A LIMOGES LOW RELIEF POLYCHROME ENAMEL PLAQUE DEPICTING SAINT JOHN
A LIMOGES LOW RELIEF POLYCHROME ENAMEL PLAQUE DEPICTING SAINT JOHN
A LIMOGES LOW RELIEF POLYCHROME ENAMEL PLAQUE DEPICTING SAINT JOHN
A LIMOGES LOW RELIEF POLYCHROME ENAMEL PLAQUE DEPICTING SAINT JOHN
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A LIMOGES LOW RELIEF POLYCHROME ENAMEL PLAQUE DEPICTING SAINT JOHN

WORKSHOP OF LÉONARD LIMOSIN OR PIERRE COURTEYS, THIRD QUARTER 16TH CENTURY

Details
A LIMOGES LOW RELIEF POLYCHROME ENAMEL PLAQUE DEPICTING SAINT JOHN
WORKSHOP OF LÉONARD LIMOSIN OR PIERRE COURTEYS, THIRD QUARTER 16TH CENTURY
parcel-gilt; in a later parcel gilt and ebonised wood frame; the frame with a metal hook on reverse and a paper label inscribed 'Kaslam(?) / R31'
14 ½ x 8 ¼ in. (37 x 21 cm.), the plaque
Provenance
Baron Édouard de Rothschild (1868-1949).
Confiscated from the above by the Einsatzstab Reichsleiter Rosenberg following the Nazi occupation of France in May 1940 (ERR no. R 3894).
Recovered by the Monuments Fine Arts and Archives Section from the Altaussee salt mines, Austria, and transferred to the Munich Central Collecting Point, 23 June 1945 (MCCP no. 398/31).
Returned to France on 23 May 1946 and restituted to the Rothschild family.
By descent to the present owners.
Literature
COMPARATIVE LITERATURE
S. Baratte, Les XII Apôtres de Léonard Limosin, Chartres, 1999.
S. Baratte, Les Emaux peints de Limoges, Paris, 2000, pp. 148-9, 157-8.

Lot Essay

The present lot shows strong similarity to known works by Limosin and Courteys. Consideration can be given to two sets of plaques depicting full length apostles attributed to Léonard Limosin in the Louvre (inv. no. N1245 and 6) and in the Musée des Beaux-Arts, Chartres (inv. no. D50-2-1 to 12). However the present plaque has a slight relief and can be compared to another with same dimensions in a private collection representing the Virgin in a very similar position (see fig. 1), suggesting it is from a Crucifixion triptych that may have been dismantled.
Parallels can also be drawn between the depiction of our clouds and those on the plaques of the allegories of Charles IX as Mars and Catherine de Medici as Juno in the Getty Museum in Los Angeles (inv. no. 86.SE.536), as well as the treatment of the vegetation and figures on the backgrounds of the two plaques for the months of February and May in the Musée du Louvre (inv. no. MR 2548 and OA 953).
The treatment in low relief and the special design in lines for the faces are similar to the large plaques created by Pierre Courteys. Amongst Courteys’ works of interest, we can include 9 oval plaques with 6 gods and 3 virtues dated 1559 now at the Musée d’Écouen (Jupiter, Justice, Mars, Hercules, Mercury, Saturn, Charity, Prudence and Apollo, inv. no. 1496 to 1504) and the Laocoon plaque now at the Musée des Beaux-Arts of Limoges.

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