Mosan-Rhenish, probably Cologne, circa 1180-1200 and later

comprising: six Mosan-Rhenish gilt and champlevé enamelled copper plaques, probably Cologne, circa 1180-1200; engraved gilt copper plaques, some set with rock crystal, probably late 12th century; a Northern European gilt metal base with lion feet, probably 14th century; a probably German gilt bronze Corpus Christi, circa 1500; and possibly later gilt copper plates and glass stones

Baron Charles Gillès de Pelichy (1872-1958), Belgium;
thence by family descent

Overall the condition of the cross is good, with minor dirt and wear to the surface consistent with age. The cross is composed of several, for the most part re-used, elements, some of which will be discussed separately below. There is minor tarnishing to the gilt metal throughout, as well as slight warping, in particular to the edges. Several parts have been cut to fit the cross and are slightly uneven in places, notably the plates at the sides of the cross. Some of the pins holding the elements in place are lost, however they are all stable. It appears that there would have been a now-lost mounted stone to the top of the cross at the back. The left stone at the back has particular wear, including a chip. Enamel plaques: Given their age, the enamels are in very good condition overall. There are a few minor enamel losses, including to: the sections of the borders of most plaques, notably the bottom edge of the topmost plaque and the left edge of that below Christ's feet; to one of the rounded leaf forms of the plaque on the right; and to the centre of the plaque behind the Corpus. There are also some small air bubbles and minor craquelure to the enamels throughout, consistent with the material. There is particular surface dirt to the enamel plaque behind the Corpus. Three of the plaques were pierced when the cross was assembled to attach the Corpus. Corpus: There are several minor nicks and scratches and slight wear to the gilding. Base: One of the finials at the top of the base is lost. The cross is slightly loose, but stable, on the base (it rocks backwards slightly). There is a dent to the circular section at the top of the base. There is particular tarnishing to the base in areas. There are remnants of red fabric and possible relics or pieces of paper behind the glazed quatrefoils of the base.
"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."

This reliquary cross is a fascinating composite comprising various elements of metalwork from the 12th to at least the 16th century. Significantly, it preserves six rare and finely worked champlevé enamel plaques originating from the golden age of goldsmiths' work in the Meuse-Rhine region during the late 12th century. Fragments from this period rarely appear at auction and may be counted among the most sought-after pieces of medieval enamel.

Ambitious metalwork, including enamelling, flourished in the Meuse valley during the late Romanesque period, reaching its zenith in the third quarter of the 12th century. A similar tradition developed along the Lower and Middle Rhine, particularly in Cologne, with clearly recognisable cross-influences between the two regions continuing well into the thirteenth century. This tradition manifested itself most famously in the great reliquary shrines of circa 1160-1200, such as the St Servatius Shrine in Maastricht and the Shrine of the Three Kings in Cologne. These shrines comprised a variety of materials and techniques, combining statuettes, repoussé reliefs, enamel, vernis brun, filigree, engraving, and hardstone inlay, to create magnificent centrepieces for churches and cathedrals. Stylistically the two regions were so closely linked that the attribution of fragments to one region over another is a 'delicate matter' which 'has caused controversy' (Stratford, op. cit., p. 11).

While the enamel plaques mounted on the present cross relate to both Mosan and Rhenish works, their most likely place of origin is arguably Cologne. The beautiful foliage enamel displayed in four of the plaques compares in both form and colour scheme to a group surrounding the Maurinus Shrine in St Pantaleon, Cologne, of circa 1170. Note the presence of at least two colours in each field and the general design of symmetrically interlocking branches ending in rounded leaf shapes, typically graded from dark green to yellow, or dark blue to white, with small areas of red in places (Foto Marburg, no. C 1.852.033). A closely related, but more diverse, style of enamelling is seen in the domed tabernacle in the Victoria and Albert Museum (inv. no. 7650-1851), a Cologne product of circa 1180. What sets the present enamels apart from these is the presence of small jagged leaves in the design. These are, however, found in other Cologne enamels from the late 12th century, such as the domed reliquary in Darmstadt (Hessisches Landesmuseum, inv. no. Kg 54:239), and a Cross from St Pantaleon (v. Falke, op. cit., pl. 41).

The remaining two enamel plaques show figures in gilt copper on a dark blue enamel ground, a technique seen in the decoration of several Mosan-Rhenish ecclesiastical monuments. The plaque at the top of the cross depicting a lion opposite a hooded chimaera is a particularly rare survival. It appears to show the influence of Nicolas of Verdun, the most prominent Mosan goldsmith at the cusp between the Romanesque and the Gothic period around 1180-1200. The lion's clearly delineated anatomy recalls the Samson and the Lion plaque from Nicolas of Verdun’s Klosterneuburg retable (see Rhein und Maas, vol. 2, p. 233), for which the artist drew from antique precedents. The rather grotesque face of the chimaera, on the other hand, has parallels in both Rhenish and Mosan manuscripts; see a devil in the Deutz Chronik (Rhein und Maas, vol. 2, p. 318, fig. 26) and a dragon head in the St Bertin book (Stratford, op. cit., pl. 22); while for a similar hooded creature, compare an early 13th-century book cover in Namur (Rhein und Maas, vol. 1, p. 350, no. M 6/7). The two birds between foliage mounted at the bottom of the cross are of a type seen in a number of Cologne shrines, notably the Albinus Shrine of circa 1186 (v. Falke, op. cit., pl. 20) and the Anno Shrine in Siegburg (ibid., pl. 25).

Their correspondence in size and facture indicates that all six enamel plaques originate from the same object. Given their high quality, and the fact that enamels from this period were not made for mass-production, this is likely to have been an object of some importance, like a reliquary shrine. The stippled gilt copper plates with round rock crystals set into scalloped mounts, and the smaller engraved gilt copper plates, appear to be of the same date as the enamels and may have come from the same, or a similar, original context. Parallels for these are found in the gable-end of a shrine preserved in the British Museum (inv. no. 1978,5-2,7), catalogued as Mosan, circa 1165-70 (Stratford, op. cit., no. 17). Incidentally, several of the enamel plaques on this object are remarkably close in style to those of the Maurinus shrine and the present foliate enamels, testifying to the close links between Mosan and Rhenish goldsmiths. A Mosan origin therefore remains a possibility for the present enamels.

The remaining parts of the cross are of a later date, the reliquary base with quatrefoil openings and lion feet being the earliest. Stylistically it can be dated to the Gothic period, probably the 14th century, as comparisons with the base of a late 13th-century figure in the Metropolitan Museum (inv. no. 47.101.49) and small lion supports in the Museum of Fine Arts, Boston (inv. no. 57.171) suggest. The gilt bronze Crucifix appears to have been made in the early 16th century, while the stippled copper plates at the back with depictions of saints are more difficult to date, but may be contemporary with the Corpus.

It is possible that the Romanesque elements were assembled with the later parts as early as the 16th century. Two other composite crosses incorporating Romanesque enamels, one in the Victoria and Albert Museum (inv. no. 7234-1860) and one in the British Museum (inv. no. 56,7-18,1), are thought to have been put together during this period; the latter likely as part of the Counter-Reformation effort after many ecclesiastical treasures had been destroyed and fragmented (see Stratford, op. cit., p. 76). A similar fate can be reconstructed for a composite cross with Romanesque enamels in the Musées royaux d'Art et d'Histoire, Brussels (see Balace, op. cit.). The possibility of an assemblage, or at least alteration, in the 19th century is, however, not to be excluded, within the context of objects designed to appeal to a growing number of collectors. Due to the rarity of its earliest components, and its attractive overall appearance, the cross would have been a highly desirable collector's item.

RELATED LITERATURE
O. von Falke and H. Frauberger (eds.), Deutsche Schmelzarbeiten des Mittelalters, Frankfurt am Main, 1904; Rhein und Maas: Kunst und Kultur 800-1400, exh. cat. Cologne and Brussels, Cologne, 1972; N. Netzer, Catalogue of Medieval Objects: Metalwork, cat. Museum of Fine Arts, Boston, 1991, p. 142, no. 51; N. Stratford, Catalogue of Medieval Enamels in the British Museum, vol. II: Northern Romanesque Enamel, London, 1993; S. Balace, 'La croix inv. 2991 des Musées royaux d'Art et d'Histoire provenant de l'abbaye de Saint-Ghislain', in Bulletin des Musées Royaux d'Art et d'Histoire, vol. 70, 1999, pp. 207-222

An analysis report on the enamels prepared by Professor Andrew Shortland at Cranfield Forensic Institute is available from the department on request.