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    


22 Compare the pose of the figure in the foreground at left in a drawing (fig. 10) by Primaticcio for the Concert, painted for the ballroom at Fontainebleau (1552-1556), by Niccolô dell' Abbate. L'École de Fontainebleau, Catalogue de l'exposition au Grand Palais (Paris: 1972-1973), no. 165. 

23 Philippe Verdier, "Enamels by Pierre Reymond and Jean III Pénicaud", Museum Monographs II (City Art Museum of St Louis: 1970), pp. 99-110, figs 9-10, see pp. 106-107. 

24 P. Verdier, Catalogue of Painted Enamels of the Renaissance, op. cit., no. 56. 

25 Acc. no. 23409, purchased in 1979. The Collection of Germain Seligman, op. cit., no.109. Former collections of Sir Anthony de Rothschild; Mortimer L. Schiff, sale at Christie's, London, 22 June 1938, no.98; John L. Schiff. 

26 P. Verdier, Catalogue of Painted Enamels of the Renaissance, op. cit., pp. xxv-xxvi. 

27 Alan shestack, "some Preliminary Drawings for Engravings by Heinrich Aldegrever," Master Drawings, VIII, 1970, pp. 141-148. 

28 The same subjects are developed: the first, around the oval belly; the second, on the shoulder of a coloured enamel ewer, signed "I. C." (with the fictitious date 1550), which was acquired by the Limoges municipal museum and later stolen. Madeleine Marcheix, "Récentes acquisitions d'émaux peints au musée municipal de Limoges," Bulletin de la société archéologique et historique du Limousin, CVII, 1980, pp. 159-172, see figs 1 and 2, pp. 160-163. The master "I. C." reproduced these subjects in coloured enamel on the shoulder of a ewer, which is now in the Frick Collection, New York, 16.4.35 (Catalogue cited, n. 28, pp. 202-206), and in grisaille on a ewer in the Taft Museum, Cincinnati, Ohio. Mention should also be made of a salt-cellar from the former Spitzer collection: C. Popelin, La Collection Spitzer, II (Paris: 1891), no. 159. 

29 On Indian heads in Renaissance art, see Philippe Verdier, assisted by Joseph Focarino, Limoges Painted Enamels, The Frick Collection, VIII (New York: 1977), p. 140 and n. 2, p. 142. 

30 see engraving by Lagnet "Le jeu ne vaut pas la chandelle," in 
H. R. d'Allemagne, Histoire du luminaire depuis l'époque romaine jusqu'au XIXe siècle (Paris: 1891), pl. 33, see p. 225. 

31 Catalogue of the Special Exhibition of Works of the Medieval, Renaissance and More Recent Periods on Loan at the South Kensington Museum, ed. J.C. Robinson, F. s. A. (June 1862), nos 1839-1840; 1842-1843; 1844-1845; 1846-1847. Nos 1844-1845 are now nos 39.66.1 and 39.66.2 at the Metropolitan Museum of Art, New York. J. G. Phillips, "Two Limoges Candlesticks," Metropolitan Museum of Art Bulletin, XXXIV (1939), pp. 138-140. 

32 No. 1841 in the exhibition of the South Kensington Museum. The Frick Collection, VIII, op. cit., pp. 107-211.

33 J. J. Marquet de Vasselot, Catalogue sommaire, op. cit, nos 683-684.

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