Spanish, Catalonia, 14th century

S. Radin, Vienna
Germain Seligman Collection, cat. no. 98

The International Style: The Arts in Europe around 1400, Walters Art Gallery, Baltimore, 1962, cat. no. 141
Medieval Art from Private Collections, Metropolitan Museum of Art (The Cloisters), New York, 1969, cat. no. 170

C. Eisler, 'Le gothique international', Art de France, IV, 1964, p. 289

Overall the condition of the enamel is good. There is wear consistent with age and handling. There are some losses of enamel, particularly to the lion/ symbol of St. Mark, 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."

In the 14^th century the great bishoprics along the Mediterranean coasts of southern France and northern Spain produced a huge demand for goldsmiths and enamellers as they built up rich treasuries. Their taste was shared by the royal courts of Majorca, Aragon and Castille so that artists flocked to the region for work. Tuscans came in the greatest numbers and artists such as Juan of Pisa and Constastino of Florence established themselves in Barcelona and Perpignan. Their enamels have a particular colour palette and translucence which distinguish them from their counterparts working in northern France. The present enamels, depicting the symbols of the four evangelists, the Virgin Annunciate and the angel Gabriel, and St Lazarus and St John, would originally probably have ornamented the arms of a cross.

RELATED LITERATURE
M. Gauthier, Emaux du moyen âge, Fribourg, 1972, pp. 232-244