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拍品专文
Tout comme la plaque en émail représentant le Christ (voir la notice du lot 2) l'émail ici présent est manifestement une création artistique provenant des mêmes ateliers que ceux qui fournissaient des objets liturgiques pour l'abbaye de Grandmont et ses dépendances sous le patronage des Plantagenêt à la fin du XIIème siècle. Bien que destiné à orner le revers du pied d'une croix de procession, vers la fin du XIXème siècle cette même plaque avait été placée à l'envers, au sommet d'une croix conservée aujourd'hui au musée de Cleveland (voir Gauthier, loc. cit.). Bien que déjà séparée de la croix lors de la publication de la Collection Spitzer en 1890, la plaque ici offerte correspond et appartient très certainement à la croix de Cleveland. Le style du dessin, la palette des émaux et même l'espacement et le nombre de trous de fixation suggèrent en effet que la plaque représente l'un des quatre symboles des évangélistes qui devait à l'origine orner une branche du revers de la croix.
As with the enamel plaque of Christ (see note to lot 2) the present enamel is clearly a product of the workshops which supplied liturgical objects to the abbey of Grandmont and its dependencies under Plantagenêt patronage in the late 12th century. Although intended to be the bottom terminal from the reverse of a large cross, in the late 19th century the present plaque was placed upside down at the top of a cross now in the Cleveland Museum of Art (see Gauthier, loc. cit.). Although separated from that cross by the time it was published in the Spitzer collection in 1890, the plaque offered here almost certainly belongs to the Cleveland cross. The drawing style, the palette of the enamels and even the placement of the fixing holes all suggest that it is one of the four symbols of the evangelists which would have originally adorned its reverse.
As with the enamel plaque of Christ (see note to lot 2) the present enamel is clearly a product of the workshops which supplied liturgical objects to the abbey of Grandmont and its dependencies under Plantagenêt patronage in the late 12th century. Although intended to be the bottom terminal from the reverse of a large cross, in the late 19th century the present plaque was placed upside down at the top of a cross now in the Cleveland Museum of Art (see Gauthier, loc. cit.). Although separated from that cross by the time it was published in the Spitzer collection in 1890, the plaque offered here almost certainly belongs to the Cleveland cross. The drawing style, the palette of the enamels and even the placement of the fixing holes all suggest that it is one of the four symbols of the evangelists which would have originally adorned its reverse.