Polychrome enamel plate with gold highlights... - Lot 62 - Pierre Bergé & Associés

Lot 62
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Estimation :
20000 - 30000 EUR
Result with fees
Result : 145 600EUR
Polychrome enamel plate with gold highlights... - Lot 62 - Pierre Bergé & Associés
Polychrome enamel plate with gold highlights representing a bust of Jacques de Balaguier, baron of Montsalès, salmon-colored counter-enamel. The gentleman is depicted facing three quarters on the left, wearing a hat with a feather and a pourpoint with a broken collar; face with regular features, blue eyes, slightly arched nose, moustache and beard full and trimmed; he wears a necklace with an oval medallion resting on his chest. Limoges, attributed to Léonard Limosin (circa 1505 - circa 1576), circa 1565/70 Height: 14 cm - Width: 10.1 cm (very slight accidents at the edge) Provenance: private collection in the south of France Books and links consulted: S. Deprouw, "Léonard Limosin et l'art du portrait émaillé" in L'Estampille/Objet d'art, April 2010, p 65-71 ; S. Deprouw https://deprouw.fr/blog/leonard-limosin-le-bref-apogee-de-lemail-peint-2/. Jacques de Balaguier, baron de Montsalès, from an old and powerful family of Quercy did not usurp his nickname of "the Brave". Born around 1535, he was killed at the battle of Jarnac in 1569. Fighting on horseback, a Protestant leader came very close and, raising his visor, shot him point blank in the face. His body was carried to Cahors and buried in the choir of the cathedral of which his uncle, Jacques de Balaguier, was bishop. In the meantime, he led the life of a man-at-arms, fighting in Metz, Saint-Quentin and Dreux, among other places. Close to the circles of power, he was a gentleman of the chamber of François II and Charles IX from 1559 to 1563. He then accompanied the Duke of Anjou, the future Henry III, and in 1565 was received into the Order of Saint Michael, the medal of which he wears on his enamelled portrait. The drawing that served as a model for Léonard Limosin is most likely a replica of a portrait that François Clouet made around 1565, which shows Balaguier dressed very exactly according to the fashion of the mid-1560s, with the collar of the Order around his neck. There are three known copies of the original drawing, now unlocated: one by Fondette in the Ashmolean Museum, Oxford (WA 1863.6.41), another in the Cabinet des Estampes of the Bibliothèque Nationale, and a third in the Conservatoire National des Arts et Métiers (III, 7 (7), pl.101, fig.). It is the latter that Limosin has obviously taken as his model, as we can see the same folds in the pourpoint, the puffed sleeves, the embroidery on the hat and the identical morphology of the ear. Only the pendant worn by the gentleman, present on all three copies, has not been retained. During his long career, Limosin proved to be a great enameller of kings, portraying François I during his lifetime, Henri II and Charles IX, but also the ladies of the court, wives or mothers of the sovereigns. He also portrayed the great personalities of the state such as the Constable Anne de Montmorency or Jacques Galliot de Genouillac, grand master of the artillery, as well as cardinals and bishops of the high nobility. This portrait of Jacques de Balaguier, a character close to the royal circle, whose quality of execution allows it to be attributed to this great enamel painter, is a precious discovery. Many thanks to Mrs. Stéphanie Deprouw and to Mrs. Alexandra Zvereva, art historian, who identified the character and provided a note on his biography.
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