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Clarke"}],"component":[{"materials":[{"note":[{"value":"translucent blue, turquoise, green, yellow, mulberry, red, flesh pink, opaque white and black"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-32638","uid":"adlib-term-32638","uuid":"97b8d1a5-7b8f-3a2a-a275-7d001aeaae2b"},"summary_title":"enamel"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28681","uid":"adlib-term-28681","uuid":"c1f659e2-1209-31cf-8ff4-154e11452559"},"summary_title":"gilding"}}],"name":"Decoration","techniques":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28681","uid":"adlib-term-28681","uuid":"c1f659e2-1209-31cf-8ff4-154e11452559"},"summary_title":"gilding"}}]},{"name":"Decorating","techniques":[{"note":[{"value":"translucent blue, turquoise, green, yellow, mulberry, red, flesh pink, opaque white and black"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28662","uid":"adlib-term-28662","uuid":"dd47e505-ccda-3f2b-b576-6104109430e8"},"summary_title":"enamelling"}}]}],"content":{"motifs":[{"@link":{"type":"reference"},"admin":{"id":"term-110523","uid":"adlib-term-110523","uuid":"d1291b77-5525-36c4-9cec-9f651a7a76a9"},"summary_title":"bible"}]},"department":{"value":"Applied Arts"},"description":[{"value":"Copper, the front enamelled in polychrome, partly over silver paillons, and gilded with Joseph reconciled to his brothers embracing Benjamin, and the back in grisaille with a radiating design of terms and torches linked by strapwork. Signed \"I.C.\" in black on white strapwork below one of the torches."},{"value":"Circular copper plate with slightly raised applied edge, narrow sloping rim, shallow curved sides (cavetto), and almost flat centre. On the reverse, there are a series of irregularly placed small holes in the enamel at the junction of the rim and well. The plate has a manganese-black ground. The polychrome design in the well is enamelled over a white layer in translucent bright blue, turquoise, green, yellow, mulberry, and red, with silver foils under the costume and carpet, and in black, opaque white and flesh pink, enhanced by gilding. The reverse is painted in grisaille with flesh pink, and gilding. The well is decorated with Joseph reconciled to his brothers embracing Benjamin. The action takes place in a townscape with on the right, a tower with a buttress; in the middle an arcade with a domed circular building behind it, and on the left a building with a balcony over the doorway. In the foreground there is a blue pavement with tiles decorated in gold with a circular motifs and stylized flower heads. Joseph stands on the right embracing one of his brothers, probably Benjamin, the other ten kneel in the centre. A purple greyhound crouches in the foreground. On the left, Pharaoh sits or stands on a balcony with a red rug hanging from it, and below there are two small standing figures in a doorway and two more approaching them The sky is inscribed in gold \"G.XLV.\" The sides are decorated with gold foliated scrolls with two narrow bold bands below. Above, a band of copper is visible through the enamel. The rim is decorated with two different female masks with draped fabric headdresses, and two different male masks with large ears and earrings, separated by pairs of tritons with tablets on their tails flanking turquoise two-handled vases, with sprays of gold foliage in the background and a very narrow gold band next to the white rim.\nThe reverse is painted in grisaille and flesh-pink with three terms and three flaming torches linked by scrolling strapwork on a black ground decorated with gold ara\\'acbesques and scrolls. On the rim between pairs of gold bands there is a wreath of gold laurel leaves and berries. On the strapwork are the initials '\"I.C\""}],"exhibitions":[{"@link":{"catalogue":"2568","type":"reference"},"admin":{"id":"exhibition-2249","uid":"adlib-exhibition-2249","uuid":"547b6a0d-a51d-3449-bcac-f9bc675d6f4b"},"summary_title":"Mus\u00e9e r\u00e9trospectif"},{"@link":{"catalogue":"3060 one of four plates","type":"reference"},"admin":{"id":"exhibition-2250","uid":"adlib-exhibition-2250","uuid":"84fa0414-bb62-3cb1-bc3b-7b3c7527322b"},"summary_title":"Exposition Universelle de 1867"}],"identifier":[{"accession_number":"M.115A-1961","primary":true,"type":"accession number","value":"M.115A-1961"},{"priref":"139826","type":"priref","value":"139826"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139826","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139826"}],"inscription":[{"location":"on front in sky","method":"painted in gold","transcription":[{"value":".G.XLV."}],"type":"inscription"},{"location":"on back on white strapwork below one of the torches","method":"painted in black","transcription":[{"value":".I .C."}],"type":"initials"},{"description":[{"value":"rectangular with cut corners, printed in black with a line border"}],"location":"on back","method":"printed in black and hand-written in black ink","transcription":[{"value":"UNION\/ CENTRALE with between the words in black ink 124\/2787"}],"type":"label"},{"description":[{"value":"circular paper label"}],"location":"on back","method":"printed in blue and hand-written in pencil","transcription":[{"value":"11\/4"}],"type":"label"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Louis.C.G. Clarke Bequest, 1960"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-149875","uid":"adlib-agent-149875","uuid":"89f52d0e-b912-3dc9-8b2c-61d6aa011b16"},"summary_title":"Clarke, Louis Colville Gray"}],"date":[{"earliest":1961,"latest":1961,"value":"1961-04-27"}],"method":{"value":"bequeathed"},"note":[{"value":"Louis Clarke died on 13 December 1960"}]}],"creation":[{"date":[{"earliest":1585,"from":{"earliest":1585,"era":["CE"],"latest":1585,"precision":"circa","value":"1585"},"latest":1600,"note":[{"value":"the date is presumably after 1564 when 'Figures de la Bible' was published; there is a lack of dated examples of late 16th century polychrome enamelling over paillons, but it is generally regarded as coming into fashion after c. 1575\/80 and continuing into the seventeenth century"}],"range":true,"to":{"earliest":1600,"era":["CE"],"latest":1600,"precision":"circa","value":"1600"}}],"maker":[{"@link":{"qualifier":"possibly","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-180599","uid":"adlib-agent-180599","uuid":"01cc9b0b-f6a4-3faa-b356-ba4da3ba8987"},"summary_title":"Court dit Vigier, Jean I"},{"@link":{"qualifier":"possibly","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-186766","uid":"adlib-agent-186766","uuid":"9842ea2f-a073-3f9e-a28e-a1ca7001b3df"},"summary_title":"Court dit Vigier, Jean II"}],"note":[{"value":"The Biblical story of Joseph told in Genesis, was a common theme for the decoration of domestic objects in France in the second half of the 16th century. Limoges enamellers decorated caskets, ewers, dishes, and small plates with Joseph scenes. Although no complete sets are known, this plate was probably one of a set of twelve each decorated with a different event in the story, beginning when Joseph was already the slave of Potifar in Egypt, and extending from his rejection of the enticements of Potiphar\u2019s wife (Genesis 39.7) to his reconciliation with his brothers (Genesis 45.14-16). Ten of the scenes were closely based on Bernard Salomon's woodcut illustrations to Claude Paradin\u2019s 'Quadrins historiques de la Bible', first published by Jean de Tournes in Lyon in 1553. An augmented edition appeared in 1555, reprinted in 1558 and 1560, and another augmented edition in 1583. Each page had the biblical reference at the top, a woodcut, and an explanatory verse below. Another work of the same type, Guillaume Gu\u00e9roult\u2019s 'Figures de la Bible illustr\u00e9es de huictains francoys . . . (Guillaume Roville), Lyons, 1564 (2nd edn, 1565), with illustrations by Pierre Eskrich was used for the 7th and 10th plates in the series, and the 12th has aspects from the woodcuts in both publications. These books can be viewed online in the Gallica website of the Biblioth\u00e8que nationale.\n\nThis plate is decorated with the last scene in the series which occurs in Genesis 45. Joseph is shown with his brothers, rejoicing and weeping over them, and is embracing one, probably Benjamin, as mentioned in the Bible story. The scene was copied  from the woodcut titled \u2018GENESE XLV\u2019.by Bernard Salomon in Claude Paradin\u2019s, Quadrins Historique de la Bible, Lyon, 1553, or a later edition. However, the tower on the right, with its arched buttress, was taken from Pierre Eskrich's woodcut in Guillaume Gu\u00e9roult\u2019s 'Figures de la Bible illustr\u00e9es de huictains francoys . . .' (Guillaume Roville), Lyons, 1564 or 1565. In Quadrins historiques ... , the previous scene shows Joseph enthroned revealing his identity to the brothers, but the scene on the plate has usually been described as if it were that.  At least two more and possibly further plates decorated with this subject are known: a 20 cm plate also initialled I.C. on the back, was in the Rev. A.H.S. Barwell\u2019s bequest to the British Museum  (1913,1220.59), and another, 19.8 cm in diameter bequeathed by William G. Mather to the Cleveland Museum of Art, Ohio (1951.326), possibly the plate decorated with this subject formerly in the Marlborough, Spitzer, and J.E. Taylor Collections. Although this plate was in the same collection as M.115B-1961 in the nineteenth century, it is unlikely to have been from the same set originally, because it has a different ground colour.\n\nThe overall appearance of these plates, the border on the fronts,  and the style of grisaille decoration on the reverses, is comparable to a set of plates decorated with scenes from the Life of the Virgin signed' I.C.' . These have the de Vic arms below on the rims, probably for M\u00e9ry de Vic (d. 1622), who had been resident in Limoges as intendant during 1588 and 1589, while on a mission to restore order in the region for Henry III, and after his assassination in August 1589, had transferred his allegiance to Henry IV. It seems possible that the plates were made about that time, and if not, before 1603 when a change was made to the de Vic arms. \n\nThe initials \u2018I\u2022C\u2019 occur on a great many enamels made during the second half of the 16th and early 17th century. It therefore seems likely to have been a workshop mark used succesively by  members of the Court family. These were Jehan or Jean Court dit Vigier I (d. 1592) and his son, Jean Court dit Vigier II (b. c.1575-d. between 1631-5);  and a relative, Jehan Court le jeune who married in 1613, and  died between 1627-31, may also have used the mark, but was probably too young to have decorated the 'Joseph Plates'. (See Documentation, Beyssi-Cassan, 2006)"}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-126849","uid":"adlib-term-126849","uuid":"12adb53f-3133-3826-9950-cb457b8a568d"},"summary_title":"16th Century, Late-17th Century, Early"},{"@link":{"type":"reference"},"admin":{"id":"term-132649","uid":"adlib-term-132649","uuid":"059150e1-460a-3bf6-947f-a61ea03afc79"},"summary_title":"Henry III of France"},{"@link":{"type":"reference"},"admin":{"id":"term-132648","uid":"adlib-term-132648","uuid":"1c7f979e-d0e3-379b-8d64-a83e1fef8ced"},"summary_title":"Henry IV of France"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-15498","uid":"adlib-term-15498","uuid":"61725bf5-360f-3837-8aab-3c90b956a537"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"France"}],"summary_title":"France","type":"country"},{"@link":{"type":"literal"},"name":[{"value":"Haute Vienne"}],"summary_title":"Haute 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Burns, Esq.,, North Mymms Park, Herts; Mrs Walter Burns; sold Christie's, 28 June 1935, Catalogue of highly important enamels, faience and majolica and works of art, the property of Mrs. Walter Burns (from the Collection of the late Walter S. Burns, Esq.) p. 5, lot 11, part III. Louis C.G. Clarke, MA, LL.D. 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Painted in dark blue, pale blue, pale green, yellow, orange, and opaque white."}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-120059","uid":"adlib-term-120059","uuid":"dfa315b5-819d-37ab-ab22-bddfdbb3cbe7"},"summary_title":"tin-glazing"}}],"type":{"base":"object","type":"OBJECT"}}},{"_index":"ciim","_type":"data","_id":"adlib-object-156461","_score":18.5682,"_source":{"admin":{"added":1592999776000,"created":1312637261000,"flag":"Standard Record","id":"object-156461","indexed":1755194558979,"modified":1730836765000,"processed":1755194515997,"source":"adlib","stream":"fitz-online","uid":"adlib-object-156461","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156461","uuid":"a5821ff5-0e9f-3506-b562-6073ee63e047","version":9},"agents":[{"@link":{"note":[{"value":"Baron Gustave de Rothschild (1829-1911), Paris"}],"type":"reference"},"admin":{"id":"agent-179479","uid":"adlib-agent-179479","uuid":"bcd7b9cc-879f-37ac-90a7-2097d525fb8b"},"summary_title":"Rothschild, Gustave de, Baron"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-10447","uid":"adlib-agent-10447","uuid":"245a8fdb-51ba-3c70-9445-c5772e95db78"},"summary_title":"Benjamin"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-150844","uid":"adlib-agent-150844","uuid":"377f5a5d-87d0-3cbc-a198-d6a4d293d69f"},"summary_title":"Jacob"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-149957","uid":"adlib-agent-149957","uuid":"593b52e1-d697-3d1d-814b-a17d4bee42ad"},"summary_title":"baby"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-149742","uid":"adlib-agent-149742","uuid":"1d4d164f-45d5-3cec-ad71-bbc83cea9b86"},"summary_title":"woman"}],"categories":[{"@link":{"type":"reference"},"admin":{"id":"term-107563","uid":"adlib-term-107563","uuid":"38dcd825-1de1-3222-82c6-15a95729b5ff"},"summary_title":"enamels"},{"@link":{"type":"reference"},"admin":{"id":"term-125750","uid":"adlib-term-125750","uuid":"2b10ac09-63c3-34ed-87d5-487058c1c344"},"summary_title":"Limoges painted enamels"}],"collection":[{"@link":{"type":"reference"},"admin":{"id":"term-117089","uid":"adlib-term-117089","uuid":"70d59fbc-64f7-304e-a336-bf6d65a433a8"},"summary_title":"Louis C. 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Round the junction of the rim and well on the back there are a series of holes in the enamel left by supports during firing.The plate has a dark blue ground. The design in the well is enamelled over a white layer in dark blue, translucent blue, turquoise, green, yellow, red, mulberry, and brown with silver foils (paillons) under the costume, and in black, opaque white, flesh-pink, and opaque white, enhanced with gilding. The sides are decorated in gold over the dark blue ground. The motifs on the rim are executed in translucent enamels over foils and in flesh-pink, white and grey over a white ground, reserved in a dark blue ground with gilt ornament. The reverse is enamelled  in grisaille and with flesh pink, and gilding. \nThe well is decorated with Joseph's brother's showing Jacob that their money has been returned to them in their sacks of grain. The action takes place out of doors, with two buildings in the background to right, a landscape with a stream on the left, and a path and two bushes in the foreground. A woman holding a baby in her arms and another woman stand on the right with a small sack in front of them. Benjamin stands beside his father, Jacob, who is seated in a chair. To the left, there is a sack lying sideways on the ground, and two more upright, which are being searched by two of the brothers. Six more of them stand behind them, one raising his arms in a gesture of surprise. In the sky above, in gold, is \".G.XLII\"  with below it, gold rays streaming down towards Benjamin. The sides are decorated with gold foliated scrolls on a dark blue ground, and on the rim, two different male and two different female masks, separated by tritons with tablets over their scrolling tails flanking jewels, with gold foliated sprays on a black ground. The edge is white.\nThe reverse is  painted in grisaille and flesh pink with two female terms and one male [?] term and three torches without flames linked by strapwork. The dark blue ground is decorated with gold sprays and foliate scrolls. On the rim there is a wreath of gold leaves and berries between pairs of gold bands. On the back, \"I.C\" in black on white strapwork below one of the torches."}],"exhibitions":[{"@link":{"catalogue":"2569","type":"reference"},"admin":{"id":"exhibition-2249","uid":"adlib-exhibition-2249","uuid":"547b6a0d-a51d-3449-bcac-f9bc675d6f4b"},"summary_title":"Mus\u00e9e r\u00e9trospectif"},{"@link":{"catalogue":"3060, one of four plates","type":"reference"},"admin":{"id":"exhibition-2250","uid":"adlib-exhibition-2250","uuid":"84fa0414-bb62-3cb1-bc3b-7b3c7527322b"},"summary_title":"Exposition Universelle de 1867"}],"identifier":[{"accession_number":"M.115B-1961","primary":true,"type":"accession number","value":"M.115B-1961"},{"priref":"156461","type":"priref","value":"156461"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156461","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156461"}],"inscription":[{"location":"on front in sky","method":"painted in gold","transcription":[{"value":".G.XLII"}],"type":"inscription"},{"location":"on back on white strapwork below one of the torches","method":"painted in black","transcription":[{"value":".I . C."}],"type":"initials"},{"description":[{"value":"rectangular paper label with cut corners"}],"location":"on back of rim","method":"printed in black and hand-written in faded black ink","transcription":[{"value":"UNION\/CENTRALE\u2019 printed in black, with between the words in faded black ink, 124\/2788"}],"type":"label"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Louis.C.G. Clarke Bequest, 1960"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-149875","uid":"adlib-agent-149875","uuid":"89f52d0e-b912-3dc9-8b2c-61d6aa011b16"},"summary_title":"Clarke, Louis Colville Gray"}],"date":[{"earliest":1961,"latest":1961,"value":"1961-04-27"}],"method":{"value":"bequeathed"},"note":[{"value":"The typed inventory of Louis Clarke\u2019s house, Leckhampton made by Sotheby's in October 1948, bears a handwritten note that this and C.115A-1961 were \u2018Formerly in Coll. of Gustave Rothschild\u2019 which was inherited by Sir Philip Sassoon and the Countess of Rocksavage.  The Museum\u2019s copy of the Christie\u2019s catalogue of their sale held on 26 November 1919 bears a note below lot 63, a set of four plates. \u2018Two of these now in Mallet bequest to Ashmolean, the other two to L.C. G.C\u2019 (indistinctly)."}]}],"creation":[{"date":[{"earliest":1585,"from":{"earliest":1585,"era":["CE"],"latest":1585,"precision":"circa","value":"1585"},"latest":1600,"range":true,"to":{"earliest":1600,"era":["CE"],"latest":1600,"value":"1600"}}],"maker":[{"@link":{"qualifier":"possibly","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-180599","uid":"adlib-agent-180599","uuid":"01cc9b0b-f6a4-3faa-b356-ba4da3ba8987"},"summary_title":"Court dit Vigier, Jean I"},{"@link":{"qualifier":"possibly","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-186766","uid":"adlib-agent-186766","uuid":"9842ea2f-a073-3f9e-a28e-a1ca7001b3df"},"summary_title":"Court dit Vigier, Jean II"}],"note":[{"value":"The Biblical story of Joseph told in Genesis, was a common theme for the decoration of domestic objects in France in the second half of the 16th century. Limoges enamellers decorated caskets, ewers, dishes, and small plates with Joseph scenes. Although no complete sets are known, this plate was probably one of a set of twelve each decorated with a different event in the story, beginning when Joseph was already the slave of Potifar in Egypt, and extending from his rejection of the enticements of Potiphar\u2019s wife (Genesis 39.7) to his reconciliation with his brothers (Genesis 45.14-16). Ten of the scenes were closely based on Bernard Salomon's woodcut illustrations to Claude Paradin\u2019s 'Quadrins historiques de la Bible', first published by Jean de Tournes in Lyon in 1553. An augmented edition appeared in 1555, reprinted in 1558 and 1560, and another augmented edition in 1583. Each page had the biblical reference at the top, a woodcut, and an explanatory verse below. Another work of the same type, Guillaume Gu\u00e9roult\u2019s 'Figures de la Bible illustr\u00e9es de huictains francoys . . . (Guillaume Roville), Lyons, 1564 (2nd edn, 1565), with illustrations by Pierre Vase\/Eskrich was used for the 7th and 10th plates in the series, and the 12th has aspects from the woodcuts in both publications. These books can be seen online in the website Gallica of the Biblioth\u00e8que nationale. The story of Joseph was also recounted at length by the Jewish historian, Flavius Josephus (c. 37 BC - after 100 AD), in his Antiquities of the Jews, Book II, II\u2013VII. This work was widely read in sixteenth-century France, and the Lyon edition of 1562, 'l\u2019Histoire de Fl. Josephe, Sacrificateur Hebrieu', translated by Fran\u00e7ois Bourgoing, and printed by Jean Temporal for Jean de Tournes, illustrates the part of Joseph\u2019s story which appears on the Limoges plates with Salomon\u2019s twelve woodcuts for those scenes, but without the biblical reference. It is therefore possible that the enameller could have used that rather than 'Quadrins historique de la Bible'. \n\nThis subject, the ninth in the sequence, was taken from the Book of Genesis 42  Joseph\u2019s brothers returned home to their father Jacob, having left Simeon behind in Egypt as a hostage. When they unpacked their sacks of grain, they discover that their money has been returned to them in their sacks.  The scene was after the woodcut titled GENESE XLII\u2019 by Bernard Salomon in Claude Paradin\u2019s, Quadrins Historique de la Bible, Lyon (Jean de Tournes), 1553 or a later edition. The plate was misidentified in the catalogue of the 1865 Mus\u00e9e retorspectif as Joseph selling corn to his brothers, and later as the Betrayal of Benjamin, and as the Finding of the Cup in Benjamin's Sack, which occur later in the story.Another plate decorated with this subject formerly belonged to Baron Ferdinand Anselm de Rothschild (1839-98), and is part of the Waddesdon Bequest in the British Museum (WB34) (see Documentation)\n\nThe plate has a blue ground, like those in a part set of six plates in the Louvre, which were acquired in 1794 having been seized for the state in 1793 from the collection of Louis-Hercule-Timol\u00e9on, duc de Brissac (1734-1792) then in the h\u00f4tel Talleyrand-P\u00e9ricord. The plates in that group however, are a little larger than this plate, 20.2 cm in diameter, and have different border designs on the rim, so although this subject is missing from that set (if it originally had twelve plates), the plate seems unlikely to have been part of it.\n\nThe overall appearance of these plates, the border on the fronts,  and the style of grisaille decoration on the reverses, is comparable to a set of plates decorated with scenes from the Life of the Virgin signed' I.C.' . These have the de Vic arms below on the rims, probably for M\u00e9ry de Vic (d. 1622), who had been resident in Limoges as intendant during 1588 and 1589, while on a mission to restore order in the region for Henry III, and after his assassination in August 1589, had transferred his allegiance to Henry IV. It seems likely that the plates were made about that time, and if not, before 1603 when a change was made to the de Vic arms.\n\nThe initials \u2018'I\u2022C.\u2019 occur on a great many Limoges enamels made during the second half of the 16th and early seventeenth century. The plate therefore seems likely to have been a workshop mark used successively by members of the Court family. These were Jehan\/Jean Court dit Vigier I (d. 1592), whose earliest known signed work was dated 1555, and his son, Jean Court dit Vigier II (b. c.1575; d. between 1631-5); a Jehan\/Jean de Court who witnessed the latter's wedding in 1598, and was therefore probably a relative (if he were an enameller which is not certain), and a related enameller, Jehan\/Jean Court dit Vigier le jeune who married in 1613, and  died between 1627-31. (See Documentation, Beyssi-Cassan, 2006)."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-126849","uid":"adlib-term-126849","uuid":"12adb53f-3133-3826-9950-cb457b8a568d"},"summary_title":"16th Century, Late-17th Century, Early"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-15498","uid":"adlib-term-15498","uuid":"61725bf5-360f-3837-8aab-3c90b956a537"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"France"}],"summary_title":"France","type":"country"},{"@link":{"type":"literal"},"name":[{"value":"Haute Vienne"}],"summary_title":"Haute 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Burns, Esq., North Mymms Park, Herts; Mrs Walter Burns; Christie's, 28 June 1935, Catalogue of highly important enamels, faience and majolica and works of art, the property of Mrs Walter Burns (from the Collection of the late Walter S. Burns, Esq.) . . . . , lot 11, III; Louis C.G. 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Palais de l\u2019Industrie, Mus\u00e9e R\u00e9trospectif. Catalogue des objets d\u2019art et de curiosit\u00e9 expos\u00e9s au Mus\u00e9e R\u00e9trospectif ouvert au Palais de l\u2019Industrie en 1865"},{"@link":{"notes":"Publ. p. 8, part of lot 63.","page":"8","type":"reference"},"admin":{"id":"publication-3368","uid":"adlib-publication-3368","uuid":"25bf3f5d-bed3-3ace-8564-2a821cb84557"},"summary_title":"Catalogue of objects of art, porcelain and faience and fine French tapestry, the property of Sir Philip Sassoon Bart, MP, CMG and the Countess of Rocksavage of 25 Park Lane"},{"@link":{"type":"reference"},"admin":{"id":"publication-7027","uid":"adlib-publication-7027","uuid":"dedd6fca-e6f1-3dc8-981d-826b32b77670"},"summary_title":"Catalogue of highly important enamels, faience and majolica and works of art, the property of Mrs. Walter Burns (from the Collection of the late Walter S. 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XLIII with a dark blue ground, and almost similar design on the reverse, This plate was formerly in the F. von Parpart collection, sold Rudolph Lepke, Berlin, 13.3.1912, lot 70.","page":"64-7","type":"reference"},"admin":{"id":"publication-6646","uid":"adlib-publication-6646","uuid":"bfa1def3-4b7b-3cb9-8f6f-39df95e8cd3d"},"summary_title":"Emaux de Limoges de la Renaissance provenant de la collection de M. Hubert de Givenchy"},{"@link":{"notes":"Ref. pp. 378-80, nos. 5 , 6 and 7, for biographical information for the Court dit Vigier family","page":"378-80","type":"reference"},"admin":{"id":"publication-6116","uid":"adlib-publication-6116","uuid":"bbff1ced-945e-3b6f-8556-b6eedf278dea"},"summary_title":"Le m\u00e9tier d\u2019\u00e9mailleur \u00e0 Limoges, XVIe-XVIIe si\u00e8cle"},{"@link":{"notes":"Cf. p. 228-9, lot 533, the plate from the Givenchy Collection, attributed to Jean Court, c. 1600.","page":"228-9","type":"reference"},"admin":{"id":"publication-6431","uid":"adlib-publication-6431","uuid":"33b5e1a9-43d8-3747-bc67-a541758ebd9e"},"summary_title":"Collection Yves Saint Laurent et Pierre Berg\u00e9, Sculptures, Objets d'Art, Art d'Asie, Arch\u00e9ologie et Mobilier"},{"@link":{"notes":"Ref. p. 311, for a list of plates with Joseph subjects. The Fitzwilliam's plate with its old title, The Finding of Silver in Benjamin's Sack is listed as M.1. For two other subjects, see pp. 302-06, no. 80, Joseph Storing Grain, and pp. 307-10, no. 81, Joseph Taken Prisoner. The author dates these from 1675-1600.","page":"311","type":"reference"},"admin":{"id":"publication-7299","uid":"adlib-publication-7299","uuid":"6f4a68e9-f500-30d4-b9dd-88b93e40816a"},"summary_title":"The Wallace Collection, Catalogue of Glass and Limoges Painted Enamels"},{"@link":{"notes":"Ref. 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The sides are decorated in gold on a dark blue ground. The motifs on the rim are executed in translucent enamels over foils and in flesh-pink, white and grey over a white ground, reserved in a dark blue ground with gilt ornament. The reverse has a dark blue ground, painted in grisaille and with flesh pink, and gold. Round the junction of the rim and well on the back there are a series of holes in the enamel."}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28810","uid":"adlib-term-28810","uuid":"c6a00cef-33f7-3107-8666-d791bd49707c"},"summary_title":"raising (metal forming process)"}}],"title":[{"value":"Joseph's brothers find their money returned to them in their sacks"}],"type":{"base":"object","type":"OBJECT"}}},{"_index":"ciim","_type":"data","_id":"adlib-object-139821","_score":18.5682,"_source":{"admin":{"added":1592999766000,"created":1312637261000,"flag":"Standard Record","id":"object-139821","indexed":1755194595306,"modified":1754040044000,"processed":1755194515997,"source":"adlib","stream":"fitz-online","uid":"adlib-object-139821","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139821","uuid":"9bb41660-bb94-3d80-bbf3-85dae673b4a5","version":14},"agents":[{"@link":{"note":[{"value":"Gustave Samuel James de Rothschild (1829-1911) was born in and died at Paris."}],"type":"reference"},"admin":{"id":"agent-179460","uid":"adlib-agent-179460","uuid":"0ea9f5cf-d4e0-3495-9bfd-d75b8f6b575c"},"summary_title":"Rothschild, Gustave de"},{"@link":{"note":[{"value":"Sir Philip Albert Gustave David Sassoon, 3rd Baronet, GBE, CMG (4 December 1888-3 June 1939) was a grandson of Gustave de Rothschild, through his mother Aline Caroline de Rothschild (1867-1909). He owned a houses in Park Lane,  Port Lympne, Kent and Trent Park, Cockfosters, north London."}],"type":"reference"},"admin":{"id":"agent-179459","uid":"adlib-agent-179459","uuid":"2566bf7f-b118-35af-8c23-4cc23995bb4b"},"summary_title":"Sassoon, Philip, Sir"},{"@link":{"type":"reference"},"admin":{"id":"agent-179458","uid":"adlib-agent-179458","uuid":"d77ef210-8e40-3c66-885e-359cad2b3525"},"summary_title":"Durlacher, George"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-410","uid":"adlib-agent-410","uuid":"e4a0126f-5620-36a5-86f3-fc0eef3d6fd0"},"summary_title":"Adam"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-149828","uid":"adlib-agent-149828","uuid":"c267f1be-fe9c-3ff7-aaea-fda5900bebea"},"summary_title":"Eve"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-149826","uid":"adlib-agent-149826","uuid":"f906a265-7c36-3124-b8b1-413d93c6c0a7"},"summary_title":"Cain"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-149825","uid":"adlib-agent-149825","uuid":"453c874c-87ca-307b-a09e-98aecf29d67f"},"summary_title":"Abel"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-149992","uid":"adlib-agent-149992","uuid":"2fc34d64-f566-35ce-9ad4-98939c8fb978"},"summary_title":"God"}],"categories":[{"@link":{"type":"reference"},"admin":{"id":"term-107563","uid":"adlib-term-107563","uuid":"38dcd825-1de1-3222-82c6-15a95729b5ff"},"summary_title":"enamels"},{"@link":{"type":"reference"},"admin":{"id":"term-125750","uid":"adlib-term-125750","uuid":"2b10ac09-63c3-34ed-87d5-487058c1c344"},"summary_title":"Limoges painted enamels"}],"collection":[{"@link":{"type":"reference"},"admin":{"id":"term-117089","uid":"adlib-term-117089","uuid":"70d59fbc-64f7-304e-a336-bf6d65a433a8"},"summary_title":"Louis C. G. Clarke"}],"component":[{"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-32638","uid":"adlib-term-32638","uuid":"97b8d1a5-7b8f-3a2a-a275-7d001aeaae2b"},"summary_title":"enamel"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39593","uid":"adlib-term-39593","uuid":"e3e2a3f8-2433-3f63-9bcf-e776644d312d"},"summary_title":"gold"}}],"name":"Decoration","techniques":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28662","uid":"adlib-term-28662","uuid":"dd47e505-ccda-3f2b-b576-6104109430e8"},"summary_title":"enamelling"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28681","uid":"adlib-term-28681","uuid":"c1f659e2-1209-31cf-8ff4-154e11452559"},"summary_title":"gilding"}}]}],"content":{"motifs":[{"@link":{"type":"reference"},"admin":{"id":"term-110523","uid":"adlib-term-110523","uuid":"d1291b77-5525-36c4-9cec-9f651a7a76a9"},"summary_title":"bible"}]},"department":{"value":"Applied Arts"},"description":[{"value":"Copper enamelled in grisaille and pink flesh tones with five scenes from Genesis and gilded. Initialed PR. On the reverse, strapwork and grotesques."},{"value":"Copper enamelled on both sides in grisaille with pale greyish-pink flesh tones over a black ground, and gilded. The front has also a little red and blue enamel. Circular with a sloping rim with raised outer edge, deep sides, gently curved well and central boss.\nThe boss has an almost flat medallion bearing a beribboned shield charged with the arms, quarterly 1 and 3 chequey gules and or, and 2 and 4, azure, a hound\u2019s head, in chief, a label of three points and in base, a crescent or . This is surrounded by a raised white band decorated with black dots and continuous scalloping, a black cavetto with gold scrollwork, a band of black guilloche on a white ground, and tiny gold circles on a black band. Around this are five scenes from Genesis: the Creation of Eve, labelled \u2018I\u2019; the Fall of Man, labelled \u2018II\u2019; God admonishing Adam and Eve labelled \u2018III\u2019, initialled PR in black on the ground; the Expulsion from Paradise, labelled \u2018GENESE III\u2019; the Killing of Abel by Cain, labelled \u2018IIII\u2019. On the sides there is a repeating design of gold foliated scrolls on a black ground, and on the rim, pairs of foliated scrolls, each one terminating in a cornucopia, with a putto astride it, with sprays of gold foliage in the background.\nOn the reverse, the underside of the boss has a black ground, decorated with eight addorsed C- scrolls surrounded by scattered stars. On the back of the well there are four female terms linked by a continuous wavy drape, and holding up between them four dishes of fruit. Below each of which is a pair of affronted male and female monsters with wings and scrolling tails. Round the edge is a narrow and a broad band which rises into a small arch below the monsters. On the sides there are gold foliated scrolls on a black ground, and on the rim, foliated scrolls terminating in small monsters\u2019 heads and shells."}],"exhibitions":[{"@link":{"catalogue":"215","type":"reference"},"admin":{"id":"exhibition-3305","uid":"adlib-exhibition-3305","uuid":"534a3247-91a9-398f-abe9-7b419586f568"},"summary_title":"Feast and Fast: The Art of Food in Europe (1500-1800)"}],"identifier":[{"accession_number":"M.111-1961","primary":true,"type":"accession number","value":"M.111-1961"},{"priref":"139821","type":"priref","value":"139821"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139821","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139821"}],"inscription":[{"location":"on ground beside God admonishing Adam and Eve","method":"painted in black","transcription":[{"value":"PR"}],"type":"initial"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Louis.C.G. Clarke Bequest, 1960"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-149875","uid":"adlib-agent-149875","uuid":"89f52d0e-b912-3dc9-8b2c-61d6aa011b16"},"summary_title":"Clarke, Louis Colville Gray"}],"date":[{"earliest":1961,"latest":1961,"value":"1961-04-27"}],"method":{"value":"bequeathed"},"note":[{"value":"Clarke died on 13 December 1960"}]}],"creation":[{"date":[{"earliest":1555,"from":{"earliest":1555,"era":["CE"],"latest":1555,"precision":"circa","value":"1555"},"latest":1565,"note":[{"value":"Four dated  examples are known: 1557 at Waddesdon Manor, two of 1558 respectively in the Hermitage, and the Germanisches Nationalmuseum, Nuremburg, and one of 1563, in the Walters Art Gallery, Baltimore."}],"range":true,"to":{"earliest":1565,"era":["CE"],"latest":1565,"value":"1565"}}],"maker":[{"@link":{"role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-114217","uid":"adlib-agent-114217","uuid":"d84e37de-af7e-3317-8a55-c97eb4e99bcc"},"summary_title":"Reymond, Pierre"},{"@link":{"qualifier":"after","role":[{"value":"printmaker"}],"type":"reference"},"admin":{"id":"agent-82113","uid":"adlib-agent-82113","uuid":"a9c432da-7fd3-3d18-a538-c2c7497fd5a0"},"summary_title":"Lucas van Leyden"}],"note":[{"value":"Circular basins were intended to accompany ewers, for hand washing at meals, but might also be displayed on a dressoir. Their decoration was designed to radiate inwards from the outer edge of the well towards the central boss, so that it would appear the right way up from all angles when the basin was lying flat with the ewer in situ. The biblical story of Adam and Eve and their sons, Cain and Able, told in the book of Genesis, 2-4, was well-suited for this purpose because it could be divided into a series of episodes. \n\nThe five scenes from Genesis which occupy the well of the basin were derived from a set of six engravings by Lucas van Leyden (1494-1533), dated 1529, but are not in the correct order: \nThe Creation of Eve\nThe Admonition not to eat the fruit of the Tree of Knowledge\nThe Fall of Man or Temptation \nThe Expulsion of Adam and Eve from Paradise\nThe murder of their son, Able by his older brother Cain\n\nHere, the Admonition, God\u2019s instruction to Adam and Eve not to eat the fruit from the Tree of Knowledge, appears to have been mistaken for God reprimanding them after they had done so. This, and the labelling of the scenes I, II, III, GENESE III and IIII, suggests that the painter was familiar with the woodcut illustrations by Bernard Salomon in Claude Paradin\u2019s, 'Quadrins historique de la Bible', Lyon (Jean de Tournes), 1553, 1555 or 1558 editions which have the Admonition between the Fall and the Expulsion, and use Roman numerals to identify the scenes. This is also indicated by the presence of a pilaster at the end of a wall behind Adam and Eve in the Expulsion scene, which is not present on the van Leyden print, but is present in the woodcut by Salomon. The grotesque decoration on the reverse, may also be partly derived from an ornamental print of 1528 by Lucas van Leyden featuring pairs of long-necked sphinx-like creatures with curling tails. Incidentally this shows how illustrated books and prints circulated widely and were used by craftsmen as sources for their designs.  \n\nThe story of Adam and Eve was extremely popular in the mid to late sixteenth century, and it was used on basins made in the Reymond workshop from at least 1557 until the mid 1560s. There are four initialled and dated examples by Pierre Reymond: at Waddesdon Manor Buckinghamshire, initialled  \u2018P.R\u2019 twice, and dated 1557;) in the Hermitage, St Petersburg, initialled \u2018P.R\u2019 and dated 1558 twice, and having the arms of de Mesmes on the underside of the boss; dated 1558,  in the Tucher-Schloss Museum, Nuremberg, initialled \u2018PR\u2019 and dated \u20181558\u2019 separately twice on the back of the rim which belonged to Linhard I Tucher of Nuremberg (1487-1568); and in the Walters Art Gallery, Baltimore, initialled PR and dated 1563 on which the enameller used only four of the Lucas van Leyden prints and made up the figures for the Admonition. Philippe Verdier considered that the Fitzwilliam\u2019s basin was probably earlier than the one at Baltimore. A further ewer basin, unseen, described as having \u2018grisaille scenes symbolizing  the Fall of Man with explanatory inscriptions\u2019, and initialled and dated P.R. 1570, was exhibited by D.C. Marjoribanks, MP in the exhibition held in the South Kensington Museum in 1862. There are several undated circular basins, such as two in the Los Angeles County Museum, and one formerly in the collection of Gustaaf Hamburger, sold in 2008 (see Documentation). Several of these have either lost their central boss, or have had it replaced. \n\nThe unidentified coat of arms on the Fitzwilliam\u2019s basin occurs on three small plates in the Louvre, decorated with scenes representing May, June, and September from a set of Labours of the Months (MR R 173 (formerly N 1370), MR 2436 (formerly N 1371) and MR 2435 (formerly N 1372), attributed by Baratte to Jean Court dit Vigier. However, when the Fitzwilliam's  basin was illustrated by an engraving in the journal 'L\u2019Art' in 1878, it was shown without a central boss, which seems to indicate that the arms were a later insertion (see Documentation)."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-125332","uid":"adlib-term-125332","uuid":"76f10b5d-9bf4-36d4-b4e3-f4df05af8260"},"summary_title":"16th Century, third quarter"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-15498","uid":"adlib-term-15498","uuid":"61725bf5-360f-3837-8aab-3c90b956a537"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"France"}],"summary_title":"France","type":"country"},{"@link":{"type":"literal"},"name":[{"value":"Haute Vienne"}],"summary_title":"Haute 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title","value":"Limoges enamel basin, by Pierre Reymond (detail)"}]},"type":{"base":"media","type":"image"}}],"name":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-89303","uid":"adlib-term-89303","uuid":"7012fd66-769f-33c8-bb38-d805db27c8c9"},"summary_title":"basin"}},{"value":"ewer basin"}],"note":[{"type":"history note","value":"Baron Gustave de Rothschild (1829-1911); Sir Philip Sassoon, Bt., MP, CMG and the Countess of Rocksavage; Christie\u2019s, 26-27 November, 1919, Catalogue of objets of art, porcelain & faience and fine French tapestry, the property of Sir Philip Sassoon, Bart, M.P., C.M.G., and of the Countess of Rocksavage, p. 10, lot 74; George Durlacher; Christie\u2019s, 6-7 April 1938, Catalogue of Italian maiolica bronzes & objects of art, French and Italian furniture of the Renaissance, tapestry and textiles sold by order of George Durlacher Esq., p.\u00a012, lot 32, illustrated opposite; the Fitzwilliam\u2019s copy of the Catalogue is inscribed \u2018\u2018Bt by Durlacher at his sale at Christie\u2019s, by L.C.G. C.\u2019; Louis Colville Gray Clarke, MA, LL D, Leckhampton, Cambridge."}],"owners":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"publications":[{"@link":{"notes":"Publ. pp. 32-3, enthusiastically described and illustrated p. 24 with an engraving which shows the basin without the central coat-of-arms on the boss.","page":"24-33","type":"reference"},"admin":{"id":"publication-200002856","uid":"adlib-publication-200002856","uuid":"e62e604a-0c62-3f5d-b161-8498b9711b0d"},"summary_title":"Exposition Historique de l'Art Ancien, Les Grandes Collections au Trocadero, Collections de MM les Barons de Rothschild (suite) Emaux"},{"@link":{"notes":"Publ. pp. 32-3 and illustrated by an engraving on p. 24, when in the collection of baron Gustave de Rothschild.  The engraving shows the basin without the central coat-of-arms on the bass.","page":"24-33","type":"reference"},"admin":{"id":"publication-200002855","uid":"adlib-publication-200002855","uuid":"75329c42-0cd7-369d-9d7e-994fea2ba4f9"},"summary_title":"Pierre Reymond, Emailleur \u00e0 Limoges"},{"@link":{"notes":"Publ. p. 10, lot 74","page":"10","type":"reference"},"admin":{"id":"publication-3368","uid":"adlib-publication-3368","uuid":"25bf3f5d-bed3-3ace-8564-2a821cb84557"},"summary_title":"Catalogue of objects of art, porcelain and faience and fine French tapestry, the property of Sir Philip Sassoon Bart, MP, CMG and the Countess of Rocksavage of 25 Park Lane"},{"@link":{"notes":"Publ. p. 12, lot 32, illustrated opposite","page":"12","type":"reference"},"admin":{"id":"publication-6168","uid":"adlib-publication-6168","uuid":"6bc3976d-c874-3198-bc49-5521d852b034"},"summary_title":"Catalogue of Italian maiolica bronzes and objects of art, French and Italian furniture of the Renaissance, tapestry and textiles sold by order of George Durlacher Esq."},{"@link":{"notes":"Publ. p. 185, fig. 6.6, front and back illustrated, p. 252, cat. 215","page":"185, 252","type":"reference"},"admin":{"id":"publication-8743","uid":"adlib-publication-8743","uuid":"a86a8f73-aae5-372c-930d-aa215bd02c9b"},"summary_title":"Feast & Fast. The Art of Food in Europe 1500-1800"},{"@link":{"notes":"Ref. For the source of the scenes, p. 131, no. 1 (339), Creation of Eve; p. 132, no. 2 (339), God admonishing Adam and Eve; p. 133, no. 3 (340), The Fall of Man; p. 134, no. 4 (340), The Expulsion from Paradise; p. 135, no. 5 (340), and Cain slaying Abel.","page":"131-5","type":"reference"},"admin":{"id":"publication-6184","uid":"adlib-publication-6184","uuid":"26381161-6750-3ce2-92dd-d0916d46831c"},"summary_title":"Illustrated Bartsch, 12 Formerly Volume 7 (Part 3) Hans Baldung Grien, Hans Springklee, Lucas van Leyden"},{"@link":{"notes":"Ref. For the sources of the scenes,  p. 32, 1 (1) the Creation; p. 33 1 (2) the First prohibition, p. 34 1 (3) the Fall of Man, p. 35 1 (4) the Expulsion and p. 36 1 (5) Cain killing Abel.","page":"32-6","type":"reference"},"admin":{"id":"publication-6185","uid":"adlib-publication-6185","uuid":"155e644a-2ff4-301e-91a8-4ad523c75b26"},"summary_title":"The New Hollstein, Dutch and Flemish Etchings, Engravings and Woodcuts 1450-1700"},{"@link":{"notes":"Cf. pp. 244-8, no. 141, initialled by Pierre Reymond, and dated 1563. It has the second and third scenes in different order from the Fitzwilliam's dish. The author lists the other examples, and illustrates the ewer and basin dated 1558 made for L. Tucher, now in the Germanisches Nationalmuseum, Nuremberg, p. 247, figure 25.","page":"244-8","type":"reference"},"admin":{"id":"publication-6021","uid":"adlib-publication-6021","uuid":"6dafbb49-bc39-3d0c-b5ad-634dbead2cf0"},"summary_title":"The Walters Art Gallery, Catalogue of the Painted Enamels of the Renaissance"},{"@link":{"notes":"Cf. p. 15 and pls. 31 front, and 32, initialled PR twice an dated 1558; reverse, bearing the arms of de Mesmes. The second and third scenes are in different order from the Fitzwilliam's basin. From the Pourtal\u00e8s-Gorgier and Basilewsky collections. In v. F 288","page":"15","type":"reference"},"admin":{"id":"publication-6186","uid":"adlib-publication-6186","uuid":"d285f449-3ec3-39f8-be77-cd185ea3fe64"},"summary_title":"Painted Enamels of Limoges. XV & XVI Centuries, The State Ermitage Collection"},{"@link":{"type":"reference"},"admin":{"id":"publication-6117","uid":"adlib-publication-6117","uuid":"11dbf863-8759-3f10-b7ae-107ffcf6fd4d"},"summary_title":"\u00c9maux limousins du Mus\u00e9e national de l'Ermitage de Saint-P\u00e9tersbourg"},{"@link":{"notes":"Cf.  pp. 144-7, no. 54, the basin mentioned in Dobroklonskaya 1969 and Limoges, 2004.","page":"144-7","type":"reference"},"admin":{"id":"publication-6919","uid":"adlib-publication-6919","uuid":"8b4a9038-183f-3bc5-8ff1-5233cdf97dbc"},"summary_title":"Limozhskie raspisnye \u0117mali v sobranii \u0116rmitazha\/\u00c9maux peints de Limoges de la collection de l'Ermitage"},{"@link":{"notes":"Cf. pp. 105-07, no. 12, unsigned, but attributed to Pierre Reymond, and dated c.1560. (Inv. 47,2,17 from the W.R. Hearst Collection), d. 46.7 cm. It has the second and third scenes in correct order, but Eve has back to viewer, and the arms of de Mesmes on the underside of the boss (but did not in the late 19th century). Cf. also pp. 99-103,  no. 11, initialled P.R. and dated c. 1558.  (inv. 48.2.19 from the W.R. Hearst Collection), d. 47.6 cm. On p. 101, fig. 22 and 23 are illustrations of Luca van Leyden's God admonishing Adam and Eve (The First Prohibition) and The Fall of Man, respectively.","page":"99-107","type":"reference"},"admin":{"id":"publication-6187","uid":"adlib-publication-6187","uuid":"d9b56215-1ae8-34ec-b9f5-72f704ccc214"},"summary_title":"The Painted Enamels of Limoges. A Catalogue of the Collection of the Los Angeles County Museum of Art"},{"@link":{"notes":"Cf. p. 23, note 22 and p. 25, pl. 16, a basin with the scenes in the usual order, and following the print of the Admonition closely, in the collection of the Dukes of Saxe-Gotha at Schloss Friedenstein, which was first recorded in an inventory of 1764.  Pl. 16 shows the basin without a central boss.","page":"23. 25","type":"reference"},"admin":{"id":"publication-5097","uid":"adlib-publication-5097","uuid":"3f273066-5292-3611-8791-142c76030836"},"summary_title":"Maleremails aus Limoges, Der Bestand des Berliner Kunstgewerbemuseums"},{"@link":{"notes":"Cf. p. 25, pl. 16, a basin lacking its central boss, in the Kunstsammlungen Schloss Friedenstein, Gotha, which has the scene of the First Prohibition or Admonition before the Temptation or Fall.","page":"25","type":"reference"},"admin":{"id":"publication-6120","uid":"adlib-publication-6120","uuid":"3031603c-c1e6-3c56-aa2f-a4da4420218f"},"summary_title":"Maleremails des 16. und 17. 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