Attributed to Pierre Reymond (active 1537-1584) French, Limoges, circa 1540

one depicting the standing figure of the Good shepherd with supplicants before him, two white tablets above inscribed: ENTRE. VOVS. GRATIEUX. PASTEUR. AQVI. IE. DONNE SES. HOVLLETES. S. DEFENDES. BIEN. MES. BREBIETES. DES. OVRS. ET. LOVPS. DEVORATEVRS. INCESSAVMENT. SONT. VIATEVRS. TANC. IOVR. QVE. NVICT. LEVR. FONT. LA. GVERR. POVTANT. CHASCUNT. SES. BREBIS. SERRVEILLIEZ. Y. COMME. BONS. RECTEURS and SOIS. LOYAUX. PEDICATEVRS. MOVSTRE. LEVR. DROIGT. CHEMIN ET. VOYE. QVE. NVL. DE. VOVS. NE. SE. FORVOYE
SOYEZ. DES. MAVLX. REFORMATEVRS
the second with a peasant cutting his grain and a usurer counting his money in the foreground, a white tablet above inscribed
PAR. IN. DIGE (?)PRESE. SVYS. CONSTRANCT. MES. BLES. VERS
MENGIR. A LVSVRIER. QVI. FORT. ME. PRESSE. MA. DESIA. FAICT. DESGAGER. IL. ME. DESTRVIRA. DE. LEGIER SI. IE. FAVLX. A. LVY. SATISFFERE. QVES. QVE. DESTRE. EN. AVTRVY. DANGIER.  PAVVRES. GENS. ONT BEAVCOPT. AFFAIRE in later giltwood frames (2)

Enamels in present later frames in which damage is not as prominent as in catalogue photographs. Overall condition is god and consistent with age. There are chips to corners caused by insertion into frames. Both are pierced in center top edge of panel and exhibit some losses, chips and repairs to edges (see catalogue photograph).
"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."

Verdier illustrates a plaque of the Bad Shepherd in the Walters Art Gallery Baltimore and cites a number of companion pieces including two of the peasant with the money-lender one of which is the Bayerisches Nationalmuseum Munich and another which was in the S. Goldschmidt sale in Paris in 1937.  Verdier records that the literary sources for the plaques are inspired by le compost et kalendrier des bergiers of 1491and Gobin's Les loups ravissans of 1503 and record social as well as as pastoral truths.

RELATED LITERATURE
P. Verdier, The Walters Art Gallery, the catalogue of Painted Enamels of the Renaissance, Baltimore, 1967,pp213-214, plate 130; S. Baratte, Les Emaux Peints de Limoges, cat. Louvre Museum, Paris, 2000, p.189