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拍品專文
This oval depiction of Ceres kneeling at Psyche’s feet refusing her assistance is one plaque of an extraordinary series that Pierre Courteys created detailing the fable of Cupid and Psyche. Courteys took the images from prints made from the drawings of the Flemish artist Michiel Coxie (1499-1592), after compositions of Raphael.
At least two other enamels from the series are known, each of approximately the same dimensions; Cupid and Psyche, previously belonging to J. Pierpont Morgan, now in the Walters Art Museum, Baltimore (inv. no. 44.41), and Apuleius and the old woman, sold at Christie’s, London, 15 July 1936, lot 108.
The series of prints was made up of 32 engravings depicting the story of Psyche according to the version in Lucius Apuleius, The Golden Ass. It is not known how many enamels from the series Courteys made, although it is unlikely to have been the full set. Near the lower edge of the Baltimore enamel is inscribed the number XVIII, which refers to the engraving and its place in the series. The prints had evidently made their way to Limoges soon after they were made, as a rectangular plaque now in the British Museum (inv. no. 1913,1220.24) depicts the same scene as the present enamel, and is attributed to Léonard Limosin and dated circa 1535-1545.
Alfred Rütschi (1868-1929) originated from a traditional Swiss family of entrepreneurs in the silk industry and was one of the leading Swiss collectors of the early 20th century. Besides early sculpture and medieval works of art Rütschi’s key interest lay in collecting the works of contemporary Swiss artist such as Ferdinand Hodler. The legendary Rütschi sale at Stuker’s in Berne in 1954 included mainly European Works of Art and Silver from the 11th to the 18th century which had until then been kept and exhibited at the Kunsthaus Zürich. The sale caused a genuine sensation and was at the time one of the most important single owner sales ever held in Switzerland.
At least two other enamels from the series are known, each of approximately the same dimensions; Cupid and Psyche, previously belonging to J. Pierpont Morgan, now in the Walters Art Museum, Baltimore (inv. no. 44.41), and Apuleius and the old woman, sold at Christie’s, London, 15 July 1936, lot 108.
The series of prints was made up of 32 engravings depicting the story of Psyche according to the version in Lucius Apuleius, The Golden Ass. It is not known how many enamels from the series Courteys made, although it is unlikely to have been the full set. Near the lower edge of the Baltimore enamel is inscribed the number XVIII, which refers to the engraving and its place in the series. The prints had evidently made their way to Limoges soon after they were made, as a rectangular plaque now in the British Museum (inv. no. 1913,1220.24) depicts the same scene as the present enamel, and is attributed to Léonard Limosin and dated circa 1535-1545.
Alfred Rütschi (1868-1929) originated from a traditional Swiss family of entrepreneurs in the silk industry and was one of the leading Swiss collectors of the early 20th century. Besides early sculpture and medieval works of art Rütschi’s key interest lay in collecting the works of contemporary Swiss artist such as Ferdinand Hodler. The legendary Rütschi sale at Stuker’s in Berne in 1954 included mainly European Works of Art and Silver from the 11th to the 18th century which had until then been kept and exhibited at the Kunsthaus Zürich. The sale caused a genuine sensation and was at the time one of the most important single owner sales ever held in Switzerland.