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#190: By Ian Wardropper, Director Transcript

One of the distinctive art forms of the French Renaissance, enamel painting flourished in the sixteenth and seventeenth centuries in the city of Limoges, in southwest-central France. The production of enamel—essentially powdered glass on a metal substrate—required highly specialized skills, with artists of the Limoges workshops marshaling a variety of materials and techniques to achieve the desired colors, opacities, and other effects. The objects displayed in these cases represent the handful of dominant workshops that operated over generations to satisfy the demand for Limoges enamels across Europe. This includes the workshop of Suzanne de Court, who is the only known female head of a workshop active in Limoges.

Like all of these objects, the saltcellars indicate the wealth and status of their owners. Technical analysis of the Orpheus saltcellars, signed by Suzanne de Court, suggests that they were rarely, if ever, used to hold salt, then a very costly luxury. They were perhaps used primarily for display.

The subjects depicted on the objects displayed here represent the interests of their patrons: chiefly religious and mythological subjects as well as portraits, which were typically made at a small scale. The ambitious plaque of the Triumph of the Eucharist and the Catholic Faith, by Léonard Limousin, combines religious subject matter with a rare group portrait of the powerful Guise family.

Portrait of a Man (Guillaume Farel?)

 (French, ca. 1505–ca. 1575)
Date1546
MediumEnamel on copper
Dimensions7 9/16 x 5 5/8 in. (19.2 x 14.3 cm)
Credit LineHenry Clay Frick Bequest
Accession number1916.4.17
Commentary

Active in the 1520s–70s, Léonard Limousin tran­scended the traditional boundaries of his profes­sion, achieving international fame. Introduced at the court of Francis I at Fontainebleau in the 1530s, he was named “enameler to the king” by Henry II in 1548. Signed ll and dated 1546, this plaque may depict Guillaume Farel (1489–1565), one of the leading figures, along with John Calvin (1509–1564), of the Protestant Reformation. It could well have been made to celebrate the ten-year anniversary of Farel’s conversion of most of western Switzerland, including Geneva and Lausanne.

Source: Vignon, Charlotte. The Frick Collection Decorative Arts Handbook. New York: The Frick Collection/Scala, 2015.

Collection History

J. Pierpont Morgan, London and New York. Duveen. Frick, 1916.

Source: Enamels, Rugs and Silver in The Frick Collection. Volume VIII. New York: The Frick Collection, 1977.

Not On View
Front image of enamel polychrome plaque depicting a man in Renaissance style dress
Léonard Limosin (or Limousin)
1542
Front image of polychrome enamel plaque depicting the Portrait of a Man, potentially Antoine de…
Léonard Limosin (or Limousin)
ca. 1560
Front view of polychrome enamel plaque representing The Triumph of the Eucharist and the Cathol…
Léonard Limosin (or Limousin)
1561−62
Front view of polychrome enamel plaque representing Guy Chabot, Baron de Jarnac, in a gilt meta…
Léonard Limosin (or Limousin)
1540–45
Front view of enamel and gilt metal portrait of Louise de Pisseleu, Madame de Jarnac
Follower of Léonard Limosin (or Limousin)
late 16th century or later
Front view of polychrome enamel portrait of Odet de Coligny, Cardinal de Chatillon (1515–1571) …
Léonard Limosin (or Limousin)
ca. 1555
Oval enamel plaque depicting Ninus, King of Nineveh
Attributed to Jean II Limousin
early 17th century or later
Side view of polychrome enameled saltcellar depicting Olympian Deities
Jean II Limousin
early 17th century
Bronze portrait medal of Guillaume d'Estouteville with a tonsure, in profile to the right
Cristoforo di Geremia
after 1461
Oil painting of standing man wearing black
Frans Hals
ca. 1627–30
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