15929845260001312637261000Standard Recordobject-156446170966176122317092984880001709661757485fitz-onlineadlib-object-156446https://data.fitzmuseum.cam.ac.uk/id/object/15644635b242f5-e76e-30e3-8d60-b5b01d0cdf3711personreferenceagent-154123adlib-agent-1541232fef3fa1-e550-35f4-b4de-2ced0eb2272aVirgin Marypersonreferenceagent-149975adlib-agent-149975e6f5b711-54e0-351d-a83c-758cad4cba19angelreferenceterm-107563adlib-term-10756338dcd825-1de1-3222-82c6-15a95729b5ffenamelsreferenceterm-125750adlib-term-1257502b10ac09-63c3-34ed-87d5-487058c1c344Limoges painted enamelsreferenceterm-107444adlib-term-107444571df7cf-e062-3968-ae5e-bec9d5a82f92C. B. Marlayblue, turquoise, yellow, flesh pink, mulberry, pale brown, black, and whitereferenceterm-32638adlib-term-3263897b8d1a5-7b8f-3a2a-a275-7d001aeaae2benamelreferenceterm-39593adlib-term-39593e3e2a3f8-2433-3f63-9bcf-e776644d312dgoldDecorationrectangular, slightly convex copper plaque with arched top, enamelled on a white ground in blue, turquoise, yellow, flesh pink, mulberry, pale brown, black, and white, with a little gilding. The surface is extremely smooth and shiny. The Virgin, Child and angels are drawn in blue, and the throne in dark brown or black, also used for cross-hatching of shaded areas. The reverse has clear counter-enamel appearing pinkish-red from the copper beneath, and having several black spots and larger black area.
Gilt-metal frame set with ruby and yellow pastes, and a plaque enamelled in red and gildedblue, turquoise, yellow, flesh pink, mulberry, pale brown, black, and whitereferenceterm-28662adlib-term-28662dd47e505-ccda-3f2b-b576-6104109430e8enamellingreferenceterm-28681adlib-term-28681c1f659e2-1209-31cf-8ff4-154e11452559gildingpossibly brassreferenceterm-107470adlib-term-107470f6217ee1-61ca-3c57-92a1-dd13e97bc77cgilt-metalHeightcm13.7Widthcm7.9Frameredreferenceterm-32638adlib-term-3263897b8d1a5-7b8f-3a2a-a275-7d001aeaae2benamelyellow and ruby paste stonesreferenceterm-115066adlib-term-1150667195a194-0f9c-399f-b87a-17e6ee18a2f0pastereferenceterm-39593adlib-term-39593e3e2a3f8-2433-3f63-9bcf-e776644d312dgoldFrame Decorationreferenceterm-106692adlib-term-106692ed7baa11-5901-3307-81b6-77370e40ebb4woodBack Of Framereferenceterm-39588adlib-term-39588b17ff981-06b2-30a2-b9a9-b514fe84a191copperHeightcm7.7Widthcm6.2PlaqueApplied ArtsCopper decorated in polychrome enamels and gilt. The Virgin and Child enthroned and flanked by angels, in a gilt-metal frame set with pastes, and inscribed AVE (hail)Rectangular, slightly convex plaque with arched top. Copper, enamelled on a white ground in blue, turquoise, yellow, flesh pink, mulberry, pale brown, black, and white, with a little gilding. The surface is extremely smooth and shiny. The Virgin, Child and angels are drawn in blue, and the throne in dark brown or black, also used for cross-hatching of shaded areas.. The reverse has clear counter-enamel appearing pinkish-red from the copper beneath, and having several black spots and larger black area.
The Virgin sits on a massive throne holding the Christ Child on her left knee. She has a circular mulberry halo and pale brown hair, and wears a blue cloak over a mulberry gown. The nude Christ Child is fair-haired, and leans against his mother, grasping her cloak in his left hand.The pale brown throne has nude figures carved on the fronts of its arms, and a lozenge and formal leaf sprays in the end panels of its sides. The apsidal canopy is carved with a shell, coloured turquoise. On either side are standing angels with turquoise wings and white robes. The angel on the viewer’s right is playing a gold flute, and the one on the left holds his vertically in front of him. The blue sky behind them is scattered with gold stars, which are barely visible on the right side. The ground in front of the throne is turquoise.
The rectangular gilt-metal (brass?) frame has a central pediment surmounted by a vase and flanked by red paste gems. The pediment is set with a circular plaque enamelled in translucent red and painted in gold with a central quatrefoil flower surrounded by four foliated scrolls.. Below it the word AVE (Hail) is engraved with double lines. On each end of the top of the frame there is a matching vase. The oval aperture for the plaque is flanked at the top by two claw-set, clear table cut yellowish pastes, and at the bottom by two pale ruby pastes. There are three holes between them on each side. The plaque is held in position on the reverse by folded teeth. A removable gilded wood panel covers the back.MAR.M.251-19121accession numberMAR.M.251-1912156446priref156446urihttps://data.fitzmuseum.cam.ac.uk/id/object/156446https://data.fitzmuseum.cam.ac.uk/id/object/156446on frame below plaque at the topengraved in double linesAVEinscriptionreferenceagent-149638adlib-agent-1496387376d833-d0a7-3be0-916e-9c892b7a24d8The Fitzwilliam MuseumC.B. Marlay Bequestreferenceagent-149674adlib-agent-149674de1bf9dd-2091-39ca-85f6-41e736f6e32bMarlay, Charles Brinsley191219121912bequeathedMarlay died on 18 June 191215401540CE1540circa1540156011560CE15601560workshop ofmakerreferenceagent-114217adlib-agent-114217d84e37de-af7e-3317-8a55-c97eb4e99bccReymond, PierreRepresentations of the Virgin enthroned with the Christ Child emphasized her exalted status as the mother of Christ, and often included adoring saints or angels. However, although it was one of the most popular images of the Virgin, it does not appear to have been represented frequently on Limoges enamels until the second quarter of the sixteenth century. On plaques of this subject made in the Reymond workshop the Virgin sits in a massive throne with projecting arms, and a tall back capped by a shell-shaped apse, a classical feature which had appeared in Italian paintings of this subject in the fifteenth century. By the early sixteenth century thrones of this type were being depicted by French artists, and by about 1520 the church of Saint-Pierre-du-Queyroix in Limoges had a stained glass window of the Coronation of the Virgin, in which God the Father and Christ sit on a similar throne while crowning the kneeling Virgin.
There are at least eight closely comparable Limoges polychrome enamel plaques of this subject, each differing from the other in small details, such as the position of the Christ Child on the Virgin's knees, the details of her head and head covering, and the position of the angels. Of these two are signed PR for Pierre Reymond but not all appear to be by his hand. Three more plaques have no angels, but either candlesticks or large scrolls on the arms of the throne. Some of them were probably mounted as in pax frames, while others could have been mounted as small devotional pictures. The frame on this example was probably fitted to it in the second half of the nineteenth century. Ramon spectroscopy undertaken in December 2007 confirmed that the yellowish and ruby 'gems' set into the frame were glass pastes.referenceterm-110475adlib-term-110475223ae6a7-2f91-3314-ae3c-da3233ae47dc16th Century, Midreferenceterm-15498adlib-term-1549861725bf5-360f-3837-8aab-3c90b956a537literalFranceFrancecountryliteralHaute VienneHaute VienneregionLimogesreferencemedia-136159adlib-media-136159638e6f5c-fe92-3f29-9d58-9e9cf299d4cdjpegaa/aa20/MAR_M_251_1912_20_281_29.jpg1heightpixels760widthpixels53916162575554931imagejpegaa/aa20/mid_MAR_M_251_1912_20_281_29.jpg1heightpixels705widthpixels50016162575554931imagejpegaa/aa20/MAR_M_251_1912_20_281_29.jpg1heightpixels760widthpixels53916162575554931imagejpegaa/aa20/preview_MAR_M_251_1912_20_281_29.jpg1heightpixels353widthpixels25016162575554931image0media
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imagereferenceterm-107484adlib-term-107484935e21d3-0b7f-3ca6-9987-b79c82e054fdplaquepax plaquehistory noteuncertain before the testator, Charles Brinsley Marlay (1831-1912)1referenceobject-156447adlib-object-156447c7a55d42-7b4e-3e08-b9e0-a72144468f8b1reference1term-107484adlib-term-107484935e21d3-0b7f-3ca6-9987-b79c82e054fdplaqueplaquereferenceagent-149638adlib-agent-1496387376d833-d0a7-3be0-916e-9c892b7a24d8The Fitzwilliam MuseumCf. p. 190, no. OA 4010, the angels supporting the Holy House on a plaque of the arrival of the Virgin and the Holy House at Loretto, attributed to Pierre Reymond. Another plaque of this subject is in the Musée d'Agesci, Niort, inv. 914.1.129. Cf. the hair and features of the angels on both plaques.190referencepublication-6073adlib-publication-6073273632b3-da99-366e-9c3b-efd466467b8eLes émaux peints de Limoges. Musée du Louvre, Département des objets d'artreferencepublication-6134adlib-publication-61343d06ffd8-a9da-35c3-bc4c-83598bb4afe7Catalogue of the well-known collection of Works of Art of the Classic, Mediaeval and Renaissance Times, formed by Sir Thomas Gibson Carmichael Bart, of Castle Craig, N.BCf. Vol. II, ‘Les Emaux Peintes’ with note by Claudius Popelin, p. 34, no. 47, a circular plaque illustrated by line drawing, and, closer in design to the Fitzwilliam's p. 53, no. 111 an oval plaque attributed to Pierre Reymond.34referencepublication-6135adlib-publication-6135cc146046-f404-3060-80d3-e86167038ec4La Collection Spitzer- Antiquité - Moyen-Age - RenaissanceCf. p. 362, no. 185, a mosaic of 1496 by David Ghirlandaio (1452-1525) depicting the Virgin and Child Enthroned with Angels, given by the Florentine Republic to Jean de Ganay who became First President of the Parlement of Paris in 1505 and Chancellor of France in 1508. On his death in 1512 the mosaic was erected in his funerary chapel in Saint-Merri in Paris. It is now in the Musée national de la Renaissance, at Écouen. ECl 1536. The throne does not have projecting arms, but it illustrates the Italian influence on this iconography.362referencepublication-8959adlib-publication-895917f8ebc7-ffae-3124-a240-da7d8f89e0bdFrance 1500 entre Moyen Age et RenaissanceCf. p. 208, fig. 183. A stained glass window installed c. 1510-20 in Saint-Pierre-du-Queyroix at Limoges showing the Coronation of the Virgin at the top, in which God the Father and Christ sit in a double throne with shell niche and projecting arms while crowning the kneeling Virgin before them. This local example would have been known to the enameller and could well have been a source of inspiration, rather than an imported print.208referencepublication-8960adlib-publication-8960cf5706ee-79e9-36b0-96cf-5b8e565a1e70Les vitraux d’Auvergne et du Limousinreferencepublication-8961adlib-publication-8961c933bef5-3aec-3868-8b26-c006e755356aWorks of Art, Newsletter, 19referenceterm-10618adlib-term-106189ebc0ae1-8cf8-312b-832c-9cf44da02136Renaissanceobject namereferenceterm-74068adlib-term-740689a5f0ce0-dff9-39d2-999a-c7f3e5c3fccbthroneobject namereferenceterm-107029adlib-term-1070294527b50d-ef1b-3665-9e05-de14e13bc7edshellsubjectreferenceterm-110080adlib-term-1100807ce8184f-021d-3613-8e23-b6995a20829eVirgin and Child EnthronedliteralthronethroneliteralshellshellliteralVirgin and Child EnthronedVirgin and Child Enthronedreferenceterm-107484adlib-term-107484935e21d3-0b7f-3ca6-9987-b79c82e054fdplaqueplaqueMadonna and Child Enthronedobject
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