France, Limoges, debut du XVIIe siecle

Very good condition overall with very minor scratches to the surface of the enamel, consistent with age and handling. Minor loss of enamel at the lower edges of the plaque close to the frame, as can be seen on the photograph. The silvered copper frame with some oxidation.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Une représentation d'Apollon jouant d'une viole figure sur une salière en émail peint de la Frick Collection à New York, attribué à Jean Limosin, émailleur actif à Limoges vers 1600. On retrouve le même type d'instrument de musique, le même traitement de la figure aux poignets et chevilles minces et la même attitude du dieu. Il était courant dans un atelier de répéter les mêmes modèles d'un objet à l'autre, la plupart étant issus de gravures du XVI^e siècle. Une peinture datée vers 1590 de Bartholomeus Spranger représentant Apollon et les Muses (Vienne, Kunsthistorisches Museum) a pu servir de modèle original. Un miroir occupe le revers de la plaque en émail.

REFERENCES BIBLIOGRAPHIQUES
Die Gemäldegalerie des Kunsthistorischen Museums in Wien, cat. Vienna, 1991, pl. 360.
P. Verdier, Enamels, Rugs and Silver in The Frick Collection,  New York, 1977, pp. 222-225; 235-242.

FRENCH, LIMOGES, EARLY 17TH CENTURY
A PAINTED ENAMEL PLAQUE WITH APOLLO

The figure of Apollo playing the viol can be very closely compared to the same subject on a salt cellar in the Frick Collection, New York, there attributed to Jean Limosin. The distinctive short calves, thin wrists and ankles, the long curling neck of the viol and even the exact position of the toes are evident in the present image. The design of the figure appears to have been part of the repertoire of Limosin's workshop and was probably transferred onto a variety of decorative works of art. Such images were often taken from prints by well known artists. This image of Apollo may have its origin in a nude figure of Apollo in a similar pose playing the viol in a painting by Bartholomäus Spranger: Apollo and the Muses, painted circa 1590, in the Kunsthistorisches Museum Vienna. The reverse is applied with a mirror.