拍品专文
COMPARATIVE LITERATURE:
P. Verdier, The Walters Art Gallery - Catalogue of the Painted Enamels of the Renaissance, Baltimore, 1967, no. 136, pp. 228-230.
S. Baratte, Les Emaux Peints de Limoges, Paris, 2000, pp. 187-273.
Although designed in the form of common domestic objects, Limoges enamels of the 16th century were created more for display than for function. The present ewer is attributed to Pierre Reymond, one of the most celebrated enamellers of the era, and is comparable to a number of other ewers in public and private collections. Among these one might cite an example in the Walters Art Gallery, Baltimore (loc. cit.) and another, painted with the same frieze of the Triumph of Venus, offered from the collection of Yves Saint Laurent and Pierre Berge, Christie's Paris, 25 February 2009, lot 526.
P. Verdier, The Walters Art Gallery - Catalogue of the Painted Enamels of the Renaissance, Baltimore, 1967, no. 136, pp. 228-230.
S. Baratte, Les Emaux Peints de Limoges, Paris, 2000, pp. 187-273.
Although designed in the form of common domestic objects, Limoges enamels of the 16th century were created more for display than for function. The present ewer is attributed to Pierre Reymond, one of the most celebrated enamellers of the era, and is comparable to a number of other ewers in public and private collections. Among these one might cite an example in the Walters Art Gallery, Baltimore (loc. cit.) and another, painted with the same frieze of the Triumph of Venus, offered from the collection of Yves Saint Laurent and Pierre Berge, Christie's Paris, 25 February 2009, lot 526.