A silver filigree and polychrome enamel casket, unmarked, probably Sumatra, circa 1700

A similar casket with the same enamel flower motifs and other enameled ornament in Chinese style was sold Christies Amsterdam, 15-16 December 2008, lot 275. At the time it was catalogued as mid-18th century Chinese export, a description revised in 2014 to West Sumatra, Indonesia, circa 1700. This latter ascription appears on p. 122 of the publication, Asian Art and Dutch Taste, produced in conjunction with an exhibition at the Gemeentemuseum in the Hague, 5th April-26th October, 2014, authored by Jan Veenendaal.  Veenendaal distinguishes between the technical styles of  Indian,  Philippine, Chinese and Sumatran filigree, arguing that the west coast of the latter,  was known in the 17th and 18th century from inventories and from an 18th century eye-witness report as the most important center for production of gold and silver filigree in the region. The filigree style on this casket fits the description given by Veenendaal to distinguish Sumatran work from elsewhere as '..composed of curls...generally interspersed with little ovals. The arrangement looks like a tiny plant with two leaves and a flower (see detail) ...sometimes floral motifs were soldered on top of the filigree surfaces and filled with green enamel. The enamelling was probably done in Batavia since the town had a reputation for it. (Batavia was in nearby Jarva and capital of the Dutch East India company). The four distinctive bun-shape pin heads retaining the lock, set on filigree zig-zag 'ladders'  is also a feature of filigree caskets ascribed to Sumatra. The silversmiths of Sumatra tailored the style of work to the market they were selling into, whether Chinese, Indian or European It is possible that the casket was at one time fitted with tea caddies, such as an example with caddies marked by Reynier Brandt, Amsterdam, 1754 sold Christies Amsterdam, 27 April 2004 lot 251.