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Four Sixteenth-Century Painted Enamels
by Philippe Verdier
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Notes
l Acc. no. 23410, purchased in 1979. Diameter: 24.5 cm. Collections:
Prince Nicholas of Romania; sale from 21-30 May 1964, Stuker Gallery, Bem,
no.162; Germain Seligman, New York (d.1978). The Collection of Germain
Seligman Paintings, Drawings and Works of Art, ed. John Richardson
(New York: 1979), no. 107.
2 Philippe Verdier, Catalogue of Painted Enamels of the Renaissance,
Walters Art Gallery (Baltimore: 1967), nos 4-6, pp. 6-8.
3 Three Great Centuries of Venetian Glass - A Special Exhibition,
Corning Museum of Glass (Coming, New York: 1958), nos 27-29, 30, 33;
Joseph Philippe, Initiation à l'histoire du verre (Liège:
1964), figs 93, 94.
4 Decorative Arts of the Italian Renaissance, catalogue of the
exhibition at the Detroit Institute of Arts, 18 November 1958 to 4 January
1959, no.416, see no.415. Donald F. Rowe, S. J., Enamels: The Xll to
the XVI
Century - Special Exhibition at Martin D'Arcy Gallery of Art (Chicago:
1970), no. 23.
5 Erich Steingraber, "Studien zur venezianischen Goldschmiedekunst des
15. Jahrhunderts," Mitteilungen des Kunsthistorischen Institutes in Florenz, X, 13, 1962, pp. 147-192, see figs 41-45; article "Émail"
in Reallexikon zur deutschen Kunstgeschichte, p. 43, fig. 30 (published
separately).
6 23143.28 x 22.5 cm. Marcus Antocolsky Collection, sale in Paris 10-12 June 1902;
no. 49, J. J. Marquet de Vasselot, in his note in the Louvre on the Crucifix-
ions of Jean II Pénicaud, ascribed the work without comment to Jean
II or Jean III Pénicaud. The National Gallery of Canada's March
1979 Calendar of Events, under "Recent Acquisition: indicated wrongly that
the enamelled plaque was "probably from the cover of a religious book."
Given the fragility of the painted enamel, this could not be the case.
However, Limoges champlevé enamels of the thirteenth and fourteenth
centuries did appear on book covers, along with figures in gilded copper.
Marie-Madeleine Gauthier, "Les reliures en émail de Limoges conservées
en France: Humanisme actif: Mélanges d'art et d'histoire offerts
à Julien Cain (Paris: 1968), pp. 271-287.
7 p. Verdier, Catalogue of the Painted Enamels of the Renaissance,
op. cit., pp. xix-xx.
8 p. Verdier, "Les émaux en grisaille de la Renaissance:
Plaisir de France (December, 1967), pp. 46-52.
9 Françoise Bodin, lean de Langeac, mécène et humaniste,"
Bulletin de la société archéologique et historique
du Limousin,
LXXXVI (1956), pp. 81-104; Madeleine Marcheix, "Plaque
émaillée de Léonard Limosin," ibid., XCVIII
(1971), pp. 198-206. This plaque, acquired by the Limoges municipal museum,
was stolen along with the entire enamels collection.
10 A "P" crowned, with a horizontal mark on the right side at the bottom of the descender.
11 Sale, Ernest Odiot, Paris, 26-27 Apri11889, no.537 Shuvalov Collection.
Trésors d'art en Russie (1902), p. 283. A. Rachoff, Album
de l'exposition rétrospective d'objets d'art de 1904 à Saint-Petersbourg, pp. 187-189, pl. xiv; O.
Dobrolonskaya, Les émaux
peints de Limoges XV et XVI siècles, Collection du Musée de
l'Ermitage (Moscow: 1969), no.17. Text in Russian, English, French,
and German.
l2 Former Gatteaux Collection; exhibited at the Musée rétrospectif
of 1865: A. Darcel, in Gazette des Beaux-Arts (1865), II, pp. 526-530. J.
J. Marquet de Vasselot, Catalogue sommaire de l'orfèvrerie,
de l'émaillerie et des gemmes du moyen âge au XVIIe siècle (Paris, Musée National du Louvre: 1914), no. 486. Bertrand Jestaz, former
curator at the Louvre's department of objets d'art and professor at the
École des Hautes Études, Paris, was kind enough to inform
me that Marquet de Vasselot, in one of his notes left to the Louvre on
Renaissance enamels, expressed doubts as to the authenticity of the signature.
13 Lucien Cottreau Collection, sale in Paris, 28-29 April 1910, no. 60.
M. Hamel, "La Collection Cottreau: Les Arts, no. 100 (April: 1910),
figure, p. 14; P. Verdier, Catalogue of Painted Enamels of the Renaissance,
op. cit., no.49, p. 100.
14 Emile Molinier, Collections du château de Goluchow (Paris:
1903), no. 214.
15 A number of curved plaques, designed to be inserted in paxes, were
enamelled in the Pénicaud studio. One of these, a grisaille work,
executed around 1535-1540, is in the Walters Art Gallery. P. Verdier, Catalogue
of Painted Enamels of the Renaissance, no. 46.
16 Another example is the Transfiguration enamel in the Cluny Museum,
Paris (no.14735).
17 In a letter dated 27 March 1979 to the author, the curator of the
ceramics department at the Victoria and Albert Museum, Roger Pinkham, attributed
the enamelled base to Martin Didier, known as "Pape," a Limoges enameller
of the third-quarter of the sixteenth century. I cannot agree. The medallions
on the enamelled base are delicately modelled in transparent gray shades,
while the enamels of M. D. Pape, by their pronounced contrasts of black
and white, give the appearance of having been etched.
18 This was verified by Roger Pinkham, at the Victoria and Albert Museum,
as Gabrielle Kopelman informed me in a letter dated 8 November 1978.
19 0. Dobrolonskaya, Les émaux peints de Limoges, op. cit., no. 18.
20 The French Renaissance Enamels by the Master KIP and Related
Works by Contemporary Limoges Enamellers, see pp. 121-122. On this
remarkable thesis, see Philippe Verdier in Nouvelles de l'estampe
(Paris, no.60: 1981), p. 50.
21 J. J. Marquet de Vasselot, Catalogue sommaire, op. cit., nos
494, 496-498.
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