Tazza
1539 (made)
| Artist/Maker | |
| Place of origin |
This tazza and cover has been in several well-known collections. It was owned by the writer and collector Horace Walpole (1717-97) and displayed at Strawberry Hill, his house in Twickenham. After the sale of his collection in 1842, it was bought by William Beckford (1760-1844) and by descent, entered the collection of the Dukes of Hamilton.
This piece is decorated with scenes from the life of Samson as described in the Book of Judges in the Bible. The use of the Samson story on Limoges painted enamels is relatively rare and this example is particularly finely painted by Jean Pénicaud II (active 1534-49).
Probably one of the sons of the enameller Nardon Pénicaud and nephew to Jean Pénicaud I, Jean Pénicaud II was the leading exponent in Limoges of a Renaissance style based on the Italian Mannerism of the Fontainebleau School. He excelled in both grisaille and polychrome painted enamels, though he showed a preference for grisaille work and his extant polychrome works are rare. He created both ecclesiastical and secular work and is especially known for his reliquaries and portraits such as the medallion of Pope Clement VII (Paris, Louvre inv.OA 1000). His signed and dated works are few but his style is recognisable especially in his fine representation of faces and use of subtle flesh tones. This tazza can be firmly attributed to Jean II Penicaud even though the inscription on the foot bearing his name and the date is probably part of a nineteenth-century restoration.
This piece is decorated with scenes from the life of Samson as described in the Book of Judges in the Bible. The use of the Samson story on Limoges painted enamels is relatively rare and this example is particularly finely painted by Jean Pénicaud II (active 1534-49).
Probably one of the sons of the enameller Nardon Pénicaud and nephew to Jean Pénicaud I, Jean Pénicaud II was the leading exponent in Limoges of a Renaissance style based on the Italian Mannerism of the Fontainebleau School. He excelled in both grisaille and polychrome painted enamels, though he showed a preference for grisaille work and his extant polychrome works are rare. He created both ecclesiastical and secular work and is especially known for his reliquaries and portraits such as the medallion of Pope Clement VII (Paris, Louvre inv.OA 1000). His signed and dated works are few but his style is recognisable especially in his fine representation of faces and use of subtle flesh tones. This tazza can be firmly attributed to Jean II Penicaud even though the inscription on the foot bearing his name and the date is probably part of a nineteenth-century restoration.
Object details
| Category | |
| Object type | |
| Parts | This object consists of 2 parts.
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| Materials and techniques | Copper, painted in grisaille enamels, flesh tones, gold 'en camaieu' and gilding on a dark ground |
| Brief description | Limoges enamel tazza and cover painted with scenes from the life of Samson by Jean Pénicaud II, dated 1539 |
| Physical description | A wide shallow covered footed copper dish painted in grisaille enamels with flesh tones and gilding on a dark ground, depicting scenes from the life of Samson from the Book of Judges. The inside of the tazza depicts Delilah shearing Samson's hair and his capture by the Philistines, while the underside is painted with emblems of the Passion (crown of thorns, nails, lance). The scenes on the cover and emblems of the Passion indicate that Samson's trials prefigured those of Christ. The cover depicts Samson, the fox and grain, a reference to Samson burning the fields of the Philistines; Samson slaying the lion; Samson carrying the gates of Gaza, and Samson tearing down the pillars of the temple. The underside of the cover is painted in gold 'en camaieu' with the marriage feast of Samson, and Samson slaying the Philistines with the jawbone of an ass. |
| Dimensions |
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| Marks and inscriptions | 'JOHANNES PENICAVDI IVNIOR 1539', gilded inside the foot (The foot of the tazza was restored in the 19th century but the tazza itself and cover are nevertheless firmly attributable to Jean Penicaud II.) |
| Credit line | Bequeathed by George Salting, Esq. |
| Object history | In Horace Walpole's collection at Strawberry Hill by at least 1774. Sold at day 12 of Strawberry Hill sale, 7th May 1842, lot 59. Bought by Robert Hume Jr. for Beckford, Berners Street, £44.2.0. Bought by Whitehead for £2100 at sale of the Hamilton Palace Collection, 4th July 1882, Christie's, lot 966. Bought by Durlacher for £1600 on 10th May 1898, Christie's, Collection of T.M.Whitehead, Esq, lot 83. Bequeathed by George Salting to the Victoria and Albert Museum, 1910. Historical significance: William Beckford acquired this tazza and cover from the sale of Horace Walpole's possessions in 1842. It was bought at the sale by Robert Hume jr. who offered it to Beckford shortly afterwards. The use of the Samson story on Limoges painted enamels is relatively rare. |
| Historical context | Jean Pénicaud II (active 1534-49) was probably the son of Nardon Pénicaud and nephew to Jean Pénicaud I. He was the leading exponent in Limoges of a Renaissance style based on the Italian Mannerism of the Fontainebleau School. He excelled in both grisaille and polychrome painted enamels, though he showed a preference for grisaille work and his extant polychrome works are rare. He created both ecclesiastical and secular work and is especially known for his reliquaries and portraits such as the medallion of Pope Clement VII (Paris, Louvre inv.OA 1000). His signed and dated works are few but his style is recognisable especially in his fine representation of faces and use of subtle flesh tones. This tazza can be firmly attributed to Jean II Penicaud even though the inscription on the foot bearing his name and the date is probably part of a nineteenth-century restoration. |
| Production | Jean II Penicaud was active between 1534 and 1549 |
| Subjects depicted | |
| Summary | This tazza and cover has been in several well-known collections. It was owned by the writer and collector Horace Walpole (1717-97) and displayed at Strawberry Hill, his house in Twickenham. After the sale of his collection in 1842, it was bought by William Beckford (1760-1844) and by descent, entered the collection of the Dukes of Hamilton. This piece is decorated with scenes from the life of Samson as described in the Book of Judges in the Bible. The use of the Samson story on Limoges painted enamels is relatively rare and this example is particularly finely painted by Jean Pénicaud II (active 1534-49). Probably one of the sons of the enameller Nardon Pénicaud and nephew to Jean Pénicaud I, Jean Pénicaud II was the leading exponent in Limoges of a Renaissance style based on the Italian Mannerism of the Fontainebleau School. He excelled in both grisaille and polychrome painted enamels, though he showed a preference for grisaille work and his extant polychrome works are rare. He created both ecclesiastical and secular work and is especially known for his reliquaries and portraits such as the medallion of Pope Clement VII (Paris, Louvre inv.OA 1000). His signed and dated works are few but his style is recognisable especially in his fine representation of faces and use of subtle flesh tones. This tazza can be firmly attributed to Jean II Penicaud even though the inscription on the foot bearing his name and the date is probably part of a nineteenth-century restoration. |
| Bibliographic references |
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| Collection | |
| Accession number | C.2460&A-1910 |
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| Record created | January 21, 2008 |
| Record URL |
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