IN THE MANNER OF LIMOGES, THIRD QUARTER 19TH CENTURY

With the prevalence of historic revivalism in the mid-19th century came a renewed interest in Renaissance art forms and inventive new techniques made possible by modern industry. This dialogue between old and new was perhaps nowhere more clearly displayed at the Paris International Exhibitions where Medieval and Renaissance objects d’art on loan from museums and private collections were displayed under the same roof as modern works, serving as a direct parallel between French artistic achievements from the Renaissance to that present day (for example, see J. Lemer, Exposition de 1865, Palais de l'industrie, Musée rétrospectif, 1867).
Among those who took an active interest in ‘Renaissance Revival’ was Louis Philippe, who urged the Director of the Sèvres Manufactory, Alexandre Brogniart, to 'renew the fabrication of enamelled pieces in the manner of Limosins, incorporating improvements to be expected in light of advances in chemical sciences.' By 1840 an enamel-on-metal workshop had been established at Sèvres and in 1846 Brogniart wrote a catalogue devoted to enamels on copper (see Tamara Préaud, The Sèvres Porcelain Manufactory, Alexandre Brogniart and the Triumph of Art and Industry, 1800-1847, The Bard Center, New York, 1997, p. 61). Sèvres continued to produce enamel works until the early 20th century as did other less well known makers.
The objects included in the present lot closely reflect of Renaissance vases, coupes, and quite possibly salières remodelled as candlesticks—all pieces which formed large parts of collection of period Limoges enamel in the aforementioned French collections.