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Hubert de Givenchy"}],"type":{"base":"publication"}},{"current_page":1,"data":[{"_index":"ciim","_type":"data","_id":"adlib-object-118320","_score":18.898922,"_source":{"admin":{"added":1592996941000,"created":1312637261000,"flag":"Standard Record","id":"object-118320","indexed":1755194552145,"modified":1714475184000,"processed":1755194515997,"source":"adlib","stream":"fitz-online","uid":"adlib-object-118320","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/118320","uuid":"d09ea3a7-c421-3c3b-bba4-1406a4214002","version":14},"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-206436","uid":"adlib-agent-206436","uuid":"10341dfb-bf9a-3c55-92d9-fac98761e915"},"summary_title":"Vergil"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-153079","uid":"adlib-agent-153079","uuid":"fb604d25-5210-3a08-bcf1-26e1390ef020"},"summary_title":"Aeneas"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-171295","uid":"adlib-agent-171295","uuid":"3cc16678-80f9-31c7-a29c-e4f9c143200c"},"summary_title":"Cumaen Sibyl"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-171294","uid":"adlib-agent-171294","uuid":"00bf83d7-0412-38a0-b5bd-29b94f732168"},"summary_title":"Tityus"},{"@link":{"type":"reference"},"admin":{"id":"agent-189983","uid":"adlib-agent-189983","uuid":"6e9c6647-6827-3f6d-8b58-a00d4ca58f8a"},"summary_title":"Rhadamanthus"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-202684","uid":"adlib-agent-202684","uuid":"c1bdf184-6cf4-34bf-9d99-76c0ed859ebe"},"summary_title":"Tisiphone"}],"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"}],"component":[{"materials":[{"note":[{"value":"translucent greyish-blue, dark blue, green, mulberry-brown and clear appearing tan, and in semi-translucent pinkish-red, and opaque white; clear counter enamel"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-107563","uid":"adlib-term-107563","uuid":"38dcd825-1de1-3222-82c6-15a95729b5ff"},"summary_title":"enamels"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39593","uid":"adlib-term-39593","uuid":"e3e2a3f8-2433-3f63-9bcf-e776644d312d"},"summary_title":"gold"}}],"name":"Decoration","techniques":[{"note":[{"value":"applied with spatula and painted"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-120056","uid":"adlib-term-120056","uuid":"c8ca8cd4-96be-3fa5-9a93-736d997f3177"},"summary_title":"enamelling"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-97946","uid":"adlib-term-97946","uuid":"388f10ba-526c-32ab-869a-65750eb7faac"},"summary_title":"drawing"}}]},{"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39588","uid":"adlib-term-39588","uuid":"b17ff981-06b2-30a2-b9a9-b514fe84a191"},"summary_title":"copper"}}],"name":"Plaque","techniques":[{"description":[{"value":"copper enamelled in translucent greyish-blue, dark blue, green, mulberry-brown and clear appearing tan, and in semi-translucent pinkish-red, and opaque white and profusely gilded. There is a white layer under the areas enamelled in greyish-blue, white and pale red. The drawing appears black on the copper or the white preparation. The translucent colours are applied directly over the copper (clearly visible where there is loss of enamel on the edge and elsewhere under magnification). Water is represented by a thin wash of translucent greyish-blue over white with black lines to represent waves. The reverse has translucent counter-enamel, tinged here and there with green."}],"note":[{"value":"slightly convex"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28779","uid":"adlib-term-28779","uuid":"9ded0180-afed-3209-bd56-ea3a2c252893"},"summary_title":"hammering"}}]}],"content":{"motifs":[{"@link":{"type":"reference"},"admin":{"id":"term-137590","uid":"adlib-term-137590","uuid":"c134dd31-a6dc-39ae-94c7-cf3bd7588c32"},"summary_title":"classical literature"}]},"department":{"value":"Applied Arts"},"description":[{"value":"Copper, enamelled in polychrome and gilded with a scene showing Aeneas and the Cumaean Sybil in the Underworld."},{"value":"Slightly convex copper plaque, enamelled in translucent greyish-blue, dark blue, green, mulberry-brown and clear appearing tan, and in semi-translucent pinkish-red, and opaque white and profusely gilded. There is a white preparation under the areas enamelled in greyish-blue, white and pale red. The drawing appears black on the copper or the white preparation. The translucent colours are applied directly over the copper (clearly visible where there is loss of enamel on the edge and elsewhere under magnification). Water is represented by a thin wash of translucent greyish-blue over the dark and white layers with enlevage to produce black wavy lines. The reverse has brownish translucent counter-enamel, tinged here and there with green.\nThe Cumaean Sybil, labelled '(SY)BILLA', and Aeneas, labelled 'ENEAS', stand in the top left corner. At top centre is a label 'I.ET.VII' beside the bell-tower of a flaming tripple-walled castle with a green many-headed Hydra guarding its gates which occupies the top left corner.Outside the walls there is a man bound to a waterwheel, and three men's heads emerging from a mill pond. On the wall above the wheel is a label inscribed 'TI.ION' (?ILION - Troy). Below Aeneas is a label inscribed 'TISIPHONE' beneath which she and another Fury holding snakes, are beating four almost nude men bound to a tree, and another man who leans forward over a devil who is stabbing two men lying on the ground. Below to the right are two men prone, one upwards and one downwards, on a bed of nails, and further to the right, three being cooked in a cauldron attended by a green devil.  In the middle, Rhadamanthus, labelled 'FASAMANI9', robed and holding a sceptre, sits on a stool, and behind him on the ground, is a seated man with his right arm raised. A gold chain divides these figures from those below. In the lower left corner, a young man is seated at a table covered by a white cloth and laid for a meal. A bird with a female head stands opposite to him on the table. In the middle three men are seated on the ground , two of them holding a jug. In the lower right corner is a label inscribed 'TITVS' over a vulture which is pecking the thorax of Tityus, who is encircled by a gold chain. Gold is used lavishly for the hair of the figures, outlining of features, and shading."}],"identifier":[{"accession_number":"M.7-1945","primary":true,"type":"accession number","value":"M.7-1945"},{"priref":"118320","type":"priref","value":"118320"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/118320","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/118320"}],"inscription":[{"description":[{"value":"first two letters of name are missing"}],"location":"on front","method":"painted in black enamel","transcription":[{"value":"(SY)BILLA"}],"type":"inscription"},{"location":"on front","method":"painted in black enamel","transcription":[{"value":"ENEAS"}]},{"location":"on front, top centre","method":"painted in black enamel","transcription":[{"value":"I\u00b7ET\u00b7VII"}],"type":"inscription"},{"location":"on front","method":"painted in black enamel","transcription":[{"value":"TI\u0387ION"}],"type":"inscription"},{"location":"on front","method":"painted in black enamel","transcription":[{"value":"TISIPHONE"}],"type":"inscription"},{"location":"on front","method":"painted in black enamel","transcription":[{"value":"SALMONE"}],"type":"inscription"},{"location":"on front","method":"painted in black enamel","transcription":[{"value":"FASAMANI9"}],"type":"inscription"},{"location":"on front","method":"painted in black enamel","transcription":[{"value":"TITVS"}],"type":"inscription"}],"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":"Given by the Friends of the Fitzwilliam Museum"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-149645","uid":"adlib-agent-149645","uuid":"10925b71-6838-30f7-a8dd-b68a2afaa14d"},"summary_title":"The Friends of the Fitzwilliam Museum"}],"date":[{"earliest":1945,"latest":1945,"value":"1945-06-15"}],"method":{"value":"given"}}],"creation":[{"date":[{"earliest":1527,"from":{"earliest":1527,"era":["CE"],"latest":1527,"precision":"circa","value":"1527"},"latest":1530,"range":true,"to":{"earliest":1530,"era":["CE"],"latest":1530,"value":"1530"}}],"maker":[{"@link":{"role":[{"value":"enameller"}],"type":"reference"},"admin":{"id":"agent-171056","uid":"adlib-agent-171056","uuid":"5b4f2761-4c57-35f4-91cc-00e9d17e118a"},"summary_title":"The Master of the Aeneid Series"}],"note":[{"value":"This is one of a series of eighty-three recorded plaques each decorated with a different scene after the woodcut illustrations to Books I to IX of the Aeneid in Sebastian Brandt's edition of Virgil's 'Opera', printed by Johann Gr\u00fcninger in Strasburg in 1502 (a copy is in the Cambridge University Library, Tb.51.61). Or, possibly, from editions with the same woodcuts published at Lyon by Jacob Saccon in 1517 and by Jean Crespin in 1529. The series was probably the earliest example of classical subjects on Limoges enamels, and was the largest group of plaques with a coherent theme derived from the same source. The subject on this plaque is from Book VI, and was copied from the woodcut which appears on fol. 274 recto of the 1502 edition. It shows Aeneas with the Cumaen Sibyl who was guiding him through the Underworld to see his father, Anchises, when they reached a point where the path divided, one branch leading to Elysium, and the other to Tartarus where various souls are being judged and tormented. For listings of the other Aeneid plaques, see Documentation. \n\nThe iconography follows Vergil's description, but Piritho\u00fcs, the King of the Lapiths (lower left corner), who was unable to move after sitting down in the Underworld, appears more like Tantalus, who was usually assigned the punishment of being surrounded by food and drink but unable to assuage his thirst or hunger. Below the city walls (top right), the figure tied to a wheel is probably Ixion who was crucified on a wheel by Zeus as punishment for attempting to rape Hera. The enameller did not follow the woodcut exactly. The entrails and liver of Tityus (lower right corner) are not shown as they are in the woodcut. The anatomy of the almost nude figures is more rounded and realistic, and the Fury, Tisiphone, wears a small crown instead of a cap. \n \nNeither the patron nor the original situation of the plaques has been discovered. It seems possible that they were set into the panelling in a collector's cabinet or study, as in the often cited \u2018cabinet des \u00e9maulx\u2019 in Catherine de Medici\u2019s, h\u00f4tel in the rue de Grenelle, Paris, where the inventory after her decease mentioned \u2018Trent neuf petit tableau d\u2019\u00e9mail de Limoges en form ovale enchassez dans le lambris au dict cabinet\u2019.\n\nThe Master of the Aeneid Plaques has remained an enigma, although some scholars have considered that he might have been Jean I P\u00e9nicaud. Very few other enamels have been attributed to him on the basis of features which occur in the Aeneid plaques, such as a distinctive way of rendering clouds. These  including a Crucifixion after Lucas van Leyden in the Victoria & Albert Museum inv. no. 2820-1926, a Crucifixion after D\u00fcrer. formerly in the Givenchy Collection (see Documention, Descheemaecker), and an Adoration of the Magi acquired by the Mus\u00e9e municipal de l\u2019\u00c9v\u00each\u00e9, Limoges in 2006, which has a leaf of silver over the entire surface beneath the enamelling."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-120009","uid":"adlib-term-120009","uuid":"690a6332-cfc1-3411-a716-4dd4ec7d9a65"},"summary_title":"16th Century, second quarter"},{"@link":{"type":"reference"},"admin":{"id":"term-15528","uid":"adlib-term-15528","uuid":"e0418d83-969d-363c-8fb5-34f0fc63d26a"},"summary_title":"Fran\u00e7ois 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in Amsterdam; unidentified owner;  H. Wareham Harding, London, from whom purchased by the Friends of the Fitzwilliam Museum"}],"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. p. 1.6, illustrated p. 3","page":"1, 3","type":"reference"},"admin":{"id":"publication-726","uid":"adlib-publication-726","uuid":"e89a47e6-504b-3925-be1f-9f5478f77fc3"},"summary_title":"Friends of the Fitzwilliam Museum, Thirty-seventh Annual Report, for the Year 1945"},{"@link":{"notes":"Publ.and Ref. For a list of the known plaques from the set including this one, on p. 54, Tafel 70,  The list is in the order of the woodcuts which first appeared in Sebastian Brant\u2019s superb edition of Virgil\u2019s Opera, printed by Johann Gr\u00fcninger in Strasbourg in 1502.","page":"54","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":"Publ, and Ref.  For discussion of the series and a list of all the known plaques with provenances, including this one, cited p. 45, no. 58","page":"133-48","type":"reference"},"admin":{"id":"publication-200001903","uid":"adlib-publication-200001903","uuid":"f47f2e2b-1a02-37f5-b630-45ab97ab04c0"},"summary_title":"La s\u00e9rie de plaques du Ma\u00eetre de L'\u00c9neide"},{"@link":{"notes":"Publ. p. 136","page":"136","type":"reference"},"admin":{"id":"publication-382","uid":"adlib-publication-382","uuid":"ee5148de-e3eb-3d38-88db-9a331edf70b6"},"summary_title":"Treasures of the Fitzwilliam Museum"},{"@link":{"notes":"Ref. for the illustrations to the Aeneid, with the cut which was the source of the Fitzwilliam's plaque illustrated in fig. 3.","page":"187-99","type":"reference"},"admin":{"id":"publication-200002185","uid":"adlib-publication-200002185","uuid":"b8e105ba-b4c3-34d5-a8a5-5f0963d7dcf2"},"summary_title":"Sebastian Brandt and the First Illustrated Edition of Vergil"},{"@link":{"type":"reference"},"admin":{"id":"publication-7361","uid":"adlib-publication-7361","uuid":"45359307-e41b-3855-8a78-5a363ee9da75"},"summary_title":"Notice d'une collection d'\u00e9maux peints par les c\u00e9l\u00e8bres ma\u00eftres, et form\u00e9e par les soins de M. d\u2019Hancarville, don\u2019t la vente s\u2019en fera le 10 mai 1791"},{"@link":{"notes":"Cf. pp. 76-89, nos. 37-43, and see bibliography p. 76","page":"76-89","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. pp. 42-3, and colour pl. 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Estimate $175-225,000; fetched $409.500","page":"251","type":"reference"},"admin":{"id":"publication-5203","uid":"adlib-publication-5203","uuid":"57286fa7-477a-3e11-ac10-332e2deed2f4"},"summary_title":"The Keir Collection of Medieval Works of Art"},{"@link":{"notes":"Cf. p. 372, figs. 6 and 7, two Aeneid plaques in the Victoria and Albert Museum; and attributed to him, p. 371, fig. 2, the Crucifixion, and fig. 3 The Agony in the Garden in the Victoria & Albert Museum, p. 373, fig. 9, a Crucifixion in the Ashmolean Museum (1947.191.241).","page":"370-5","type":"reference"},"admin":{"id":"publication-200002675","uid":"adlib-publication-200002675","uuid":"f38bf2d1-f7d6-3f7e-bc06-040a10b7ff1a"},"summary_title":"Attributions to the Aeneid Master"},{"@link":{"type":"reference"},"admin":{"id":"publication-8817","uid":"adlib-publication-8817","uuid":"4811d9bf-fb2a-3793-be3a-461c6a580351"},"summary_title":"Old Master Sculpture and Works of Art"},{"@link":{"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. 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G. Clarke"}],"component":[{"materials":[{"note":[{"value":"dark blue, translucent blue, turquoise, green, yellow, red, and mulberry, flesh-pink, brown, grey, 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-125824","uid":"adlib-term-125824","uuid":"4b9c6839-6345-3262-8a42-294f538950b0"},"summary_title":"silver-foil"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39593","uid":"adlib-term-39593","uuid":"e3e2a3f8-2433-3f63-9bcf-e776644d312d"},"summary_title":"gold"}}],"name":"Decoration","techniques":[{"note":[{"value":"dark blue, translucent blue, turquoise, green, yellow, red, and mulberry, flesh-pink, brown, grey, 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"}},{"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, decorated with polychrome enamels over paillons and gilded; the reverse enamelled in grisaille and gilded, with terms, torches, and strapwork, initialled \".I.C.\""},{"value":"Circular with slightly raised applied edge, narrow sloping rim, shallow curved sides and centre. 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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Tapestry, the property of Sir Philip Sassoon, BT., M.P., C.M.G., and the Countess of Rocksavage of 25 Park Lane, p. 8, part of lot 63; Walter Walter S. 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. Clarke, MA, LL.D., Leckhampton, Cambridge."}],"objects":[{"@link":{"cascade":true,"role":[{"value":"same type"}],"type":"reference"},"admin":{"id":"object-139825","uid":"adlib-object-139825","uuid":"5137a070-788b-3e5c-a053-2a914d03ecdb"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-34935","uid":"adlib-term-34935","uuid":"b6750733-fe79-33fc-b39a-c296fcd223b4"},"summary_title":"plate"}},"summary_title":"plate"},{"@link":{"cascade":true,"role":[{"value":"same type"}],"type":"reference"},"admin":{"id":"object-139826","uid":"adlib-object-139826","uuid":"2161a683-841c-3ebb-ad57-f0bb7ae8697c"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-34935","uid":"adlib-term-34935","uuid":"b6750733-fe79-33fc-b39a-c296fcd223b4"},"summary_title":"plate"}},"summary_title":"plate"},{"@link":{"cascade":true,"type":"reference"},"admin":{"id":"object-139825","uid":"adlib-object-139825","uuid":"5137a070-788b-3e5c-a053-2a914d03ecdb"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-34935","uid":"adlib-term-34935","uuid":"b6750733-fe79-33fc-b39a-c296fcd223b4"},"summary_title":"plate"}},"summary_title":"plate"}],"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. p. 225, no. 2569, as Joseph selling corn to his brothers and incorrectly as lent by Baron Alphonse de Rothschild instead of Baron James de Rothschild.","page":"225","type":"reference"},"admin":{"id":"publication-8967","uid":"adlib-publication-8967","uuid":"58e5940f-3893-32da-bdc1-20dee5f88c70"},"summary_title":"Exposition de 1865. 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. Burns, Esq."},{"@link":{"notes":"Publ. p. 136-7, p. 156, fig. 5, p. 170, fig. 34, and Table of Plates, 9.1.","page":"136-7","type":"reference"},"admin":{"id":"publication-200003208","uid":"adlib-publication-200003208","uuid":"a080bc54-7f92-3d57-af8d-e44304d0a9af"},"summary_title":"L\u2019histoire de Joseph sur des assiettes en \u00e9mail peint de Limoges par l\u2019atelier portant la marque de fabrique \u201cI.C."},{"@link":{"type":"reference"},"admin":{"id":"publication-6647","uid":"adlib-publication-6647","uuid":"10f62349-c65f-3fee-a7e2-796d58c9e42c"},"summary_title":"Quadrins Historique de la Bible"},{"@link":{"type":"reference"},"admin":{"id":"publication-7342","uid":"adlib-publication-7342","uuid":"d9fb0bb5-2b35-34f7-88f4-b60331f55697"},"summary_title":"Bernard Salomon Illustrateur Lyonnais"},{"@link":{"notes":"Cf. pp. 350-7, N 1355-1360, a set of six plates with blue grounds and scenes from the life of Joseph of which N.1359 has a comparable design on the back of herms and strapwork. 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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. Sir Philip Sassoon preferred French eighteenth-century art to the Renaissance objects, such as maiolica and Limoges enamels which had appealed to his grandfather, Baron Gustave de Rothschild (d. 1911) in Paris.","page":"151-70","type":"reference"},"admin":{"id":"publication-200003308","uid":"adlib-publication-200003308","uuid":"cd2bb49e-c01c-386e-b0e0-d4d005c862a4"},"summary_title":"Sir Philip Sassoon at 25 Park Lane: the collection of an early twentieth-century connoisseur and aesthete"}],"school_or_style":[{"@link":{"type":"reference"},"admin":{"id":"term-10618","uid":"adlib-term-10618","uuid":"9ebc0ae1-8cf8-312b-832c-9cf44da02136"},"summary_title":"Renaissance"},{"@link":{"type":"reference"},"admin":{"id":"term-10600","uid":"adlib-term-10600","uuid":"02211e31-dcc2-3d71-afd8-d51e21c5dc5f"},"summary_title":"Mannerism"}],"subjects":[{"@link":{"relation":"object name","type":"reference"},"admin":{"id":"term-76645","uid":"adlib-term-76645","uuid":"958ceb8e-13a9-3ead-997f-4efff80521db"},"summary_title":"sack"},{"@link":{"relation":"animal","type":"reference"},"admin":{"id":"term-106792","uid":"adlib-term-106792","uuid":"9dad6dce-12d1-35e5-82ba-35b95d0e469a"},"summary_title":"hound"},{"@link":{"relation":"activity","type":"reference"},"admin":{"id":"term-108427","uid":"adlib-term-108427","uuid":"0b4ca4e3-9619-3d47-a7d7-b73bb5d87b0d"},"summary_title":"finding"},{"@link":{"type":"literal"},"name":[{"value":"sack"}],"summary_title":"sack"},{"@link":{"type":"literal"},"name":[{"value":"hound"}],"summary_title":"hound"},{"@link":{"type":"literal"},"name":[{"value":"finding"}],"summary_title":"finding"}],"summary":{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-34935","uid":"adlib-term-34935","uuid":"b6750733-fe79-33fc-b39a-c296fcd223b4"},"summary_title":"plate"}},"summary_title":"plate","techniques":[{"description":[{"value":"the well has a partly foiled and partly white ground, decorated with dark blue, translucent blue, turquoise, green, yellow, red, and mulberry, flesh-pink, brown, grey, opaque white, and black enamels, and gold. 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"}}}],"first_page_url":"?page=1","from":1,"last_page":1,"last_page_url":"?page=1","links":[{"url":null,"label":"« Previous","active":false},{"url":"?page=1","label":"1","active":true},{"url":null,"label":"Next »","active":false}],"next_page_url":null,"path":"","per_page":24,"prev_page_url":null,"to":2,"total":2}]