The Collection of Giovanni P. Morosini, presented by his daughter Giulia, 1932
Not on view
This enamel is by the same hand as its pendant, MMA 32.75.18. Richard Allen (unpublished opinion, 1977) attributed them to the brothers Huaud (Jean Pierre, 1655–1723, and Amy, 1657–1724), Swiss artists working at the court of the elector of Brandenburg in Berlin from 1686 to 1700. They are painted in the rough stippling method, derived from Paul Prieur (born in Geneva about 1620, died in Copenhagen in 1684), that was adopted by some Swiss enamelists in the second half of the seventeenth century. When the two works entered the Museum's collection, they were described as portraits of Louis XIV (1638–1715) and his second wife, Françoise d’Aubigné (1635–1719), Madame de Maintenon. While this portrait almost certainly does not represent Louis XIV, neither does it show Paul Scarron (1610–1660), the first husband of its pendant’s purported sitter. Fabienne Sturm of the Musée de l'horlogerie, Geneva, and her colleague Hans Boeckh (1995) reject both the old identifications of the sitters in the two pendants and the proposed attribution to the brothers Huaud, suggesting that the enamels may be of German origin. [2015; adapted from Reynolds and Baetjer 1996]
Giovanni Pertinax Morosini, Riverdale-on-Hudson, N.Y. (until d. 1908); his daughter, Giulia Morosini, Riverdale-on-Hudson (1908–d. 1932)
New York. The Metropolitan Museum of Art. "European Miniatures in The Metropolitan Museum of Art," November 5, 1996–January 5, 1997, no. 19.
Fabienne Xavière Sturm. Letter to Katharine Baetjer. December 11, 1995, with her colleague Hans Boeckh, rejects the old identification of the sitter [see Notes] as well as an attribution to the Huaud brothers, suggesting that it may be of German origin.
Graham Reynolds with the assistance of Katharine Baetjer. European Miniatures in The Metropolitan Museum of Art. Exh. cat., The Metropolitan Museum of Art. New York, 1996, pp. 11, 76, no. 19, ill. p. 77, state that it "almost certainly" does not depict Louis XIV or Paul Scarron, first husband of Françoise d'Aubigné [see Notes]; note that it is "painted in the rough stippling method, derived from Paul Prieur . . . that was adopted by some Swiss enamelists in the second half of the seventeenth century".