Hôtel Lambert, Une Collection Princière, Volume II : Kunstkammer
Hôtel Lambert, Une Collection Princière, Volume II : Kunstkammer
A Limoges painted enamel medallion depicting the Roman Emperor Galba, Circle of Léonard Limosin (1505-1577), Circa 1550
Auction Closed
October 12, 05:41 PM GMT
Estimate
40,000 - 60,000 EUR
Lot Details
Description
A Limoges painted enamel medallion depicting the Roman Emperor Galba, Circle of Léonard Limosin (1505-1577), Circa 1550
inscribed in gold GALBA
with trophies and foliate scrolls in each corner
grisaille and partially gilt painted enamel on copper; set in a gilt-wood frame with enamel inlays
(portrait) diameter 9½ in.; 24 cm
(frame) 11⅖ by 11⅔ in.; 29 by 29,5 cm
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Médaillon en émail représentant l'Empereur Galba, Entourage de Léonard Limosin (1505-1577), vers 1550
intitulé en doré GALBA
les écoinçons ornés de trophées et de volutes
émail peint en grisaille sur cuivre à rehauts d'or ; dans un cade en bois doré inscrutés d'ornements en émail peint
(portrait) diamètre 9½ in.; 24 cm
(cadre) 11⅖ x 11⅔ in.; 29 x 29,5 cm
Christie's London, 13 December 2001, lot 401
Gallery J. Kugel, 2007
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Christie's Londres, 13 décember 2001, lot 401
Galerie J. Kugel, 2007
S. Baratte, Les Emaux peints de Limoges, cat. Musée du Louvre, Paris, 2000, pp. 95 and 132.
This impressive painted enamel portrait medallion of Emperor Galba all’antica is consistent with the manner of mid-sixteenth century portraits by Limoges enamellers, which were much admired.
These medallions, on a large scale with the sitter generally shown in profile and identified by name, were often inserted into panelling or presented in square frames.
The engravings of Marcantonio Raimondi, published in about 1500–1534 in the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) traditionally served as models for The Twelve Caesars, one of whom is Galba. Nevertheless, the series engraved by Raimondi does not seem to include this particularly rare portrayal of Emperor Galba, seen in three-quarter view, bearded with a thick head of hair and his head slightly turned.
The fantastic quality of this grisaille painting, emphasising the detailed modelling of Galba’s thick, curly hair, as well as his expressive look, suggest an attribution of the present enamel to the circle of Léonard Limosin (1505–1577), highly regarded for the virtuosity of his enamelled portraits. However, it also recalls the style of Jean II Pénicaud who excels equally in the elaboration of naturalistic and detailed portraits, perfectly illustrated in his profile of Pompée (Louvre, inv. no OA4017).