FRANCE, Limoges, XIXe siecle, d'apres le modele du pseudo-Monvaerni

Vente à Paris, le 13 avril 1910, lot 71, reproduit

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. 234.

Good condition overall. The copper frame with some oxidation, especially to the engraved back side plaque. Some flowers of the frame missing.
"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."

Le modèle de cette plaque cintrée est une plaque rectangulaire en émail polychrome portant le poinçon des Pénicaud, conservée au Musée de Limoges (inv. no. 84-391). Notin l' attribuait à Jean I Pénicaud, émailleur connu à Limoges dans le premier quart du XVIe siècle. La même Mise au tombeau se rencontre également sur d'autres volets de triptyques exécutés par des émailleurs anonymes comme sur le volet droit d'un triptyque conservé au musée du Louvre (inv.no. OA 3088, Baratte, p. 47) ou encore sur la plaque du musée de l'Ermitage à Saint Petersbourg par le pseudo-Monvaerni (inv. no. F 277) cité par Notin (p. 140).

REFERENCES BIBLIOGRAPHIQUES
S. Baratte, Les emaux peints de Limoges, Musée du Louvre, Paris, 2000, p. 47.
V. Notin, Trésors d'email: catalogue des acquisitions 1977-1992, Limoges, 1992, no.12, pl. 10.

FRENCH, LIMOGES, 19TH CENTURY
AFTER A MODEL BY THE PSEUDO-MONVAERNI MASTER
A PAINTED ENAMEL PLAQUE OF THE ENTOMBEMENT

The enamel is based on a rectangular painted enamel plaque with the Penicaud mark which is in the Limoges Museum (inv. no. 84-391), attributed by Notin to Jean I Penicaud, active in Limoges in the first quarter of the 16th century.  The same composition with the entombment is found on other anonymous triptych panels including one in the Louvre Museum (inv. no. OA3088, Baratte, p. 47) and also another, attributed to the Pseudo-Monvaerni Master, in the Hermitage Museum, St Petersburg (inv. no. F277) and mentioned by Notin.