Lot 284: A RECTANGULAR PARCEL-GILT POLYCHROME ENAMEL PLAQUE OF THE NATIVITY

A RECTANGULAR PARCEL-GILT POLYCHROME ENAMEL PLAQUE OF THE NATIVITY
ATTRIBUTED TO SUZANNE DE COURT (FL. CIRCA 1600), LATE 16TH OR EARLY 17TH CENTURY
In a later rectangular parcel-gilt ebonised wood frame; restorations
9 7/8 x 7½ in. (25 x 19 cm.); 13¾ x 11½ in. (35 x 29.2 cm.) the frame

COMPARATIVE LITERATURE:
P. Verdier, The Walters Art Gallery - Catalogue of the Painted Enamels of the Renaissance, Baltimore, 1967, pp. 338-9, no. 181.
S. Baratte, Les Emaux peints de Limoges, Paris, 2000.

THE PROPERTY OF A DECEASED ESTATE (LOTS 282 -284)

The palate, painting style and fluidity of composition of the present enamel connects it to the work of the Limousin enameller, Suzanne de Court. Her use of vibrant colours, as well as her fluid style, set her apart from her more restrained (male) predecessors - especially those from the Court dynasty. This is clearly exemplified in the present enamel and, for example, on the plaque of the Annunciation in the Walters Art Gallery, Baltimore (Verdier, loc. cit.). On both examples one detects a freedom in the movement of abundant drapery. It is less rigid and formulaic than is seen in the work of earlier artists and is perfectly complemented by the plastic, fleshy limbs of her protagonists. Furthermore, despite her bold style, Suzanne still managed to depict her scenes with immaculately rendered details such as individually painted strands of hair and fastidiously painted gilt high points. Finally, her rich palate, which is accentuated by the addition of translucent enamels above silver foil, is equally evident on both the Baltimore Annunciation and the present lot.