Overview

No overview available.

Inscription

lower left: APOCA XVII.; lower center: M.C.

Marks and Labels

null

Provenance

Hollingworth Magniac, Esq., Colworth, by 1862[1] (sale, Christie, Manson & Woods, London, 2 and 4 July 1892, no. 248); Charles Borradaille, Paris, by 1897.[2] (Duveen Brothers, New York and London); purchased 8 November 1901 by Peter A. B. Widener, Elkins Park, Pennsylvania; inheritance from the Estate of Peter A. B. Widener by gift through power of appointment of Joseph E. Widener, Elkins Park, 1942.[3]

Exhibition History

1862
Special Exhibition of Works of Art of the Medieval, Renaissance, and More Recent Periods on Loan at the South Kensington Museum, June, 1862, South Kensington Museum, London, 1862, no. 1851. Rev. ed. 1863.
1874
Special Loan Exhibition of Enamels on Metal, South Kensington Museum, London, 1874, no. 732.
1897
A Collection of European Enamels from the Earliest Date to the End of the XVII Century, Burlington Fine Arts Club, London, 1897, no. 143, pls. 21-22.
1937
The Art of the Renaissance Craftsman, Fogg Art Museum, Cambridge, Massachusetts, no. 13, frontispiece.

Bibliography

1862
South Kensington 1862, no. 1851.
1874
Special Loan Exhibition of Enamels on Metal. Exh. cat. South Kensington Museum, London, 1874: no. 732.
1892
Robinson, Sir Charles. Catalogue of the Renowned Collection, chiefly formed by the late Hollingworth Magniac, Esq.... Christie, Manson & Woods. London, July 2-8, 11-15, 1892: no. 248.
1897
A Collection of European Enamels from the Earliest Date to the End of the XVII Century. Exh. cat. Burlington Fine Arts Club, London, 1897: no. 143, pls. 21-22.
1935
Inventory of the Objects d'Art at Lynnewood Hall, Elkins Park, Pennsylvania, The Estate of the Late P.A.B. Widener. Philadelphia, 1935: 36-37, as Large oval Dish representing a Scene from the Apocalypse.
1937
The Art of the Renaissance Craftsman. Exh. cat. The Fogg Art Museum, Cambridge, Massachusetts, 1937: no. 13, frontispiece.
1942
Works of Art from the Widener Collection. Foreword by David Finley and John Walker. National Gallery of Art, Washington, 1942: 10, as Large oval dish with a scene from the Apocalypse.
1983
Wilson, Carolyn C. Renaissance Small Bronze Sculpture and Associated Decorative Arts at the National Gallery of Art. Washington, 1983: 203-204, no. 31., repro.
1993
Distelberger, Rudolf, Alison Luchs, Philippe Verdier, and Timonthy H. Wilson. Western Decorative Arts, Part I: Medieval, Renaissance, and Historicizing Styles including Metalwork, Enamels, and Ceramics. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1993: 101-103, color repro. 102.
2014
Schwann, Birgit. “Enamel insert restorations on Limoges painted enamels: A study on a remarkable nineteenth-century restoration technique with particular attention to the original paillon designs.” Studies in Conservation 59:3 (2014): 161-179.

Technical Summary

The foreground is of a russet purplish color. The apple green body of the beast, festering with pustules, is shadowed in yellow; its right rear leg stirs ripples of lapis lazuli blue in the pool, which represents the apocalyptic abyss. The blue sky, a turquoise color thinly applied on the white enamel underneath, darkens to lapis blue at the top, under the clouds and a gold sunburst. The other colors are translucent reds on foils, a semiopaque blue, mulberry brown, and purple. The mane of the beast and details of the garments are modeled in opaque white enamel, scratched lines revealing the black preparation underneath. The bent bodies of the cardinal and of the bishop show through their dresses. The bishop's chasuble is painted with a transparent flux on which embroideries are traced in gold. The technique is a mixture of polychrome enameling with foil and grisaille enameling with enlevage. The dish has been restored. There is a crack on the reverse.

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