French, Limoges, early 16th century

the frame inscribed: VENITE ADOREMUS DOMINUM and with a later engraving of a coat of arms, possibly those of the Van den Ende family of Holland, on the reverse; with two labels inscribed: THOS. F. FLANNERY COLL. CHICAGO numbered 14 and 999A and a label inscribed: H311 in black ink on the reverse

with Raphael Stora, New York;
Thomas. F. Flannery Jr., Chicago, by 1970;
his sale, Sotheby's London, 1 December 1983, lot 215 (as in early 16th Century style)

Chicago, Martin D'Arcy Gallery of Art, Loyola University of Chicago, Enamels: the XII to the XVI century, 1970, no. 22 (as late 15th century)

Overall the condition of the enamel is good with wear and some dirt to the surface consistent with age. The gilding is worn throughout. There is some fine craquelure to the white and ochre tones consistent with material, There is a loss to the bottom right corner. The frame is tarnished throughout and there are several small nicks and scratches to its edges. The silvering has rubbed thin in some areas. There are remnants of two old labels on the reverse.
"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."

The thick lines, rounded faces and summary architecture that give the present enamel its late Gothic appearance relate closely to works attributed to the workshop of the Master of the Orléans triptych and the Master of the Large Foreheads which were both active around 1500. A number of enamels in The Walters Art Gallery attributed to these workshops by Verdier (op.cit.) compare well to the present enamel.

RELATED LITERATURE
P. Verdier, Catalogue of the painted enamels of the Renaissance, cat. Walters Art Gallery, Baltimore, 1967, pp. 31-33, 36-39, 42-43, nos. 20, 22 and 24