FRENCH SCHOOL of the second half of the 19th... - Lot 20 - Ader

Lot 20
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FRENCH SCHOOL of the second half of the 19th... - Lot 20 - Ader
FRENCH SCHOOL of the second half of the 19th century, in the style of the Limoges enamels Francis I in profile Portrait, enamel painted in grisaille on black ground with gold highlights and polychrome enamel on copper plate On the background cardboard, an inventory number " R. 189 ". Size : 33 x 38 cm, in a frame : 52 x 59 cm Related literature: - Anne-Dion Tenenbaum, " La Renaissance de l'émail sous la Monarchie de Juillet ", in Bibliothèque de l'École des Chartes, 2005, n° 163-1, pp.145-164. - Daniel Alcouffe, " La Renaissance des différentes techniques de l'émail sous le Second Empire ", in Métiers d'art, July 1978, p.40-47. - Anne Dion-Tenenbaum, Chapter 4 : " La Renaissance de l'émail au XIXe siècle ", Isabelle Biron dir, Émaux sur métal du IXe au XIXe siècle, histoire, technique et matériaux, Paris, Éditions Faton, 2015, pp.103-106. Under the July Monarchy, a new generation of artists sought in the neglected techniques of past centuries a renewal of forms for their creations in the field of decorative arts. The art of enamel, abandoned since the Renaissance, is again showing its colors. It becomes visible thanks to historical research and the desire for a better technical understanding. It also became desirable thanks to the growing interest of collectors of medieval and Renaissance art as well as the revival of forms inspired by these two periods in the creations of goldsmiths, such as Charles Wagner (1799-1841) or Désiré Froment-Meurice (1801-1855). In 1845, this enamel fashion even led to the opening of a painted enamel workshop in the famous Sèvres factory. The diffusion of this art and its full visibility flourished under the Second Empire, all the factors are present to give this art of fire a place of choice in the field of decorative arts. Until 1900, the production of enamels, triumphantly exhibited at the various Salons and international exhibitions, was characterized by a great variety and high technicality. This magnificent unsigned portrait of François I in profile illustrates the magnificence of this art, the predilection for the Renaissance style and the newly identified works of Leonardo Limosin (circa 1505-1575), the most famous Limousin enameller of the 16th century.
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