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Saint-Porchaire Ware
Ewer (Biberon)
Mid-16th century
Lead-glazed earthenware
10 1/4 × 5 1/16 × 5 1/16 in. (26 × 12.9 × 12.9 cm)
Gift of Alexis Gregory, 2020
Photo Joseph Coscia Jr.Part of a very small, luxurious production created during the reign of King Henry II of France (r. 1547–59), this three-handled ewer, or biberon (nursing bottle), has a complex molded, stamped, and inlaid decoration consisting of foliage, leaves, cabochons, and leonine masks. The delicate interlacing forms several intricate patterns, and a strapwork cartouche features a coat of arms made up of three fleurs-de-lys. Saint-Porchaire ware, most of which was destined for the royal family and important patrons, is named after a village in a French region rich in the white clay that is its main component.
286 — (1) Curator's Reflection (English) (2) Curator's Reflection (French)Speaker: Marie-Laure Buku Pongo, Assistant Curator
Curator's Reflection (English)
So many mysteries surround Saint-Porchaire ware. We don’t know who was involved in its production or why these objects were produced for such a short time. We are still discovering new things about the composition of the clay. What especially draws my attention here are motifs called arabesques. These are very intricate patterns that come from the Islamic world, especially its architecture, and were reproduced in numerous recueils d’ornements, or compilations of models for ornaments. Arabesques can also be found in classical music, where they take the form of ornamental motifs or curving lines that create flowing melodies. Listen to Robert Schumann’s Arabeske in C major, Op. 18, or Claude Debussy’s Deux Arabesques. This visual motif, and its musical equivalent, is a testament to cultural exchanges between the West and the East at a time when we didn’t necessarily expect people to know about other parts of the world as we do today.
Curator's Reflection (French)
Tant de mystères et questions subsistent autour de la production à Saint-Porchaire. Nous ne connaissons pas l’identité de toutes les personnes qui ont produit ces pièces ni pourquoi celles-ci ont été produites pendant une période limitée. Nous découvrons encore aujourd’hui des informations sur la composition de ces objets. Certains motifs représentés ici et que l’on appelle plus communément des arabesques attirent particulièrement mon attention. Ces entrelacements et motifs complexes appartiennent au monde islamique notamment à son architecture. Ils ont été alors repris et publiés dans des recueils d’ornements comme celui de Jacques Androuet du Cerceau. Les arabesques se trouvent également dans d’autres domaines comme celui de la musique classique. Ce sont des motifs ornementaux ou ce que l’on pourrait qualifier de jeux de courbes, de lignes sinueuses qui évoquent des entrelacs et produisent du mouvement. Réécoutez Robert Schumann et son Arabesque en do majeur (Op.18) ou Claude Debussy et ses Deux Arabesques. Ce motif et son équivalent dans le domaine musical sont le témoignage des échanges entre l’Occident et l’Orient à une époque où nous n’imaginons pas forcément les gens voyager et connaître d’autres contrées du monde comme aujourd’hui.
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Pierre Reymond ( 1513–after 1584)
Dish: Jason Confronting the Giants
Limoges, mid-16th century
Enamel on copper, parcel-gilt
Diam. 8 in. (20.3 cm); d. 9/16 in. (1.4 cm)
Gift of Alexis Gregory, 2021
Photo Joseph Coscia Jr.The scenes on these dishes are taken from engravings by René Boyvin (ca. 1525–ca. 1625) after Léonard Thiry (ca. 1500–1550). The other dish shows Jason fighting the dragon, guarding the Golden Fleece, with a sword as the Argonauts watch. At the back, the arms of the Mesmes de Ravignon family impaled with the arms of the Dolu family are flanked by allegories of Air and Earth. This dish depicts Jason confronting the Giants after sowing the teeth of Cadmus’s dragon, one of the tasks he needed to complete to obtain the Golden Fleece. The coat of arms shown on the reverse belongs to the Comte d’Avaux and the Marquis de Roissi, titles acquired later by the Mesmes family. The rim of each dish is decorated with interlinked scrolls and chariots interspersed with satyrs and putti.
283 — (1) Curator's Reflection (English) (2) Curator's Reflection (French)Speaker: Marie-Laure Buku Pongo, Assistant Curator
Curator's Reflection (English)
This plate and the one representing Jason and the giants are part of a well-known service that has been the object of much study. The plates were made for the Mesmes family: Jean-Jacques de Mesmes and his wife, Geneviève Dolu. Heraldry is integral to the decoration; the family coats of arms, which are on the back of each plate, are given as much space as the scenes on the front. Services such as the one these plates are part of were often made to celebrate a specific event in an individual’s life. We don’t know why this service was commissioned, but it has recently been suggested that Henri de Mesmes, Jacques-Jacques’s older brother, could have been involved. Henri was a great collector of books and no doubt would have owned a copy of the primary visual source for these plates: The Book of the Conquest of the Golden Fleece, by Prince Jason of Tessalie, published in Latin and French in 1563. Perhaps Henri suggested the subject for the service, a popular one at the time.
Curator's Reflection (French)
Cette assiette et celle représentant Jason et les géants font tous deux partie d’un service qui a fait l’objet de nombreuses études. Les deux assiettes étaient destinées à la famille des Mesmes : Jean-Jacques de Mesmes et sa femme Geneviève Dolu dont vous pouvez voir les armes. L’héraldique est une part intégrante du décor ; les armes familiales qui apparaissent au revers de chaque assiette prennent autant d’espace que la scène principale. De tels services, avec de nombreuses pièces, étaient commandés pour célébrer des évènements marquant la vie du commanditaire. Nous ne savons pas exactement pourquoi ce service a été commandé. Il est possible qu’Henri de Mesmes, le frère de Jean-Jacques, ait pu suggérer le sujet pour ce service. Ce dernier était un grand collectionneur de livres et devait très probablement avoir un exemplaire du Livre de la Conquête de la Toison d’Or par le Prince Iason de Tessalie publié en latin et français en 1563.
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Pierre Reymond (1513–after 1584)
Dish: Jason Confronting the Dragon Guarding the Golden Fleece
Limoges, mid-16th century
Enamel on copper, parcel-gilt
Diam. 7 15/16 in. (20.2 cm); d. 7/8 in. (2.2 cm)
Gift of Alexis Gregory, 2021
Photo Joseph Coscia Jr.The scenes on these dishes are taken from engravings by René Boyvin (ca. 1525–ca. 1625) after Léonard Thiry (ca. 1500–1550). This dish shows Jason fighting the dragon, guarding the Golden Fleece, with a sword as the Argonauts watch. At the back, the arms of the Mesmes de Ravignon family impaled with the arms of the Dolu family are flanked by allegories of Air and Earth. The other dish depicts Jason confronting the Giants after sowing the teeth of Cadmus’s dragon, one of the tasks he needed to complete to obtain the Golden Fleece. The coat of arms shown on the reverse belongs to the Comte d’Avaux and the Marquis de Roissi, titles acquired later by the Mesmes family. The rim of each dish is decorated with interlinked scrolls and chariots interspersed with satyrs and putti.
283 — (1) Curator's Reflection (English) (2) Curator's Reflection (French)Speaker: Marie-Laure Buku Pongo, Assistant Curator
Curator's Reflection (English)
This plate and the one representing Jason and the giants are part of a well-known service that has been the object of much study. The plates were made for the Mesmes family: Jean-Jacques de Mesmes and his wife, Geneviève Dolu. Heraldry is integral to the decoration; the family coats of arms, which are on the back of each plate, are given as much space as the scenes on the front. Services such as the one these plates are part of were often made to celebrate a specific event in an individual’s life. We don’t know why this service was commissioned, but it has recently been suggested that Henri de Mesmes, Jacques-Jacques’s older brother, could have been involved. Henri was a great collector of books and no doubt would have owned a copy of the primary visual source for these plates: The Book of the Conquest of the Golden Fleece, by Prince Jason of Tessalie, published in Latin and French in 1563. Perhaps Henri suggested the subject for the service, a popular one at the time.
Curator's Reflection (French)
Cette assiette et celle représentant Jason et les géants font tous deux partie d’un service qui a fait l’objet de nombreuses études. Les deux assiettes étaient destinées à la famille des Mesmes : Jean-Jacques de Mesmes et sa femme Geneviève Dolu dont vous pouvez voir les armes. L’héraldique est une part intégrante du décor ; les armes familiales qui apparaissent au revers de chaque assiette prennent autant d’espace que la scène principale. De tels services, avec de nombreuses pièces, étaient commandés pour célébrer des évènements marquant la vie du commanditaire. Nous ne savons pas exactement pourquoi ce service a été commandé. Il est possible qu’Henri de Mesmes, le frère de Jean-Jacques, ait pu suggérer le sujet pour ce service. Ce dernier était un grand collectionneur de livres et devait très probablement avoir un exemplaire du Livre de la Conquête de la Toison d’Or par le Prince Iason de Tessalie publié en latin et français en 1563.
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Pierre Reymond (1513–after 1584)
Covered Tazza (One of a Pair)
Limoges, ca. 1566
Enamel on copper, parcel-gilt
H. 8 1/2 in. (21.6 cm); diam. 7 1/4 in. (18.4 cm)
Marks (inside the bowl): P.R.
Gift of Alexis Gregory, 2021
Photo Joseph Coscia Jr.These tazzas are part of a larger service with arms generally attributed to Pierre Séguier (1504–1580) or one of his relatives. The iconography derives from woodcuts by Bernard Salomon (ca. 1508 or 1510–ca. 1561) that illustrates Les Quadrins historiques de la Bible, first published in 1553. The coats of arms represented are similar to those of the Séguier family, but several elements represented here could suggest the Chabriant de Cornac family. The first tazza, inscribed with Exodus XVI, depicts the Fall of Manna. The decoration inside the lid includes acanthus leaves, arabesques inspired by Jacques Androuet du Cerceau (1510–1584), and four framed scenes drawing on mythological subjects. The interior of the cup depicts Moses and his father-in-law Jethro in a scene from Exodus. Two different scenes are illustrated on the foot: the procession of Amphitrite and Neptune after their union and an episode from Exodus in which Moses strikes a rock that miraculously begins to spout water. The second tazza is similarly decorated. In place of the first tazza’s four mythological scenes are four framed winged putti. The exterior of the lid illustrates a scene identified as II Rois XVIII (2 Samuel 18:9–14), the story of Absalom. The interior of the cup—which includes the words III Rois X (1 Kings 10)—depicts the Queen of Sheba in Jerusalem.
284 — (1) Curator's Reflection (English) (2) Curator's Reflection (French)Speaker: Marie-Laure Buku Pongo, Assistant Curator
Curator's Reflection (English)
Pierre Reymond was one of the greatest enamellers in Limoges. These tazzas are part of an important service and are among the many enamels produced by Reymond and his workshop. It is interesting to see the combination of mythological scenes with religious subjects. The main scenes depicted on the tazzas show Old Testament figures: Moses, David, and Solomon. The secondary scenes are mostly mythological. Some of the enamels Reymond produced had motifs or decoration used to criticize the Catholic Church such as monks with donkey’s ears. You can spot this element on a plaque attributed to Master I.C., probably Jean de Court, next to these tazzas. Biblical figures were seen as wise, which is interesting given the historical context. In the sixteenth century, religious wars divided France’s citizenry; and artists, even those under the patronage of the king or his entourage, were not immune to the conflict. A compelling example is the Huguenot artist Bernard Palissy, who is believed to have made the Saint-Porchaire ewer displayed in the next room. Palissy died at the Bastille, where he was sent due to his beliefs. We do not know if Reymond was a Huguenot or a Catholic. His patrons were both, and he likely adapted his subjects accordingly.
Curator's Reflection (French)
Pierre Reymond était l’un des plus importants émailleurs de Limoges. Cette paire de coupes couvertes fait partie des nombreux émaux produits par Reymond et son atelier. Il est intéressant de voir le mélange de scènes à la fois mythologiques et religieuses. Les scènes principales représentent des personnages importants de l’Ancien Testament : Moïse, David et Salomon. Les scènes secondaires sont des sujets mythologiques. Certaines pièces émaillées semblent posséder un discours anticlérical. C’est notamment le cas de frises représentant le clergé qui dans certains cas porte des oreilles d’âne par exemple. Vous pouvez notamment observer ce motif sur une plaque attribuée au Maître I.C, probablement Jean de Court, et présentée à côté de ces coupes. Les figures bibliques de l’Ancien Testament sont alors perçues comme des sages ce qui est particulièrement intéressant au vu du contexte historique. Au 16e siècle, les guerres de Religion divisent alors le royaume de France. Les artistes y compris ceux sous le patronage du roi et de son entourage font également l’objet de persécutions. Le céramiste Bernard Palissy, un Huguenot, qui aurait participé à la conception de l’aiguière de Saint-Porchaire présentée dans la salle suivante est mort à la Bastille en raison de ses convictions. Nous ne savons pas si Reymond était Huguenot ou Catholique. Il y avait parmi sa clientèle à la fois des Catholiques et Huguenots. Il a sans doute adapté ses sujets en conséquence ou repris des thèmes populaires.
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Pierre Reymond (1513–after 1584)
Covered Tazza (One of a Pair)
Limoges, ca. 1566
Enamel on copper, parcel-gilt
H. 8 1/2 in. (21.6 cm); diam. 7 1/4 in. (18.4 cm)
Marks (inside the bowl): P.R.
Gift of Alexis Gregory, 2021
Photo Joseph Coscia Jr.These tazzas are part of a larger service with arms generally attributed to Pierre Séguier (1504–1580) or one of his relatives. The iconography derives from woodcuts by Bernard Salomon (ca. 1508 or 1510–ca. 1561) that illustrates Les Quadrins historiques de la Bible, first published in 1553. The coats of arms represented are similar to those of the Séguier family, but several elements represented here could suggest the Chabriant de Cornac family. The first tazza, inscribed with Exodus XVI, depicts the Fall of Manna. The decoration inside the lid includes acanthus leaves, arabesques inspired by Jacques Androuet du Cerceau (1510–1584), and four framed scenes drawing on mythological subjects. The interior of the cup depicts Moses and his father-in-law Jethro in a scene from Exodus. Two different scenes are illustrated on the foot: the procession of Amphitrite and Neptune after their union and an episode from Exodus in which Moses strikes a rock that miraculously begins to spout water. The second tazza is similarly decorated. In place of the first tazza’s four mythological scenes are four framed winged putti. The exterior of the lid illustrates a scene identified as II Rois XVIII (2 Samuel 18:9–14), the story of Absalom. The interior of the cup—which includes the words III Rois X (1 Kings 10)—depicts the Queen of Sheba in Jerusalem.
284 — (1) Curator's Reflection (English) (2) Curator's Reflection (French)Speaker: Marie-Laure Buku Pongo, Assistant Curator
Curator's Reflection (English)
Pierre Reymond was one of the greatest enamellers in Limoges. These tazzas are part of an important service and are among the many enamels produced by Reymond and his workshop. It is interesting to see the combination of mythological scenes with religious subjects. The main scenes depicted on the tazzas show Old Testament figures: Moses, David, and Solomon. The secondary scenes are mostly mythological. Some of the enamels Reymond produced had motifs or decoration used to criticize the Catholic Church such as monks with donkey’s ears. You can spot this element on a plaque attributed to Master I.C., probably Jean de Court, next to these tazzas. Biblical figures were seen as wise, which is interesting given the historical context. In the sixteenth century, religious wars divided France’s citizenry; and artists, even those under the patronage of the king or his entourage, were not immune to the conflict. A compelling example is the Huguenot artist Bernard Palissy, who is believed to have made the Saint-Porchaire ewer displayed in the next room. Palissy died at the Bastille, where he was sent due to his beliefs. We do not know if Reymond was a Huguenot or a Catholic. His patrons were both, and he likely adapted his subjects accordingly.
Curator's Reflection (French)
Pierre Reymond était l’un des plus importants émailleurs de Limoges. Cette paire de coupes couvertes fait partie des nombreux émaux produits par Reymond et son atelier. Il est intéressant de voir le mélange de scènes à la fois mythologiques et religieuses. Les scènes principales représentent des personnages importants de l’Ancien Testament : Moïse, David et Salomon. Les scènes secondaires sont des sujets mythologiques. Certaines pièces émaillées semblent posséder un discours anticlérical. C’est notamment le cas de frises représentant le clergé qui dans certains cas porte des oreilles d’âne par exemple. Vous pouvez notamment observer ce motif sur une plaque attribuée au Maître I.C, probablement Jean de Court, et présentée à côté de ces coupes. Les figures bibliques de l’Ancien Testament sont alors perçues comme des sages ce qui est particulièrement intéressant au vu du contexte historique. Au 16e siècle, les guerres de Religion divisent alors le royaume de France. Les artistes y compris ceux sous le patronage du roi et de son entourage font également l’objet de persécutions. Le céramiste Bernard Palissy, un Huguenot, qui aurait participé à la conception de l’aiguière de Saint-Porchaire présentée dans la salle suivante est mort à la Bastille en raison de ses convictions. Nous ne savons pas si Reymond était Huguenot ou Catholique. Il y avait parmi sa clientèle à la fois des Catholiques et Huguenots. Il a sans doute adapté ses sujets en conséquence ou repris des thèmes populaires.
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Probably South German
Seated Lion Pomander
ca. 1575
Gold, diamonds, rubies, and enamel
2 13/16 × 1 1/4 × 1 7/8 in. (7.1 × 3.2 × 4.8 cm)
Gift of Alexis Gregory, 2021
Photo Joseph Coscia Jr.Cast in gold and made of six distinctive parts—body, tail, head, collar, crown, and heart—this seated lion has a pelt and a flowing mane richly mounted with cut and faceted diamonds and rubies. The head and collar are set with rubies, diamonds, and black enamel. The chasing creates the effect of fur. The lion clutches a gold heart with diamonds, which bears an Italian inscription that may be a line from a poem: Che.gire.ancor qu.i.s.oggi orna (Here the heart adorns itself today so as to keep beating). The head, which can be unscrewed, and the small holes located on the head—in the nostrils and the mouth—identify this work as a pomander, a small object meant to contain aromatic substances and protect against disease.
281 — (1) Curator's Reflection (English) (2) Curator's Reflection (French)Speaker: Marie-Laure Buku Pongo, Assistant Curator
Curator's Reflection (English)
There is something so irresistible about this lion—his small size, the way he looks at us with his head slightly tilted, how he was sculpted and chiseled, the way the stones are integrated. It’s all extremely delicate. The lion is a pomander, an object designed to contain aromatic substances such as citrus, musk, civet, ambergris, cloves, cinnamon, and rosemary in the form of a powder or paste. If you look closely at the lion’s mouth and nostrils, you can see the holes from which scents emanated. This object is also a piece of jewelry to be worn around the neck or attached to a girdle. Many small Renaissance objects such as this had this double function. For instance, a piece of jewelry might have one side designed to be used as a toothpick and the other as the equivalent of a modern Q-tip. Both children and adults often had their portraits made while wearing such pieces, including pomanders. This fascinating object offers us an insight into the jewelry typically worn by elites in the fifteenth and sixteenth centuries and also informs us about period fashion trendshygienic practices and prophylactic treatments.
Curator's Reflection (French)
Il y a quelque chose d’irrésistible avec ce lion : sa petite taille, la façon dont il nous observe – la tête légèrement penchée – la manière dont il a été sculpté et ciselé, la façon dont les pierres ont été intégrées à l’objet. Tout est extrêmement délicat. Ce lion est une pomme de senteur, un objet qui devait contenir des substances aromatiques sous la forme de poudre ou de pâte : le citron, le musc, la civette, l’ambre gris, le girofle, la cannelle ou encore le romarin. Approchez-vous de la vitrine et observez attentivement la gueule et les narines du lion. Vous pourrez apercevoir des trous créés et d’où s’échappaient les effluves parfumés. Cet objet n’a pas seulement un rôle pratique, c’était également un bijou qui se portait autour du cou ou à la taille, accroché à une ceinture.
De nombreux objets à la Renaissance possédaient cette double-fonction. C’est par exemple le cas de pendentifs qui étaient à la fois des cure-dents et des cure-oreilles. Les enfants et les adultes étaient représentés portant ces pièces y compris les pommes de senteur. Ces objets qui nous fascinent encore nous permettent non seulement de voir la typologie des bijoux portés par les élites à la Renaissance, mais ils sont aussi les témoins des modes du temps et des pratiques liées à la santé et à l’hygiène.
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Suzanne de Court (act. ca. 1600)
Oval Medallion: Apollo and the Muses
Limoges, ca. 1600
Enamel on copper, parcel-gilt
4 1/4 × 3 1/2 in. (10.8 × 8.9 cm)
Marks (at top of plaque): S.C.
Gift of Alexis Gregory, 2021
Photo Joseph Coscia Jr.This composition representing Apollo and the Muses on Mount Helicon derives from a print by Giorgio Ghisi (1520–1582) that was made after a drawing by Luca Penni (1500 or 1504–1557). Flanked by a putto and Pegasus, Apollo is playing his lyre on deep green grass. Two bearded men wearing laurel wreaths, perhaps poets, are gesturing in his direction. Seated at their feet are the Muses: Erato, the Muse of lyric poetry; Calliope, of epic poetry; Thalia, of comedy and pastoral poetry; Urania, of astronomy; Terpsichore, of dance; Melpomene, of tragedy; Euterpe, of music; Clio, of history; and Polyhymnia, of sacred poetry. The group is separated by a river into which the nymph Castalia pours water from a vase.
285 — (1) Curator's Reflection (English) (2) Curator's Reflection (French)Speaker: Marie-Laure Buku Pongo, Assistant Curator
Curator's Reflection (English)
When it comes to Limoges enamels, Suzanne de Court is one of the most intriguing personalities of the late sixteenth and early seventeenth centuries. Her style is instantly recognizable, characterized by translucent reds, greens, blues highlighted with gold, and it is also the way she depicts mythological figures. Unfortunately, we know very little about Suzanne de Court’s life. We are still trying to determine whether she was connected to the De Court family, one of the great dynasties of enamellers during the Renaissance. What we do know is that she ran a workshop in Limoges. It was not uncommon for a woman to run a workshop at that time, especially after the death of her spouse. In the case of Suzanne de Court, a number of enamels are signed with her initials and sometimes even her full name and the Latin words f. or fecit.
Curator's Reflection (French)
Suzanne de Court est sans conteste l’une des personnalités les plus intrigantes lorsque nous pensons à la production des émaux de Limoges à la fin du XVIe et au début du XVIIe siècle. Son style est immédiatement reconnaissable : il se caractérise par des émaux translucides rouges, verts, bleus soulignés d’or. C’est aussi la manière aussi dont elle représente les figures dans ses sujets mythologiques. Malheureusement, peu de choses sont connues sur la vie de Suzanne de Court. Nous essayons toujours de déterminer si elle faisait partie de la famille De Court, l’une des plus grandes dynasties d’émailleurs à Limoges. Nous savons qu'elle y a dirigé un atelier. Il n'était pas rare pour des femmes à cette époque de prendre la tête d'un atelier y compris dans plusieurs domaines. C'était notamment le cas après le décès de l'époux. La veuve pouvait alors diriger l'atelier jusqu'à la majorité des enfants par exemple. Dans le cas de Suzanne de Court, un nombre d’émaux sont signés et portent ses initiales S.C. ou dans plusieurs cas son nom complet accolée de la lettre f. fecit (m’a fait) en latin.
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Attributed to Domenico Cucci (ca. 1635–1705) and Workshop
Figure of Louis XIV
Manufacture des Gobelins, Paris, 1662–64
Gilt bronze and porphyry
13 5/8 × 11 15/16 × 7 1/16 in. (34.6 × 30.3 × 17.9 cm)
Gift of Alexis Gregory, 2021
Photo Joseph Coscia Jr.This sculpture, which may have been part of the so-called Cabinet of Apollo made after designs by Charles Le Brun, was among the first works of art produced at the Gobelins for Louis XIV of France (r. 1661–1715). The subjects depicted were intended to celebrate the king’s glory at the close of a lengthy war against Spain. Louis XIV is shown seated on a lion’s pelt—associated with Hercules—wearing armor, and draped in a cloak. He holds a scepter and an Apollo shield, one of his emblems. The upper part of the shield has been partially erased. The lion’s pelt, porphyry rock, and scepter are later additions.
280 — (1) Curator's Reflection (English) (2) Curator's Reflection (French)Speaker: Marie-Laure Buku Pongo, Assistant Curator
Curator's Reflection (English)
Louis XIV was a widely depicted figure in the seventeenth and the eighteenth centuries—in paintings, drawings, tapestries, gold boxes, medals, and sculpture. He is depicted here as a dashing young man, powerful and victorious after a war. He wants France to become the leading power in Europe and is rapidly transforming Versailles, which became his main residence. This gilt-bronze, which was made to celebrate his victory at the close of a war with Spain, stood atop a 12-foot or about 4 meter high cabinet. The piece is treated as a sculpture, a piece of art in its own right. This level of quality and detail on an object you probably wouldn’t have been able to see very closely is often a clue that it was intended for someone of high rank.
Curator's Reflection (French)
Louis XIV est sans doute le monarque le plus représenté des XVIIe et XVIIIe siècles. Il y a la peinture, mais aussi les dessins, les tapisseries, les boîtes à portrait, en passant par les médailles et la sculpture. Je songe parfois qu’il aurait particulièrement apprécié notre époque avec les arts visuels et les médias. Louis XIV a une manière de se mettre en scène qui est résolument moderne. Il est représenté ici en homme jeune et séduisant, puissant et victorieux après une guerre contre l’Espagne. Il souhaite que la France devienne la première puissance en Europe et est bien évidemment pleinement occupé par ses nouveaux projets pour Versailles qui devient rapidement sa résidence principale. Ce bronze doré était probablement placé au sommet d’un grand cabinet de 3m 90 de hauteur, réalisé pour célébrer sa gloire. Il est traité ici comme une sculpture, une œuvre d’art à part entière. Les nombreux détails, mais aussi la qualité de ce bronze doré que l’on ne pouvait sans doute pas observer de près, nous montrent qu’il était destiné à un personnage important.
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James Cox (ca. 1723–1800)
Musical Automaton: Rhinoceros Clock
ca. 1765–72
Gilt bronze, silver, enamel, pearls, and colored glass
Pedestal: white marble and agate
15 9/16 × 8 3/8 × 3 1/2 in. (39.5 × 21.3 × 8.9 cm)
Two enamel dials, one signed JAs Cox London
Gift of Alexis Gregory, 2021
Photo Joseph Coscia Jr.The “rhinoceros mania” began in Europe when a rhinoceros from India named Miss Clara was brought by the Dutch East India Company to Rotterdam in 1741 and exhibited in several cities until her death in London in 1758. Standing on a white marble pedestal and carrying a musical clock on its back, this rhinoceros figure is modeled after a celebrated print by Albrecht Dürer (1471–1528). The animal supports a small edifice that includes a clock and jeweled flowers. The chime mechanism, concealed on the back of the rhinoceros, strikes every half hour and can play two different tunes. The clock and its pendant may have been part of a more complex automaton that is described in Cox’s catalogue in 1774.
282 — (1) Curator's Reflection (English) (2) Curator's Reflection (French)Speaker: Marie-Laure Buku Pongo, Assistant Curator
Curator's Reflection (English)
Known for his amazing automatons and clocks, James Cox was tremendously inventive. This rhinoceros clock was inspired by the real-life story of a rhinoceros named Miss Clara. Miss Clara became famous during years of touring Europe in the eighteenth century, when she was presented at almost all the European courts. There was a deep fascination for this exotic animal. Rhinoceroses had been drawn by several artists, but their depictions always seemed slightly clumsy or odd. Artists knew human and animal anatomy; they just didn’t know how to represent this amazing creature. Cox’s depiction is influenced by drawings by Albrecht Dürer. Cox didn’t work alone. Among his skilled workers was Jean-Joseph Merlin, who came from the small city of Huy in today’s Belgium near Liège. Merlin worked on Cox’s mechanisms and was probably involved in the making of this clock. He is also thought to have invented inline skates. While watching the mechanism functioning, and hearing it chiming, I can easily imagine how this clock was a great source of fascination and entertainment.
Curator's Reflection (French)
Célèbre pour ses fantastiques automates et pendules, l’imagination de James Cox ne semble pas connaître de limites. Cette pendule au rhinocéros s’inspire de l’histoire d’un rhinocéros prénommé ‘Mademoiselle Clara’. Capturée et amenée en Europe par la Compagnie néerlandaise des Indes orientales, elle fut présentée devant toutes les cours d’Europe au cours du 18e siècle. Fascinés par cet animal exotique, Clara envahit le domaine des arts décoratifs. Plusieurs rhinocéros avaient déjà été représentés par plusieurs artistes, mais leurs représentations semblaient toujours un peu maladroites. De nombreux artistes ne savaient pas alors comment représenter cet animal merveilleux et Cox s’inspire ici de dessins d’Albrecht Dürer. Cox ne travaillait pas seul : parmi les artisans extrêmement qualifiés qui l’entouraient, nous pouvons citer Jean-Joseph Merlin. Né dans la petite ville de Huy située en Belgique près de Liège, Merlin – qui est l’inventeur supposé des patins à roulettes – a travaillé sur les mécanismes de Cox et est probablement intervenu dans la création du mécanisme de cette pendule. Lorsque je regarde le mécanisme de cette pendule fonctionner, et que je l’entends sonner, j’imagine à quel point elle pouvait être un objet de fascination et une source d’amusement.