Snuffbox in the form of a squirrel 1756 - 1775

Editor: Here we have a porcelain snuffbox, crafted sometime between 1756 and 1775 by Johann Andreas Bechdolff. It's in the shape of a squirrel perched atop a cushion. The object's delightful and quirky but… what am I actually looking at, culturally speaking? Curator: That’s the perfect question! These ornate snuffboxes gained popularity as expressions of wealth and social status. Consider the rising prominence of tobacco use in 18th-century Europe, and its association with elite social circles. How might this context influence the production and consumption of such objects? Editor: So, the snuffbox isn’t just a functional item, but a social signifier. But why a squirrel? It seems like an odd choice for luxury. Curator: Perhaps the choice of the squirrel speaks to an appreciation for the natural world, filtered, of course, through an aristocratic lens. Think about the Rococo period's fascination with pastoral imagery. The squirrel is rendered in pristine white porcelain, elevated far beyond its wild, natural context. This is nature, domesticated and refined for elite consumption. Does the squirrel, in this context, challenge our understanding of 18th-century society? Editor: That makes me think about how these pieces ended up in museums like the Met. From aristocratic drawing rooms to public display – how does that shift in context change our perception of the snuffbox and the society that produced it? Curator: Exactly. What was once a marker of exclusivity is now a historical artifact available for public viewing, prompting us to reconsider the power dynamics embedded within its original usage. Editor: I’m now viewing it with fresh eyes, appreciating the history it carries from private luxury item to a museum artefact that allows anyone a glimpse into a lost world. Curator: And that's how a simple object can open up complex social and historical narratives!