Collection of twenty three jewellery designs on twenty two sheets, second half of the 18th century

Comprising: twenty three designs in pen and ink wash on laid paper on twenty two sheets, including one sheet with design to the obverse and reverse, some bearing Amsterdam watermark, each measuring approximately 380mm x 240mm, folio.

Overall good condition, with some light staining commensurate with age. All but three possibly dis-bound from an album. Three with signs of being trimmed.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Please note that colour, clarity and weight of gemstones are statements of opinion only and not statements of fact by Sotheby's. We do not guarantee, and are not responsible for any certificate from a gemological laboratory that may accompany the property. We do not guarantee that watches are in working order. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue, in particular to the Notice regarding the treatment and condition of gemstones and to the Notice regarding import of Burmese jadeite and rubies into the US.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The first Nine drawings contain jewellery designs in the Rococo taste from the third quarter of the eighteenth century. Displaying an asymmetrical, serendipitous flavour, they typify the light and open designs of the period. Utilizing flowers, leaves, ribbons and tassels, the format would suggest that they were assembled for potential distribution to goldsmiths. In addition it is probable that they are drawn life size. They bear similarities to designs illustrated by P. Pouget, Traité des Pierres Précieuses (Paris 1762 and 1764) and by  T. Saint , Niew Boek van Teekeninge , Voor Juweliers, geteekent En in’t koper gebragt Door (1770). While the remaining fourteen designs, mostly bearing an 18^th century watermark for Amsterdam, show parallels with Van der Cruycen, (1770) Pouget ( 1762, 1764) and Duflos (1762 )

With thanks to Diana Scarisbrick and Morton & Eden.

The first nine drawings

Each of the first nine drawings depict the following:

The first contains a series of aigrettes, one containing a blindfolded cupid, three naturalistic jewels and a button, which could be placed on the bodice, sleeve or hat.

The second two crowned miniature frames and two romantic jewels, applied with hearts and doves.

The third with a miniature frame and bowknots.

The fourth design for an impressive stomacher.

The fifth an impressive aigrette of flowers, bowknot and tassel, which would have been a spectacular ornament to the elaborate hairstyles of the later decades of the eighteenth century, a bowknot and flower jewels.

The sixth designs for a miniature case with military trophy surmount buttons and buckle.

The seventh designs for a bouquet for wearing on the bodice or hair, top and drop earrings and pendants.

The eighth another military trophy miniature frame, pendants and giardinetti motifs and the ninth with miniature trophy miniature frame and four bouquet designs for the hair or bodice.

The remaining fourteen designs

In the remaining fourteen designs, flowers and ribbons appear heavily, while the mixing of various categories suggests the use of space economically for intended publication.

Unlike the first nine drawings they contain designs for both women: aigrettes, combs, earrings, brooches, buttons and buckles; and men: hat loops, shoulder knots, sword hilts, snuff boxes and insignia.

The first contains designs for The Order of the White Eagle of Poland and the Order of Malta with a suggested foliate surmount.

The second a fantastical design for the Order of the Golden Fleece incorporating a mythological dragon as a surmount, along with comb and bow knot. These designs indicate through comparison, that they are by Vander Cruycen.

The third sword hilts and further suggested surmounts for Orders and the fourth two portrait miniature frames with crown surmounts.

The remaining designs contain suggestions for girandole earrings, necklaces, chatelaines and a snuff box.

The strong stylistic similarities of the drawings to known designs by Van der Cruycen confirms him as the likely author. Of particular note is the drawing of the Order of the Golden Fleece, which is identical to a drawing by Van der Cruycen held in the MAK Museum for Applied Arts Vienna. The remaining drawings also bear strong similarities to known works by Van der Cruycen held in the Brussels Royal Library and the Victoria and Albert Museums, dated to the 1770s.

With thanks to Diana Scarisbrick and Morton & Eden.