The wonderfully painted ewer offered here depicting the Triumph of Bacchus is a prime example of Pierre Courteys' artistic production during the second half of the 16th century. Stylistic comparisons to a number of his other enamels highlight the enormous sculptural presence of his figures even though they were painted on such a small scale. Without doubt the most significant comparison can be made to another ewer in the Walters Art Gallery, Baltimore (Verdier, loc. cit.), depicting the Triumph of Venus and Neptune. Dated to circa 1567 this ewer is of similar form, although slightly more squat, and painted with acanthus leaf decoration to the neck, a similar procession to the body, and virtually identical decorative motifs to the foot. Indeed, Verdier acknowledges the closeness of the two ewers by referring to this very lot: 'A ewer of identical dimensions and shape, with a similar decoration representing the Triumph of Bacchus, in the Spitzer collection' (ibid). A comparison of the anatomies of the figures on both ewers also emphasises Courteys' comfort with accurately rendering musculature by using varying tones of light and dark. It is thus the combination of his painterly style and incredible draughtsmanship that cements Courteys as one of the leading enamel painters of the 16th century.