The design of the present coffret, with its strong architectural form, low-relief emblematic figures within arcades, figural group of Venus attended by two putti and rich mixture of enamel and silver, was inspired by Renaissance prototypes.

For example, a design in the Uffizi, Florence, attributed to Perino del Vaga (circa 1530s or 1540s), shows a casket surmounted by a figural group and raised on winged bird feet (Beth L. Holman, ed., Disegno, exn cat., Hanover and London, 1997, no. 13, fig. 17).

The enamelling technique employed by Morel recalls work by such masters as David Altenstetter (circa 1547-1617) - see, for example, Timothy B. Schroder, The Art of the European Goldsmith, exn cat., New York, 1983, no. 37.

A coffret, identical to the present example, is in the collection of the Rijksmuseum, Amsterdam (see ‘Frans Zilver Uit De Tijd Van Het Historisme enkele recente aanwinsten van het Rijksmuseum belicht’. Antiek, November 1996, pp. 181-82).

Morel, the son of a Parisian lapidary, registered his own mark in 1827. From around 1834, he was chef d’atelier for Jules-Jean-Baptiste Fossin (1808-69). In 1842, he entered into partnership with Charles-Edmond Duponchel (1794-1868). At the date when it is suggested that the present coffret was manufactured, the firm was at 39, rue Neuve Saint Augustin, Paris.

At this period, Morel et Cie was particularly noted for its work in the Renaissance style. From 1848 until 1852, when he returned to France, Morel was one of several distinguished French designers and craftsmen working in London.