paris 1884) was the son of Joseph Balze (1781–1847), Grand Chamberlain to King Charles IV of Spain, whom he accompanied during his exile in Rome. In 1831, Paul enrolled at the École des Beaux-Arts in Paris, followed by his brother Raymond (1818–1909) in 1832. They both traveled to Rome in 1835, accompanied by their teacher Ingres, who had been appointed director of the Villa Medici. Their close relationship with the painter enabled them to secure commissions from the government, such as the copy of Raphael’s loggias in the Vatican, completed between 1835 and 1847. The brothers copied Ingres’s work and collaborated with him on some of his pieces, notably *Antiochus and Stratonice* (1840, Musée Condé, PE 432), for which they painted part of the architecture. These commissions attest to the trust Ingres placed in the two brothers and the quality of their work, to the point of entrusting them with sections of prestigious commissions. Paul Balze was interested in painting on various media. Upon his return to France, he worked for private patrons and created several decorative works for religious buildings, before being awarded the Cross of the Legion of Honor in 1873. References to Ingres can be found on this cabinet; the central panel evokes *Venus Anadyomene* (1808, Musée Condé) in the nymph’s pose, her gracefully curved body, and the presence of the putti.
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