Although unsigned, this stand can be confidently attributed to Pierre Reymond on the basis of its iconography and its stylistic similarity to other signed examples. Among these, one notes particularly a ewer stand in the Walters Art Gallery (Verdier, loc. cit., pp. 244-248, fig. 141), which uses virtually identical scenes to illustrate the various episodes from Genesis, as well as the same border to the front, and strap-work to the reverse. The only significant difference is the central medallion, although this is due to the fact that the medallion of the ewer stand in Baltimore is a modern replacement. Similarly, another ewer stand in the Louvre - this time depicting episodes from Exodus - is actually missing the central medallion (Baratte, loc. cit.). It is apparent that this element was generally executed separately in order to allow the commission to be tailored to an individual patron's needs, even if this made the medallion more susceptible to damage. In the case of at least one other closely related stand (Sotheby's London, 7 July 2006, lot 97) the central medallion was decorated on both sides with a coat of arms.
As with so many of Reymond's works, a number of the delicately painted scenes have been taken from print sources. In this case, he adapted four of a series of six engravings executed in 1529 by Lucas van Leyden. The fifth scene - depicting God placing Adam and Eve in the Garden of Eden - follows van Leyden's engraving closely for the group of Adam and Eve, but substitutes a different figure for God the Father.
In the long history of enamel production in Limoges, the painted enamels of the 16th century are among the high points, and Pierre Reymond is among the most celebrated proponents of this art form. The present ewer stand shows how he has successfully adapted the form of van Leyden's engravings to a continuous, circular narrative, and displays the subtlety of the interplay he has created between the flesh tones of the figures and the grey landscape behind. The complexity of the design of the interior is further highlighted by its juxtaposition with the bold strap-work of the reverse, set against a black ground. The popularity of the design is attested to by the number of related stands referred to by Verdier in his entry on the Walters example (loc. cit.).