FRENCH, LIMOGES, EARLY 16TH CENTURY
PLAQUE WITH THE ADORATION OF THE CHRIST CHILD
partially gilt and enamelled copper, in a later silvered copper frame
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 to the reverse inscribed THOS. F. FLANNERY COLL. CHICAGO, one numbered: 14, the other: 999 / A and with two further labels inscribed in ink: H311 and 12438
10.5 by 8.7cm., 4⅛ by 3⅜in.
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 small loss to the bottom right corner.
The frame is slightly 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. A chain with a loop is attached to the silvered frame.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
With Raphael Stora, New York;
Thomas F. Flannery Collection Jr., Chicago, by 1970;
his sale, Sotheby's London, 1 December 1983, lot 214
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)
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.
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