Description:

Anonymous (French, second half to the 19th century). "Coronation of the Virgin" gilt Limoges enamel plaque, n.d. Signed "G" at lower right. A beautiful lead Limoges enamel plaque depicting the Coronation of the Virgin Mary with Mary kneeling at the center, arms crossed at her chest surrounded by the Holy Trinity - God the Father blessing her at her right, Jesus crowning her to her left, and the Holy Spirit in the form of a dove above her - all skillfully rendered in rich hues of emerald, aubergine, burgundy, marigold, cyan, and cobalt along with lustrous gilt details. Each draped in voluminous robes, the figures are placed between a pair of Renaissance-style columns with the starry night sky and a distant city displayed in the arched windows of the background. The gridded tile floor helps portray a sense of perspective and depth while each visage is delicately drawn featuring lovely facial details and calm expressions. Size of plaque: 4" W x 4.5" H (10.2 cm x 11.4 cm); of frame: 11.75" W x 12.25" H (29.8 cm x 31.1 cm)

This composition bears a close resemblance to "Coronation of the Virgin" by Nardon Penicaud (French, 1470-1542/1543) in the Cantor Arts Center at Stanford University (1979.142).

"The word enamel derives from the Old French esmail and the Old High German smelzen, meaning 'to smelt.' This is the most crucial process in the making of enamel. To prepare enamel, the constituents of glass (flint, or sand, as well as red lead, and soda or potash) are heated together to form a clear flux. To this a coloring agent (usually a metallic oxide) is added: copper for green, cobalt for blue, iron for red or brown. The enamel is then allowed to cool and solidify in slabs. Before use, each color is separately ground into a fine powder, placed on a prepared metal surface, and fired in a kiln. When cool, the surface is polished to remove any imperfections and add brilliance to the colors. The difference between the various enameling techniques lies chiefly in the methods used to prepare the metal surface for the enamel." (Cleveland Museum of Art)

Provenance: private New York, New York, USA collection

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#190101

  • Condition: Set behind plexiglass in a custom gilt wood frame with suspension wire on verso for display. Tear to gallery paper on verso for examination outside of frame. A few areas of very miniscule chips to periphery, as well as light scratch and a stable hairline fissure to enamel on Mary's cape. Otherwise, in overall very good condition with brilliant hues and lustrous gilding. Signed "G" at lower right.

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November 22, 2024 8:00 AM MST
Louisville, CO, US

Artemis Fine Arts

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