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Lot Essay
This impressive polychrome enamel illuminates the Siege of Troy as described in the classical texts the Iliad and the Odyssey. Originally from a series of five, the remining four enamels further depict notable episodes from the Trojan War: The Abduction of Helen (sold Sotheby’s, Paris, 12 October 2022, lot 109); The Sons of Priam at the Gates of Troy (sold; ibid. lot 110); The Betrayal of Aeneas (from the Josephus Jitta Collection, sold; sale, Amsterdam, 9 November 1894, lot 143); and The Destruction of Troy (sold; sale. Berlin, W. Lange, Berlin, 28-30 March 1993, lot 150, pl. 18).
The dynamic iconography, depicting the advancement of the Grecian forces as they attempt to overhaul the Trojan walls, bears close resemblance to the series of engravings in Publii Virgilii Maronis opera cum quinque vulgatis commentarii. The text, a well-known compilation and commentary of the works of Virgil, is accompanied by 215 woodcut illustrations by an anonymous printmaker; these artworks embodying the humanist spirit that took over the French Renaissance. The adaptation of the woodblock to the enamel format reveals the skill of the maker; the retention of the dynamic forward motion toward the walls and the emotive and humorous depiction of the spiked heads revealing a precise and meticulous mastery of line work on a miniature scale.
The overall assertive and narrative effect of the enamel has led to its attribution to the Limoges master Colin Nouailher. Though this iconography is unique to his oeuvre, the stylings, particularly concerning the depiction of the rearing horses, bear close resemblance to Nouailher’s Heroes series of which more than thirty medallions survive (see Metropolitan Museum, New York inv. nos. 1993.65.2-4). Additionally, the partially grisaille scheme, punctuated with coloured enamel equally, further aligns with the stylings of the master; the sharp contrasts dramatising the classic epic, and allowing for a monumental sense of depth to be achieved on a miniature scale.
The dynamic iconography, depicting the advancement of the Grecian forces as they attempt to overhaul the Trojan walls, bears close resemblance to the series of engravings in Publii Virgilii Maronis opera cum quinque vulgatis commentarii. The text, a well-known compilation and commentary of the works of Virgil, is accompanied by 215 woodcut illustrations by an anonymous printmaker; these artworks embodying the humanist spirit that took over the French Renaissance. The adaptation of the woodblock to the enamel format reveals the skill of the maker; the retention of the dynamic forward motion toward the walls and the emotive and humorous depiction of the spiked heads revealing a precise and meticulous mastery of line work on a miniature scale.
The overall assertive and narrative effect of the enamel has led to its attribution to the Limoges master Colin Nouailher. Though this iconography is unique to his oeuvre, the stylings, particularly concerning the depiction of the rearing horses, bear close resemblance to Nouailher’s Heroes series of which more than thirty medallions survive (see Metropolitan Museum, New York inv. nos. 1993.65.2-4). Additionally, the partially grisaille scheme, punctuated with coloured enamel equally, further aligns with the stylings of the master; the sharp contrasts dramatising the classic epic, and allowing for a monumental sense of depth to be achieved on a miniature scale.