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  • Painted porcelain ewer with spout at the center

    Saint-Porchaire Ware
    Ewer (Biberon)
    Mid-16th century
    Lead-glazed earthenware
    10 1/4 × 5 1/16 × 5 1/16 in. (26 × 12.9 × 12.9 cm)
    Gift of Alexis Gregory, 2020
    Photo Joseph Coscia Jr.

     

    Part of a very small, luxurious production created during the reign of King Henry II of France (r. 1547–59), this three-handled ewer, or biberon (nursing bottle), has a complex molded, stamped, and inlaid decoration consisting of foliage, leaves, cabochons, and leonine masks. The delicate interlacing forms several intricate patterns, and a strapwork cartouche features a coat of arms made up of three fleurs-de-lys. Saint-Porchaire ware, most of which was destined for the royal family and important patrons, is named after a village in a French region rich in the white clay that is its main component.

      286 — (1) Curator's Reflection (English) (2) Curator's Reflection (French)
  • Black painted enamel dish depicting a battle scene of Jason confronting the giants

    Pierre Reymond ( 1513–after 1584)
    Dish: Jason Confronting the Giants
    Limoges, mid-16th century
    Enamel on copper, parcel-gilt
    Diam. 8 in. (20.3 cm); d. 9/16 in. (1.4 cm)
    Gift of Alexis Gregory, 2021
    Photo Joseph Coscia Jr.

     

    The scenes on these dishes are taken from engravings by René Boyvin (ca. 1525–ca. 1625) after Léonard Thiry (ca. 1500–1550). The other dish shows Jason fighting the dragon, guarding the Golden Fleece, with a sword as the Argonauts watch. At the back, the arms of the Mesmes de Ravignon family impaled with the arms of the Dolu family are flanked by allegories of Air and Earth. This dish depicts Jason confronting the Giants after sowing the teeth of Cadmus’s dragon, one of the tasks he needed to complete to obtain the Golden Fleece. The coat of arms shown on the reverse belongs to the Comte d’Avaux and the Marquis de Roissi, titles acquired later by the Mesmes family. The rim of each dish is decorated with interlinked scrolls and chariots interspersed with satyrs and putti.

      283 — (1) Curator's Reflection (English) (2) Curator's Reflection (French)
  • Black painted enamel dish depicting a battle scene

    Pierre Reymond (1513–after 1584)
    Dish: Jason Confronting the Dragon Guarding the Golden Fleece
    Limoges, mid-16th century
    Enamel on copper, parcel-gilt
    Diam. 7 15/16 in. (20.2 cm); d. 7/8 in. (2.2 cm)
    Gift of Alexis Gregory, 2021
    Photo Joseph Coscia Jr.

     

    The scenes on these dishes are taken from engravings by René Boyvin (ca. 1525–ca. 1625) after Léonard Thiry (ca. 1500–1550). This dish shows Jason fighting the dragon, guarding the Golden Fleece, with a sword as the Argonauts watch. At the back, the arms of the Mesmes de Ravignon family impaled with the arms of the Dolu family are flanked by allegories of Air and Earth. The other dish depicts Jason confronting the Giants after sowing the teeth of Cadmus’s dragon, one of the tasks he needed to complete to obtain the Golden Fleece. The coat of arms shown on the reverse belongs to the Comte d’Avaux and the Marquis de Roissi, titles acquired later by the Mesmes family. The rim of each dish is decorated with interlinked scrolls and chariots interspersed with satyrs and putti.

      283 — (1) Curator's Reflection (English) (2) Curator's Reflection (French)
  • view of black painted enamel covered cup

    Pierre Reymond (1513–after 1584)
    Covered Tazza (One of a Pair)
    Limoges, ca. 1566
    Enamel on copper, parcel-gilt
    H. 8 1/2 in. (21.6 cm); diam. 7 1/4 in. (18.4 cm)
    Marks (inside the bowl): P.R.
    Gift of Alexis Gregory, 2021
    Photo Joseph Coscia Jr.

     

     

    These tazzas are part of a larger service with arms generally attributed to Pierre Séguier (1504–1580) or one of his relatives. The iconography derives from woodcuts by Bernard Salomon (ca. 1508 or 1510–ca. 1561) that illustrates Les Quadrins historiques de la Bible, first published in 1553. The coats of arms represented are similar to those of the Séguier family, but several elements represented here could suggest the Chabriant de Cornac family. The first tazza, inscribed with Exodus XVI, depicts the Fall of Manna. The decoration inside the lid includes acanthus leaves, arabesques inspired by Jacques Androuet du Cerceau (1510–1584), and four framed scenes drawing on mythological subjects. The interior of the cup depicts Moses and his father-in-law Jethro in a scene from Exodus. Two different scenes are illustrated on the foot: the procession of Amphitrite and Neptune after their union and an episode from Exodus in which Moses strikes a rock that miraculously begins to spout water. The second tazza is similarly decorated. In place of the first tazza’s four mythological scenes are four framed winged putti. The exterior of the lid illustrates a scene identified as II Rois XVIII (2 Samuel 18:9–14), the story of Absalom. The interior of the cup—which includes the words III Rois X (1 Kings 10)—depicts the Queen of Sheba in Jerusalem.

      284 — (1) Curator's Reflection (English) (2) Curator's Reflection (French)
  • view of black painted enamel covered cup

    Pierre Reymond (1513–after 1584)
    Covered Tazza (One of a Pair)
    Limoges, ca. 1566
    Enamel on copper, parcel-gilt
    H. 8 1/2 in. (21.6 cm); diam. 7 1/4 in. (18.4 cm)
    Marks (inside the bowl): P.R.
    Gift of Alexis Gregory, 2021
    Photo Joseph Coscia Jr.

     

     

    These tazzas are part of a larger service with arms generally attributed to Pierre Séguier (1504–1580) or one of his relatives. The iconography derives from woodcuts by Bernard Salomon (ca. 1508 or 1510–ca. 1561) that illustrates Les Quadrins historiques de la Bible, first published in 1553. The coats of arms represented are similar to those of the Séguier family, but several elements represented here could suggest the Chabriant de Cornac family. The first tazza, inscribed with Exodus XVI, depicts the Fall of Manna. The decoration inside the lid includes acanthus leaves, arabesques inspired by Jacques Androuet du Cerceau (1510–1584), and four framed scenes drawing on mythological subjects. The interior of the cup depicts Moses and his father-in-law Jethro in a scene from Exodus. Two different scenes are illustrated on the foot: the procession of Amphitrite and Neptune after their union and an episode from Exodus in which Moses strikes a rock that miraculously begins to spout water. The second tazza is similarly decorated. In place of the first tazza’s four mythological scenes are four framed winged putti. The exterior of the lid illustrates a scene identified as II Rois XVIII (2 Samuel 18:9–14), the story of Absalom. The interior of the cup—which includes the words III Rois X (1 Kings 10)—depicts the Queen of Sheba in Jerusalem.

      284 — (1) Curator's Reflection (English) (2) Curator's Reflection (French)
  • Gold seated lion with scattered diamonds and enamel

    Probably South German
    Seated Lion Pomander
    ca. 1575
    Gold, diamonds, rubies, and enamel
    2 13/16 × 1 1/4 × 1 7/8 in. (7.1 × 3.2 × 4.8 cm)
    Gift of Alexis Gregory, 2021
    Photo Joseph Coscia Jr.

     

    Cast in gold and made of six distinctive parts—body, tail, head, collar, crown, and heart—this seated lion has a pelt and a flowing mane richly mounted with cut and faceted diamonds and rubies. The head and collar are set with rubies, diamonds, and black enamel. The chasing creates the effect of fur. The lion clutches a gold heart with diamonds, which bears an Italian inscription that may be a line from a poem: Che.gire.ancor qu.i.s.oggi orna (Here the heart adorns itself today so as to keep beating). The head, which can be unscrewed, and the small holes located on the head—in the nostrils and the mouth—identify this work as a pomander, a small object meant to contain aromatic substances and protect against disease.

      281 — (1) Curator's Reflection (English) (2) Curator's Reflection (French)
  • Painted enamel oval medallion depicting Apollo and the Muses

    Suzanne de Court (act. ca. 1600)
    Oval Medallion: Apollo and the Muses
    Limoges, ca. 1600
    Enamel on copper, parcel-gilt
    4 1/4 × 3 1/2 in. (10.8 × 8.9 cm)
    Marks (at top of plaque): S.C.
    Gift of Alexis Gregory, 2021
    Photo Joseph Coscia Jr.

     

     

    This composition representing Apollo and the Muses on Mount Helicon derives from a print by Giorgio Ghisi (1520–1582) that was made after a drawing by Luca Penni (1500 or 1504–1557). Flanked by a putto and Pegasus, Apollo is playing his lyre on deep green grass. Two bearded men wearing laurel wreaths, perhaps poets, are gesturing in his direction. Seated at their feet are the Muses: Erato, the Muse of lyric poetry; Calliope, of epic poetry; Thalia, of comedy and pastoral poetry; Urania, of astronomy; Terpsichore, of dance; Melpomene, of tragedy; Euterpe, of music; Clio, of history; and Polyhymnia, of sacred poetry. The group is separated by a river into which the nymph Castalia pours water from a vase.

      285 — (1) Curator's Reflection (English) (2) Curator's Reflection (French)
  • Golden sculpture of a seated Louis XIV, holding a raised scepter and a shield at his left side

    Attributed to Domenico Cucci (ca. 1635–1705) and Workshop
    Figure of Louis XIV 
    Manufacture des Gobelins, Paris, 1662–64
    Gilt bronze and porphyry
    13 5/8 × 11 15/16 × 7 1/16 in. (34.6 × 30.3 × 17.9 cm)
    Gift of Alexis Gregory, 2021
    Photo Joseph Coscia Jr.

     

    This sculpture, which may have been part of the so-called Cabinet of Apollo made after designs by Charles Le Brun, was among the first works of art produced at the Gobelins for Louis XIV of France (r. 1661–1715). The subjects depicted were intended to celebrate the king’s glory at the close of a lengthy war against Spain. Louis XIV is shown seated on a lion’s pelt—associated with Hercules—wearing armor, and draped in a cloak. He holds a scepter and an Apollo shield, one of his emblems. The upper part of the shield has been partially erased. The lion’s pelt, porphyry rock, and scepter are later additions.

      280 — (1) Curator's Reflection (English) (2) Curator's Reflection (French)
  • Gilt bronze automaton rhinoceros clock

    James Cox (ca. 1723–1800)
    Musical Automaton: Rhinoceros Clock
    ca. 1765–72
    Gilt bronze, silver, enamel, pearls, and colored glass
    Pedestal: white marble and agate
    15 9/16 × 8 3/8 × 3 1/2 in. (39.5 × 21.3 × 8.9 cm)
    Two enamel dials, one signed JAs Cox London
    Gift of Alexis Gregory, 2021
    Photo Joseph Coscia Jr.

     

     

    The “rhinoceros mania” began in Europe when a rhinoceros from India named Miss Clara was brought by the Dutch East India Company to Rotterdam in 1741 and exhibited in several cities until her death in London in 1758. Standing on a white marble pedestal and carrying a musical clock on its back, this rhinoceros figure is modeled after a celebrated print by Albrecht Dürer (1471–1528). The animal supports a small edifice that includes a clock and jeweled flowers. The chime mechanism, concealed on the back of the rhinoceros, strikes every half hour and can play two different tunes. The clock and its pendant may have been part of a more complex automaton that is described in Cox’s catalogue in 1774.

      282 — (1) Curator's Reflection (English) (2) Curator's Reflection (French)
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