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Inscription

lower right: .LL. 1540.

Provenance

Frédéric Spitzer [1815-1890], Paris;[1] (his estate sale, at his residence by Chevallier and Mannheim, Paris, 17 April-16 June 1893, no. 485); Maurice Kann [1839-1906], Paris; purchased 1908 with the entire Kann collection by (Duveen Brothers, Inc., London, New York, and Paris); purchased 13 November 1909 by Peter A.B. Widener, Elkins Park, Pennsylvania;[2] inheritance from the Estate of Peter A.B. Widener by gift through power of appointment of Joseph E. Widener, Elkins Park, 1942.

Exhibition History

1889
Exposition rétrospective de l'art français, Trocadéro, Paris, 1889, no. 1082.

Technical Summary

Above the sitter's proper right shoulder a vertical crack in the enamel has been filled and inpainted, as have several small losses along the upper edges.

Bibliography

1889
Exposition rétrospective de l'art français. Exh. cat. Trocadéro, Paris, 1889: no. 1082.
1892
Molinier 1892, 2: (1891):40, no. 68.
1893
L'Art Paris (1893): 176, repro.
1897
Bourdery, Louis and E. Lachenaud. Léonard Limosin peintre de portraits. Paris, 1897: 245-246, no. 97A.
1935
Inventory of the Objects d'Art at Lynnewood Hall, Elkins Park, Pennsylvania, The Estate of the Late P.A.B. Widener. Philadelphia, 1935: 37-38, as Portrait of a Reformer.
1942
Works of Art from the Widener Collection. Foreword by David Finley and John Walker. National Gallery of Art, Washington, 1942: 10, as Portrait of a Man.
1983
Wilson, Carolyn C. Renaissance Small Bronze Sculpture and Associated Decorative Arts at the National Gallery of Art. Washington, 1983: 213-214, no. 2.
1993
Distelberger, Rudolf, Alison Luchs, Philippe Verdier, and Timonthy H. Wilson. Western Decorative Arts, Part I: Medieval, Renaissance, and Historicizing Styles including Metalwork, Enamels, and Ceramics. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1993: 90-91, color repro. 91.
2014
Schwann, Birgit. “Enamel insert restorations on Limoges painted enamels: A study on a remarkable nineteenth-century restoration technique with particular attention to the original paillon designs.” Studies in Conservation 59:3 (2014): 161-179.

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