Suzanne de Court

She was the only identifiable woman signing Limoges pieces, though this may be in her capacity as owner of the workshop; only one other female enamel painter is recorded in the period.

This meant the proliferation of religious scenes across Europe intensified and became a prominent part of popular culture, demonstrated on contemporary plaques.

As enamellers made the plaques smaller, a response to the decline in royal and noble patronage in the 17th century, historians such as Michaela Daborn (2015) question how du Court's scenes would have been displayed.

Inventories indicate they could be hung in frames that held several plaques of varying subject matter, or they were stored in cabinets or desks (Beyssi- Cassan, 2006, pp.

251-252).Work by Susanne de Court is characterized by varying tones of blues and greens with white flesh tints, and by a delicate painterly technique.