FRANCE, Limoges, debut du XIIIe siecle

(trous de fixation à plusieurs endroits)

Exposition d'objets d'art du Moyen Age et de la Renaissance, Hôtel de Sagan, Paris, 1913.

Exposition d'objets d'art du Moyen Age et de la Renaissance organisée par la marquise de Ganay chez Jacques Seligmann, 23 rue Constantine, Hôtel de Sagan, cat. exp. Paris, 1913, no. 225.

Good condition overall. Minor loss of enamel particularly to the edges and corners of the plaque, as can be seen on the photograph. Minor wear to the gilding of the four copper figures, consistent with age and handling. The central figure of the Crucifix in high relief with general wear to the gilding, even though of the same period, may have been associated. Two drilling holes visible under the Christ's outstretched arms, and six further holes appear to the upper and lower edges of the plaque, as well as one, probably later drilling hole, within the two figures on each side of the Crucifix.
"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."

La Crucifixion apparaît en général de façon simplifiée sur les émaux limousins du XIIe siècle afin d'illustrer l'histoire clairement et distinctement. L'émail Dormeuil se distingue par l'élégance et la rigueur de sa composition. Le Christ en applique occupe l'espace central partageant la surface de la plaque en quatre parties. Il est flanqué des deux figures habituelles, la Vierge et saint Jean l'Evangeliste, debout sur un tertre symbolisant le Calvaire ; au dessus, deux anges auréolés et ailés, émergeant d'une nuée sont disposés symétriquement de part et d'autre de la main de Dieu. On connaît d'autres émaux champlevés avec le Christ en applique, notamment celui provenant des collections Thomas Flannery (vente Sotheby's, Londres, le 1er décembre 1983, lot 36), ainsi que l'exemple jadis appartenant à la collection Giannalisa Feltrinelli de Genève (vente Christies, Londres, 2,3 June 1998).

FRENCH, LIMOGES, EARLY 13TH CENTURY
A CHAMPLEVE ENAMEL BOOK COVER

Twelfth-century Limoges enamel depictions of the Crucifixion were simplified to relate the story clearly and powerfully; the present plaque succeeds with marked elegance.  The composition is centred by the figure of Christ as an applique on the cross and flanked in the lower two thirds of the panel by the Virgin on His right and Saint John the Evangelist on His left. The colourful, stylised terrain upon which they stand represents Calvary.  Floating in the top third of the panel are two angels divided by the hand of God. Few extant book covers with the Crucifixion display the figure of Christ as an applique. Notable examples are those formerly in the Thomas Flannery collection, sold Sotheby's London 1 December, 1983 lot 36, and that formerly in the Giannalisa Feltrinelli collection, Geneva, sold Christies, London, 2,3 June 1998.