National Gallery of Canada / Musée des beaux-arts du Canada

Annual Bulletin 6, 1982-1983 

Annual Index
Author & Subject

Four Sixteenth-Century Painted Enamels

by Philippe Verdier

Pages  1  |  2  |  3  |  4  |  5    


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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