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Collection Julius Bohler, vers 1910.
Collection W. von Pannwitz, vers 1925, Haarlem.
Collection Rosenberg & Stiebel, New York.
Collection M. Hubert de Givenchy, Paris.
Galerie J. Kugel, Paris.
Otto von Falke, Die Kunstsammlung von Pannwitz, Munich, 1925, no.74, pl. XV.
B. Descheemaeker, Emaux de Limoges de la Renaissance provenant de la collection de M. Hubert de Givenchy, Paris, 1994, no. 1, pp. 14-17.
S. Netzer, Maleremails aus Limoges, Berlin, 1999, no. 2, pp. 64-67.
Post Lot Text
A RECTANGULAR PARCEL-GILT POLYCHROME ENAMEL PLAQUE OF THE CRUCIFIXION
CIRCLE OF JEAN I PENICAUD, CIRCA 1525-1540
With the crucified Christ to the centre flanked by John the Evangelist and the Virgin, Marie-Magdalene, Salome and Marie-Cleophas; in a naturalistic landscape with elaborately gilded sky and flowers; in a later silver-gilt frame and rectangular green-velvet-covered surround; very minor wear to gilding
This beautifully evocative scene of the Crucifixion is based upon an engraving by Albrecht Dürer dated 1508. However, in the engraving, the cross is turned at an angle to the picture plane and in the present enamel plaque it has been altered so that Christ faces straight out to the viewer. In his entry on the plaque, Bernard Descheemaeker (loc. cit.) suggests that this has been done because the enamel was actually designed as the central panel of a triptych.
Like the engraving, the style of the present plaque is a fusion of both renaissance and gothic elements, the latter being most obviously represented in the elaborate angular forms of the drapery. The palette evident here, particularly the inclusion of the ochre, is quite distinctive and can be related to a limited number of enamels from the first half of the century such as those by the so-called Aeneid Master or Jean I Penicaud. A panel of the Crucifixion in the Kunstgewerbe Museum in Berlin signed by Penicaud (Netzer, loc. cit.) uses the same ochres, turquoises and dark blues, although the inclusion of foiled pastes in the Berlin plaque suggests it is by a different master than the one responsible for the present lot.