15929649140001312637261000Standard Recordobject-156458170966175989517096438990001709661757781fitz-onlineadlib-object-156458https://data.fitzmuseum.cam.ac.uk/id/object/156458a0946f4b-fde1-3287-848b-c60b6d2f71729referenceagent-179448adlib-agent-1794482f9707da-e89b-3501-a115-e62baaf6b7aeFountaine, Andrew IVMartin Colnaghi (1821-1908) was a nephew of Dominic Charles Colnaghi (1790–1879). In 1884 he was the proprietor of the London art dealer, Colnaghi. He was the buyer of at least fourteen lots at the Fountaine sale, see Westgarth, 2009, p. 82.referenceagent-207578adlib-agent-2075782d4b736d-af47-3add-b7a5-ed1412c08ec5Colnaghi, Martin (1821–1908)referenceagent-179456adlib-agent-1794569b692350-6f66-36f2-a448-08610bee7624Clarke, Stephensonpersonreferenceagent-149696adlib-agent-149696c1d7b5bf-63d4-3ba4-a080-9810b80bf16cChristpersonreferenceagent-179457adlib-agent-1794576a898a2d-3230-3e44-a5e6-0c3f5c494407moneylenderreferenceterm-107563adlib-term-10756338dcd825-1de1-3222-82c6-15a95729b5ffenamelsreferenceterm-125750adlib-term-1257502b10ac09-63c3-34ed-87d5-487058c1c344Limoges painted enamelsdark mulberry-brown appearing black, white, pale pink; clear counter-enamelreferenceterm-32638adlib-term-3263897b8d1a5-7b8f-3a2a-a275-7d001aeaae2benamelreferenceterm-39593adlib-term-39593e3e2a3f8-2433-3f63-9bcf-e776644d312dgoldDecorationrectangular very convex copper plaque, enamelled en grisaille and with pale pink on a black ground, and gilded. The black appears dark mulberry-brown round the edges.The technique of enlevage was used to model the figures. The reverse has cloudy, and bubbly translucent counter-enamel with many pin holes of different sizes, and red oxydization spots.dark mulberry-brown appearing black, white, pale pinkreferenceterm-28662adlib-term-28662dd47e505-ccda-3f2b-b576-6104109430e8enamellingreferenceterm-28681adlib-term-28681c1f659e2-1209-31cf-8ff4-154e11452559gildingreferenceterm-39588adlib-term-39588b17ff981-06b2-30a2-b9a9-b514fe84a191copperPlaquereferenceterm-107707adlib-term-107707cbae1ed2-5069-35db-a029-700dc23ada11Christian religionApplied Artscopper, enamelled in grisaille with Christ driving the Moneylenders from the Temple, and gilded. Signed ‘M.D.’ with a dot inside the D.Rectangular very convex copper plaque, enamelled in grisaille and with pale pink on a black ground, and gilded. The black appears dark mulberry-brown round the edges. The technique of enlevage was used to model the figures. The reverse has cloudy, and bubbly translucent counter-enamel with many pin holes of different sizes, and red oxidization spots.
The action takes place inside the temple. On the left is a doorway with a horizontal architrave, and on the right, an archway with a circular window above it. To left of centre there is a row of receding cylindrical columns and to the right on the wall, a sconce with a lighted candle. Christ stands in front of the columns, whielding a twisted rope in his right hand to drive the money lenders away. His back is turned to the viewer and he looks down towards a money lender who lies on his back on the ground at his feet, with an upturned stool table, a bag of money and a heap of gold coins beside him. Two men flee towards the arch on the right, in which are three other men, and a priest who is looking towards the action. On the left is an upturned stool, a man holding a sacrificial sheep, and three partly visible figures, one a woman, standing beside the doorway. Above the circular window there is a tabella ansata bearing the initials ‘M.D.’ with a dot inside the D. The gilding is restricted to the heap of coins, Christ’s aureole, the candle flame, and a line round the edge of the scene.M.4-19541accession numberM.4-1954156458priref156458old object numberaf 7urihttps://data.fitzmuseum.cam.ac.uk/id/object/156458https://data.fitzmuseum.cam.ac.uk/id/object/156458Rectangular label printed with ‘7’ in blackon backprinted in black7labelaf (the label) 7on back flanking the labelincisedaf 7inscriptionreferenceagent-149638adlib-agent-1496387376d833-d0a7-3be0-916e-9c892b7a24d8The Fitzwilliam MuseumGiven by Mrs Dendy Marshallreferenceagent-169195adlib-agent-169195d3a5738f-cc77-3a50-84bf-79659d5eb388Marshall, Dendy, Mrs195419541954-10-21given155015501550circa155015751157515751575enamellerreferenceagent-178519adlib-agent-178519f09950f9-7d77-35d4-aa99-ed0820ccdd27Ydieux, Martialafterprintmakerreferenceagent-39996adlib-agent-399960109fd57-0cc2-3304-9d79-0f4bb8846434Dürer, AlbrechtThe event depicted, Christ driving the Money-changers from the Temple, is described in the Gospel of St John 2, 13-16. On arriving at Jerusalem before the Passover, Jesus entered the temple and found it full of money changers and vendors of sacrificial animals. Incensed, he made a scourge and drove them out, upsetting their tables and money, and saying to the dove sellers “Take these things hence; make not my Father’s house a house of merchandise.”
The enameller, Martial Ydeux (active from the late 1540s to about 1570) was one of the finest exponents of the grisaille technique, who seems to have worked mainly on plaques. His best work is extraordinarily refined and expressive, with soft gradations of grey to white on a manganese-black ground producing painterly sfumato effects. Other plaques, also signed, have more obvious hatching and cross-hatching in the manner of an engraving, executed by enlevage through the pale upper layer to reveal the darker toned enamel below, as on the Fitzwilliam's M.3-1954, where it is particularly pronounced.
This scene was enamelled after one of the thirty-seven woodcuts in the series known as the 'Small Passion' by Albrecht Dürer (1471–1528), executed between 1509 and publication in book form in 1511, or a copy after it. The subject is not one which would stand alone well, and the plaque is therefore likely to have been part of a Passion group, which, depending on its numbers, could have been framed as an altarpiece, as polychrome Passion plaques were, or as a smaller triptych or panel for devotional use. However, no large groups of grisaille Passion plaques have survived from this period in their original frame. The most extensive group attributed to Martial Ydeux comprises ten larger plaques in the Louvre, three of which are signed in the same way as the Fitzwilliam's plaque, M.3-1954: ‘M·D·’ with I inside the D. There are several Passion plaques by Ydeux of about the same size as the Fitzwilliam's, including 'Christ washing St Peter’s Feet' (Louvre OA 4004), and 'Christ before Pilate' in the British Museum (Inv. 1913,1220.75), which could be from the same set, and can be seen on these museums' websites.referenceterm-125332adlib-term-12533276f10b5d-9bf4-36d4-b4e3-f4df05af826016th Century, third quarter#referenceterm-15498adlib-term-1549861725bf5-360f-3837-8aab-3c90b956a537literalFranceFrancecountryliteralHaute VienneHaute VienneregionLimogesDepthcm1.3Heightcm15.3Widthcm12.4referencemedia-136181adlib-media-1361818e35a7f2-c7c1-37e8-95f2-cf456aff29b7jpegaa/aa20/M_4_1954_20_281_29.jpg1heightpixels760widthpixels62916162660340381imagejpegaa/aa20/mid_M_4_1954_20_281_29.jpg1heightpixels604widthpixels50016162660340381imagejpegaa/aa20/M_4_1954_20_281_29.jpg1heightpixels760widthpixels62916162660340381imagejpegaa/aa20/preview_M_4_1954_20_281_29.jpg1heightpixels302widthpixels25016162660340381image0media
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imagereferenceterm-107484adlib-term-107484935e21d3-0b7f-3ca6-9987-b79c82e054fdplaquehistory noteAndrew Fountaine III (1770-1835); Andrew Fountaine IV (1808-1873) ; Christie’s,16 June, 1884, and following days, Catalogue of the Celebrated Fountaine Collection of Majolica, Henri II. Ware, Palissy Ware, Nevers Ware, Limoges Enamels . . . Removed from Narford Hall, Norfolk, second day, p. 34, lot 260; M. Colnaghi (£97.13.0 with lot 259). Stephenson Clarke (1824-91), Croydon Lodge, Surrey; his daughter, Mrs Dendy Marshall (née Adela Rose Clarke, 1872/3–1955).1same artistreferenceobject-156457adlib-object-1564570449fc26-c6a5-3cd3-9e77-068ded5ef20f1reference1term-107484adlib-term-107484935e21d3-0b7f-3ca6-9987-b79c82e054fdplaqueplaquereferenceagent-149638adlib-agent-1496387376d833-d0a7-3be0-916e-9c892b7a24d8The Fitzwilliam MuseumPubl. Second day, p. 34, lot 26034referencepublication-3211adlib-publication-3211fed40c31-3ea0-30bf-83ed-c01c57ecab80Catalogue of the celebrated Fountaine collection of majolika, Henry II ware, Palissy ware, Nevers ware, Limoges enamels, carvings in ivory, hone stone and rock crystal, Greek and Roman coins, ancient armour &c. &c., removed from Narford Hall, NorfolkRef. For maiolica and enamels in the Fountaine Collection. See pp. 442-3, on p. 443, nos. 22-6, 6 ‘Four square pieces from Albert Dura (sic) The passions of our Saviour like the woodcut compleat in 36 plates’. These seem likely to be the two plaques in the Fitzwilliam, and lots 261-2 bought by a different buyer at the sale in 1884 .435-47referencepublication-200001086adlib-publication-200001086508c33f0-935b-3dda-bc6b-02d7f8119b1bThe Fountaine collection of maiolicaRef. p. 118, no. 23 (119), Christ Driving the Moneylenders from the Temple from the Small Passion118referencepublication-6167adlib-publication-6167c93f7702-15df-3797-9af5-c7fd4ed9f558Illustrated Bartsch 10 Formerly Volume 7 (Part 1) Sixteenth Century German Artists Albrecht DürerRef. record no. 50 under Peintres, enlumineurs, ecrivains, mentions ‘Martial Ydeux dit le Pape possedé avant le 28 août 1553 une maison sise rue Manigne et qui a appartenu à Pierre Ydeux brodeur.’ (Limoges Hôtel de Ville, GG221, folio 79 vo)119-209referencepublication-200002187adlib-publication-200002187f9f16b05-5b20-37cd-905c-9e8c0492a734Catalogue des artistes limousinsRef. pp. 60-3, for the identification of Martial Ydeux dit le Pape60-3referencepublication-200002186adlib-publication-2000021860080317e-d6d6-3a2f-a1e1-7d9ee90ebe1aBrève hypothèse concernant un énigmatique émailleur: M.D.PAPECf. p. 115, no. OA 4004 Christ washing the Disciples Feet after Dürer's woodcut in the Small Passion, 155 x 125 mm, signed MD with I inside the D, and attributed to Martial Ydieux. The sfumato technique is very close to the Fitzwilliam's, and is of almost identical size.115referencepublication-6073adlib-publication-6073273632b3-da99-366e-9c3b-efd466467b8eLes émaux peints de Limoges. Musée du Louvre, Département des objets d'artCf. p. 256, no. 211, Christ before Pilate, 15.2 x 12.4 cm; the source p. 252, no.207g. British Museum, 1913,1220.75256referencepublication-3708adlib-publication-370840f7b9b3-b09e-3b69-8f4e-be901b2065e6Albrecht Dürer and his Legacy, The Graphic Work of a Renaissance ArtistRef. p. 82 for Martin Colnaghi82referencepublication-200003288adlib-publication-200003288e27658fe-fdab-3169-803c-9bc01c54dae3A Biographical Dictionary of 19th Century Antique & Curiosity Dealersreferenceterm-10618adlib-term-106189ebc0ae1-8cf8-312b-832c-9cf44da02136Renaissancereferenceterm-102735adlib-term-1027359ffebc71-0d53-3435-b13f-9ab850955082prayerobject namereferenceterm-100804adlib-term-1008049e0fb390-67dd-35ac-8ebe-1f9145b90880coinobject namereferenceterm-68515adlib-term-6851538643dbc-c37d-32ce-82d0-5b28cc8bbef8stoolanimalreferenceterm-106464adlib-term-1064649b682ada-9fbd-3810-953f-868aba7cfac1sheepplace typereferenceterm-61945adlib-term-619453d605b22-2259-3d22-9eec-6ec52eb8f33etemplenamed eventreferenceterm-125801adlib-term-125801545510b3-6a00-3f52-b4f9-cb7df3fa6097Christ driving the moneylenders from the TempleliteralcoincoinliteralstoolstoolliteralsheepsheepliteraltempletempleliteralChrist driving the moneylenders from the TempleChrist driving the moneylenders from the Templereferenceterm-107484adlib-term-107484935e21d3-0b7f-3ca6-9987-b79c82e054fdplaqueplaqueChrist Driving the Moneylenders from the Templeobject
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