French, Limoges, late 16th/ early 17th century

the body with partially legible gilt inscriptions across three tiers: MERC ... / ...RANIA / ... EVT... PE / FLORA and: LENCZ / ELIO / VER / SA and: ... EX... / ... LI ...

The handle and the back of the spout are restored and overpainted. The inside of the spout is also overpainted and the front part of the spout appears to be reattached and is restored, with some restoration visible also on the outside, where losses to the black enamelling and gilding have been painted in. There is overpainting also to the black-and-white rim on the body of the ewer, which may cover a reattachment. The foot is reattached, and there is a later metal ring to the interior. It is possible that the neck is also reattached. There is a further restoration to a section of the edge of the foot. There are a few losses to the paintwork, notably to the back right corner of the spout where there is also some warping to the metal. There are various losses to the enamelling, including: to several figures and the oxen on the upper part of the body; to several figures and the background on the lower part of the body (particularly the soldiers and other figures below the handle on the left). Some of these losses have been restored, for example to the landscape and the background to the left of the seated pharaoh. There are also a few losses to the white enamel on the edge of the foot, notably one area of scratching which has also affected the black enamel on the underside. Some pieces of the original enamelling appear to have been reattached; for example, the purple clad figure next to the monkey in front of the chariot on the upper part of the body. There is some rubbing to the gilding, in particular to the translucent enamel on the neck. There are two small holes to the foot of the ewer, which probably served as air vents during firing. Otherwise the condition is good, with minor dirt and wear to the surface consistent with age.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This lavishly decorated ewer depicts scenes from the book of Exodus, of the destruction of the Pharaoh's army in the Red Sea. It compares closely to a ewer in the Herzog Anton Ulrich-Museum in Braunschweig (inv. no. Lim 105) and to an example in the British Museum (inv. no. WB.52), which is signed by the famous Limoges enamel painter Susanne de Court. The scenes of Exodus are loosely based on woodcuts by Bernard Salomon (1506-1561).

The shoulder of the present ewer, depicting a Triumphal Procession of Spring, makes for an interesting dialogue between Biblical and mythological iconography. The scene is based on an engraving by German Renaissance engraver Virgil Solis (1514-1562), after a print by Georg Pencz (1500-1550). One of these prints survives in the British Museum (inv. no. 1873,0809.842).

For comparable Limoges ewers sold at auction, see those from the Yves Saint Laurent collection, sold Christie's Paris 23-25 February lots 524 and 531, both of which were attributed to Jean de Court.

RELATED LITERATURE
The Waddesdon Bequest: Catalogue of the Works of Art bequeathed to the British Museum by Baron Ferdinand Rothschild, cat. British Museum, London, 1902, no. 52, pl. XIII; I. Müsch, Maleremails des 16. und 17. Jahrhunderts aus Limoges, cat. Herzog Anton Ulrich-Museum Braunschweig, Kunstmuseum des Landes Niedersachsen, Braunschweig, 2002, pp. 246-247, no. 126