Dish
1560-1580 (made)
| Artist/Maker | |
| Place of origin |
This serving dish painted in grisaille enamels and gilt with the Vision of St. John (Revelation Bk.4) and on the reverse with strapwork, masks and demi-figures is characteristic of the work of Jean Court. The design source is an engraving by Bernard Salomon from the Lyons Bible published in 1554, after a Durer woodcut original of 1498. Strapwork is a feature which derives from the ornamental work particularly in stucco which was created by Italian and French artists at the royal palace of Fontainebleau. After many years of confusion between various forms of full name and monogram used by this artist, it is now thought that the Master signing IC, IDC, ICDV, Jean Court, Jean Courtois, Jean de Court, Jean Court dit Vigier were one and the same enameller, active ca. 1555-85. The name Vigier was the French version of the Latin 'vicarius' and indicated he was a magistrate or judge representing the viscount of Limousin in Limoges. He came to court to serve Charles IX as a highly-regarded and well-remunerated 'peintre du roi'. He is possibly the same man who was painter to Charles Bourbon, Prince de la Roche-sur-Yon in 1553 and to the widowed Mary, Queen of Scots, 1562-67. The poet Jacques Blanchon praised him in an ode of 1583. This enameller's work was technically proficient and aesthetically precise and attractive. He excelled in grisaille work in this highly decorative Mannerist style, specialising, as did one or two other enamellers from Limoges, in elaborate services which would not be used but displayed on buffets or shelves in rooms such as private cabinets. It is thought that his workshop made copies of his most successful designs while he was away on his frequent visits to the French court.
Limoges, central France, was famous for the production of champleve enamels from the late 12th century until the town was destroyed by the Black Prince in 1370. The enamel industry began to revive about a century later but the technique of painted enamels produced from 1460s/70s was quite different from the earlier medieval work. The copper, probably from Spanish mines, was hammered to thin sheets. A dish such as this would have been hammered to shape then coated with enamel (a mix of powdered glass known as flux and metallic oxides) front and back. The design was outlined on the dark ground colour, then the image built up with a brush and spatula by adding different enamel colours in sequence according to their melting point. Grisaille was created by varying the thickness of the white enamel to allow the dark enamel beneath to show through to a greater or lesser extent. The piece might be fired several times, working from the highest temperature colour to gilding at the end. There was immense skill, perfected through careful experimentation, in producing the correct colour and shade required and a smooth correct consistency of enamel powder. The result, after much time and labour, had to be as free of bubbles, defects, specks of dirt and cracks as possible.
Limoges, central France, was famous for the production of champleve enamels from the late 12th century until the town was destroyed by the Black Prince in 1370. The enamel industry began to revive about a century later but the technique of painted enamels produced from 1460s/70s was quite different from the earlier medieval work. The copper, probably from Spanish mines, was hammered to thin sheets. A dish such as this would have been hammered to shape then coated with enamel (a mix of powdered glass known as flux and metallic oxides) front and back. The design was outlined on the dark ground colour, then the image built up with a brush and spatula by adding different enamel colours in sequence according to their melting point. Grisaille was created by varying the thickness of the white enamel to allow the dark enamel beneath to show through to a greater or lesser extent. The piece might be fired several times, working from the highest temperature colour to gilding at the end. There was immense skill, perfected through careful experimentation, in producing the correct colour and shade required and a smooth correct consistency of enamel powder. The result, after much time and labour, had to be as free of bubbles, defects, specks of dirt and cracks as possible.
Object details
| Category | |
| Object type | |
| Materials and techniques | Enamel on copper, painted in grisaille and gilt |
| Brief description | Dish painted in grisaille and gilt with a depiction of the Vision of St. John, France, Limoges, Jean Court, 1560-80 |
| Physical description | Enamel on copper, painted in grisaille and gilt with the Vision of St. John (Revelation Bk.4). In the centre, God sits on a throne on a dais, with the mystic (horned) Lamb resting his front hooves on the open Word on God's lap. To the left is a winged ox, and to the right, a winged lion. To the left above, flies a winged man, and to the right above is a winged eagle. All four winged beings represent the four Evangelists. Above is a ring of seven burning lamps. Twenty-four Elders, some with harps, are grouped around the throne, throwing down their crowns in worship. The kneeling figure in the foreground is St. John who points to the scene he sees in his vision. There is a border of strapwork, grotesques, masks, figures and two cameo-like bust portraits (one male; one female). The border on the reverse of the dish bears gilt laurel leaves and berries surrounding a dramatic central panel of strapwork, masks and demi-figures. The design source is an engraving by Bernard Salomon from the Lyons Bible published in 1554, after a Durer woodcut original of 1498. The masks, half-figures and strapwork on the reverse are characteristic of Jean Court, as are the two cameo medallions with male and female faces on the front. Strapwork is a feature which derives from the ornamental work particularly in stucco which was created by Italian and French artists at the royal palace of Fontainebleau. |
| Dimensions |
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| Marks and inscriptions | 'I.C.', (on the front of the dais on which the throne of God is placed) |
| Object history | Collection of the Duke of Marlborough, sold at Blenheim Palace, lot 61 Historical significance: After many years of confusion between various forms of full name and monogram used by this artist, it is now thought that the Master signing IC, IDC, ICDV, Jean Court, Jean Courtois, Jean de Court, Jean Court dit Vigier were one and the same enameller, active ca. 1555-85. The name Vigier was the French version of the Latin 'vicarius' and indicated he was a magistrate or judge representing the viscount of Limousin in Limoges. He came to court to serve Charles IX as a highly-regarded and well-remunerated 'peintre du roi'. He is possibly the same man who was painter to Charles Bourbon, Prince de la Roche-sur-Yon in 1553 and to the widowed Mary, Queen of Scots, 1562-67. The poet Jacques Blanchon praised him in an ode of 1583. This enameller's work was technically proficient and aesthetically precise and attractive. He excelled in grisaille work in this highly decorative Mannerist style, specialising, as did one or two other enamellers from Limoges, in elaborate services which would not be used but displayed on buffets or shelves in rooms such as private cabinets. It is thought that his workshop made copies of his most successful designs while he was away on his frequent visits to the French court. Limoges, central France, was famous for the production of champleve enamels from the late 12th century until the town was destroyed by the Black Prince in 1370. The enamel industry began to revive about a century later but the technique of painted enamels produced from 1460s/70s was quite different from the earlier medieval work. The copper, probably from Spanish mines, was hammered to thin sheets. A dish such as this would have been hammered to shape then coated with enamel (a mix of powdered glass known as flux and metallic oxides) front and back. The design was outlined on the dark ground colour, then the image built up with a brush and spatula by adding different enamel colours in sequence according to their melting point. Grisaille was created by varying the thickness of the white enamel to allow the dark enamel beneath to show through to a greater or lesser extent. The piece might be fired several times, working from the highest temperature colour to gilding at the end. There was immense skill, perfected through careful experimentation, in producing the correct colour and shade required and a smooth correct consistency of enamel powder. The result, after much time and labour, had to be as free of bubbles, defects, specks of dirt and cracks as possible. |
| Historical context | This large grisaille serving dish is unlikely to have been used for food but would have been part of a display among other treasures in different materials prized by their wealthy owner, or among other Limoges enamels, forming a service arrayed on shelves. The technical skill and lengthy process of firing several times involved in producing a piece like this meant that it was a luxury item that only the rich could afford. Grisaille enamels had become fashionable in 1540s, and Jean Court was one of the main Masters in this field. |
| Subjects depicted | |
| Summary | This serving dish painted in grisaille enamels and gilt with the Vision of St. John (Revelation Bk.4) and on the reverse with strapwork, masks and demi-figures is characteristic of the work of Jean Court. The design source is an engraving by Bernard Salomon from the Lyons Bible published in 1554, after a Durer woodcut original of 1498. Strapwork is a feature which derives from the ornamental work particularly in stucco which was created by Italian and French artists at the royal palace of Fontainebleau. After many years of confusion between various forms of full name and monogram used by this artist, it is now thought that the Master signing IC, IDC, ICDV, Jean Court, Jean Courtois, Jean de Court, Jean Court dit Vigier were one and the same enameller, active ca. 1555-85. The name Vigier was the French version of the Latin 'vicarius' and indicated he was a magistrate or judge representing the viscount of Limousin in Limoges. He came to court to serve Charles IX as a highly-regarded and well-remunerated 'peintre du roi'. He is possibly the same man who was painter to Charles Bourbon, Prince de la Roche-sur-Yon in 1553 and to the widowed Mary, Queen of Scots, 1562-67. The poet Jacques Blanchon praised him in an ode of 1583. This enameller's work was technically proficient and aesthetically precise and attractive. He excelled in grisaille work in this highly decorative Mannerist style, specialising, as did one or two other enamellers from Limoges, in elaborate services which would not be used but displayed on buffets or shelves in rooms such as private cabinets. It is thought that his workshop made copies of his most successful designs while he was away on his frequent visits to the French court. Limoges, central France, was famous for the production of champleve enamels from the late 12th century until the town was destroyed by the Black Prince in 1370. The enamel industry began to revive about a century later but the technique of painted enamels produced from 1460s/70s was quite different from the earlier medieval work. The copper, probably from Spanish mines, was hammered to thin sheets. A dish such as this would have been hammered to shape then coated with enamel (a mix of powdered glass known as flux and metallic oxides) front and back. The design was outlined on the dark ground colour, then the image built up with a brush and spatula by adding different enamel colours in sequence according to their melting point. Grisaille was created by varying the thickness of the white enamel to allow the dark enamel beneath to show through to a greater or lesser extent. The piece might be fired several times, working from the highest temperature colour to gilding at the end. There was immense skill, perfected through careful experimentation, in producing the correct colour and shade required and a smooth correct consistency of enamel powder. The result, after much time and labour, had to be as free of bubbles, defects, specks of dirt and cracks as possible. |
| Bibliographic references |
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| Collection | |
| Accession number | 552-1883 |
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| Record created | November 6, 2006 |
| Record URL |
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