15929970000001312637261000Standard Recordobject-139841170957539849117095583860001709575396037fitz-onlineadlib-object-139841https://data.fitzmuseum.cam.ac.uk/id/object/13984117a9e5bf-a7c0-30a6-bc50-dae3db8bce3d17personreferenceagent-150796adlib-agent-150796ec5a0c8a-e54c-3735-adea-0fd5dd14f994Cupidreferenceterm-107563adlib-term-10756338dcd825-1de1-3222-82c6-15a95729b5ffenamelsreferenceterm-125750adlib-term-1257502b10ac09-63c3-34ed-87d5-487058c1c344Limoges painted enamelsblue, turquoise-green, flesh-pink, mulberry, black, and whitereferenceterm-32638adlib-term-3263897b8d1a5-7b8f-3a2a-a275-7d001aeaae2benamelreferenceterm-39593adlib-term-39593e3e2a3f8-2433-3f63-9bcf-e776644d312dgoldDecorationblue, turquoise-green, flesh-pink, mulberry, black, grey, and whitereferenceterm-28662adlib-term-28662dd47e505-ccda-3f2b-b576-6104109430e8enamellingreferenceterm-28681adlib-term-28681c1f659e2-1209-31cf-8ff4-154e11452559gildingApplied ArtsCopper decorated with polychrome enamels and gilding with a female head on the top, a male head on the base, and on one side Cupid holding an arrow, and on each of the other sides a puttoCopper, enamelled in blue, pale bluish-green, flesh-pink, mulberry, and white on a black background, and gilded. Hexagonal with a circular depression in the top and bottom, projecting top and bottom edges, and straight sides.
In the salt pan there is a bust of a woman wearing a cap and elaborate coiffeur in profile to left, against a black background semé with gilt heraldic tears (gouttes), and surrounded by a border of three pairs of adorsed turquoise-green and mulberry foliated scrolls terminating in small white flowers, and three pairs of pale blue and turquoise-green. In the depression on the base is a bust of a man wearing armour and a parade helmet in profile to left surrounded by gold ‘tadpoles’ and enclosed by a gold line broken by groups of short oblique strokes. The border comprises small flowers on gold stalks flanked by pairs of feathery leaves: turquoise-green paired with blue; mulberry paired with turquoise-green; and blue paired with mulberry, repeated on the next three facets. The six sides are decorated respectively with Cupid standing beside a rock holding a gold arrow in his right hand, and a gold knot on a string in his left; a putto standing beside a small tree and holding aloft a bowl of fruit , a putto walking to the left holding a basket with a gold knot above his head; a putto sitting on the ground with a gold thread around his left leg and knot above, and overhead, a dove holding a gold necklace in its beak; a putto kneeling on a block of stone and beating a small drum; and a putto seated on a rock holding up a billowing drape. All have gold hair. At the top of each angle there is a half sunburst in gold. At the top and bottom there is a narrow gold line broken by five or six short oblique strokes.21referenceexhibition-3305adlib-exhibition-3305534a3247-91a9-398f-abe9-7b419586f568Feast and Fast: The Art of Food in Europe (1500-1800)M.4-19661accession numberM.4-1966139841priref139841urihttps://data.fitzmuseum.cam.ac.uk/id/object/139841https://data.fitzmuseum.cam.ac.uk/id/object/139841referenceagent-149638adlib-agent-1496387376d833-d0a7-3be0-916e-9c892b7a24d8The Fitzwilliam MuseumGiven by the Friends of the Fitzwilliam Museumreferenceagent-149645adlib-agent-14964510925b71-6838-30f7-a8dd-b68a2afaa14dThe Friends of the Fitzwilliam Museum196619661966-06-16givenEntry date: 1966-06-1615401540CE1540circa1540155011550CE15501550workshop ofmakerreferenceagent-114217adlib-agent-114217d84e37de-af7e-3317-8a55-c97eb4e99bccReymond, PierreHexagonal salts were fashionable during the mid 16th century and were made in silver, and ceramics, as well as in Limoges painted enamel. Limoges salts of this form bear dates from 1542 to 1547. The salt depression in the top and the matching depression in the base were usually decorated with a male or female head in antique or contemporary costume, sometimes identified in gold capitals as Paris and Helen, Hercules and Deianeira or Omphale, or Pallas and Jupiter. The sides were decorated with several different themes.The most popular, judging by the number of surviving examples, was the Twelve Labours of Hercules divided between two salts, which suggests that they were supplied in pairs. Others included half-length classical and contemporary male and female figures, classical and biblical male and female busts, singly or in pairs, sometimes enclosed by wreaths, and 'The Follies of Wise Men' and 'The Ages of Love' (see M. 50-1904), which diners probably found amusing. A few are decorated with nude little boys (putti) participating in the grape harvest, dancing, fighting, playing with various objects or on musical instruments. Pairs of analogous hexagonal salts with different heads in the salt depressions are in the Metropolitan Museum of Art, New York ( 32.100.372 and 32.100.373), and the Musée des Beaux-Arts, Limoges (84.432 and 84.433).
Putti in various roles, derived from Roman architectural ornament and reliefs on the sides of sarcophagi, had become increasingly popular as decorative motifs in Italy during the fifteenth century. These archetypes were dissemininated to France and elsewhere in Europe through prints by artists such as Nicoletta da Modena, Master IB, and Marcantonio Raimondi. They also appeared on the title pages and borders of late fifteenth-century illuminated manuscripts (e.g. the Fitzwilliam's Book of Hours MS 153) and printed books imported from Italy, and by the beginning of the sixteenth, were appearing in French examples. Putti in the role of cherubs occur on early sixteenth century Limoges enamels of religious subjects, but were not often depicted until the 1530s when classical subjects based on Italian prints were introduced. On this salt the boy holding up a basket of grapes and the boy sitting on the ground with a bird above him were probably copied from a print of 'Children Harvesting Grapes', dated 1529 by the Monogrammist IB after Raphael (Bartsch, VIII.311.35; Illustrated Bartsch, 16, p. 78, no. 35 (311) .referenceterm-110475adlib-term-110475223ae6a7-2f91-3314-ae3c-da3233ae47dc16th Century, Midreferenceterm-15498adlib-term-1549861725bf5-360f-3837-8aab-3c90b956a537literalFranceFrancecountryliteralHaute VienneHaute VienneregionLimogesreferenceterm-39588adlib-term-39588b17ff981-06b2-30a2-b9a9-b514fe84a191copperHeightcm5Widthcm7.5referencemedia-115279adlib-media-115279134abc89-b0e4-3953-8e20-7fc03f06627ejpegaa/aa20/M_4_1966_20_281_29.jpg1heightpixels671widthpixels76016764840380561imagejpegaa/aa20/mid_M_4_1966_20_281_29.jpg1heightpixels441widthpixels49916764840380561imagejpegaa/aa20/M_4_1966_20_281_29.jpg1heightpixels671widthpixels76016764840380561imagejpegaa/aa20/preview_M_4_1966_20_281_29.jpg1heightpixels221widthpixels25016764840380561image0media
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imagereferenceterm-91292adlib-term-91292d8901c0c-4f46-3a5a-b7db-d7013fed9c66salthistory noteCyril Humphris Ltd., London, from whom purchased by the Friends of the Fitzwilliam1referenceobject-139843adlib-object-1398430f8268ca-30d9-367c-9c75-e050953fdd0c1reference1term-91292adlib-term-91292d8901c0c-4f46-3a5a-b7db-d7013fed9c66saltsaltreferenceagent-149638adlib-agent-1496387376d833-d0a7-3be0-916e-9c892b7a24d8The Fitzwilliam MuseumPubl. p. 33referencepublication-3860adlib-publication-38606bb10567-309f-3919-a7d5-312bf029b94cFriends of the Fitzwilliam Museum, Fifty-eighth Annual Report, for the Year 1966Publ. p. 158, fig. 5.36, text p. 159, p. 248, cat. 23158, 248referencepublication-8743adlib-publication-8743a86a8f73-aae5-372c-930d-aa215bd02c9bFeast & Fast. The Art of Food in Europe 1500-1800Cf. p. 68-9, nos. 13-14, a pair of hexagonal salts of almost identical size, decorated with infant boys harvesting grapes and doing other activities, and with sunbursts on the angles of the sides. Dated c. 1540-45. No. 14 is initialled PR for Pierre Reymond. The salts are in the Musée municipal de L'Évêché de Limoges accession nos. 84.432 and 84.433. Later renamed the Musée des Beaux-Arts, Limoges. The source for the figures has not been identified68-9referencepublication-6142adlib-publication-6142517e6c62-56b3-3ca3-8314-d7e94fafb6e2La Rencontre des Héros, Regards croisées sur les émaux peints de la Renaissance appartenant aux collections du Petit Palais, Musée des Beaux-Arts de la ville de Paris et du Musée municipal de L'Évêché de LimogesRef. Higgott, 2011, p. 227 pl. 65.24, copy of a design by Raphael. The author discusses this and other design sources for putti on Limoges enamel caskets.227referencepublication-7299adlib-publication-72996f4a68e9-f500-30d4-b9dd-88b93e40816aThe Wallace Collection, Catalogue of Glass and Limoges Painted EnamelsCf. p. 15, for results of x-radiography of a salt in the British Museum, 1888.0705.1, revealing its construction13-17referencepublication-200002564adlib-publication-200002564292257b1-8817-3726-8f37-6bdaa3f7d9e1Limoges Painted Enamels: evidence for specialist copper-smithing workshopsRef. pp. 41-52, Chapter 6, Cupids41-52referencepublication-8957adlib-publication-89572b712dd0-9650-3a12-880b-d41884b3b8bfRoman Children’s Sarcophagi: their Decoration and its Social Significancereferencepublication-8958adlib-publication-89589f0f475b-c03f-37e3-aeff-4bb0f42c57b6Inventing the Renaissance Puttoreferenceterm-10618adlib-term-106189ebc0ae1-8cf8-312b-832c-9cf44da02136Renaissancereferenceterm-91292adlib-term-91292d8901c0c-4f46-3a5a-b7db-d7013fed9c66saltsaltHexagonal Saltobject
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