1592970669000 1312637261000 Standard Record object-156453 1747160606084 1714475184000 1747159409017 adlib fitz-online adlib-object-156453 https://data.fitzmuseum.cam.ac.uk/id/object/156453 35669590-727e-3743-bf39-a50421cd6c98 10 proprietor of a furnishing showroom and restoration workshop, trading from 1881 under the name Amadée Joubert & Son at the Pheasantry, 152 King’s Road, Chelsea. Félix probably became its head after the partnership between Henri Charles René Joubert and Jules Joubert was dissolved in 1898. After 1914 the showroom closed, and until Félix Joubert’s retirement in 1932, the business concentrated on restoration work. He was an extraordinarily versatile and gifted craftsman, who was referred to by J. H. Duveen as the ‘Chelsea Wizard’. He collected and restored armour and weapons, and also practiced as a sculptor, decorative painter, cabinetmaker, and designer. reference agent-207549 adlib-agent-207549 150c3ca3-e7da-3905-999f-0a5eac1aac8b Joubert, Felix (1872–1953) person reference agent-154123 adlib-agent-154123 2fef3fa1-e550-35f4-b4de-2ced0eb2272a Virgin Mary person reference agent-149696 adlib-agent-149696 c1d7b5bf-63d4-3ba4-a080-9810b80bf16c Christ person reference agent-152235 adlib-agent-152235 abbfd154-1b29-395b-915a-fc47cace0fad Mary Magdalene reference term-107563 adlib-term-107563 38dcd825-1de1-3222-82c6-15a95729b5ff enamels reference term-125750 adlib-term-125750 2b10ac09-63c3-34ed-87d5-487058c1c344 Limoges painted enamels reference term-115872 adlib-term-115872 6da1c0ff-a799-3023-9ff4-fe88fbdd54e2 Leonard D. Cunliffe blue, green, yellow, brownish-mulbery, mauve, a little red, black and white reference term-32638 adlib-term-32638 97b8d1a5-7b8f-3a2a-a275-7d001aeaae2b enamel reference term-28681 adlib-term-28681 c1f659e2-1209-31cf-8ff4-154e11452559 gilding Decoration rectangular copper plaque with arched top, the white preparation enamelled in blue, green, yellow, brownish-mulbery, mauve, a little red, black and white and gilded. The drawing appears black on the white preparation. The circular jewels are foiled. The surface is slightly rippled and almost mat.The counter-enamel is not visible. blue, green, yellow, brownish-mulbery, mauve, a little red, black and white reference term-28662 adlib-term-28662 dd47e505-ccda-3f2b-b576-6104109430e8 enamelling reference term-28681 adlib-term-28681 c1f659e2-1209-31cf-8ff4-154e11452559 gilding reference term-107470 adlib-term-107470 f6217ee1-61ca-3c57-92a1-dd13e97bc77c gilt-metal Height cm 12.6 Width cm 10.1 Frame reference term-39588 adlib-term-39588 b17ff981-06b2-30a2-b9a9-b514fe84a191 copper Plaque Applied Arts Copper, decorated with polychrome enamels, foiled 'jewels', and gilding Rectangular, almost flat copper plaque with arched top, the white preparation enamelled in blue, green, yellow, brownish-mulbery, pale purple, a little red, black and white and gilded. The drawing appears black through the white preparation. The flesh is white over black with a pale mauve wash applied over parts of the faces and limbs.The circular jewels are foiled with presumed silver paillons. The surface is slightly rippled and almost mat.The counter-enamel is not visible. The Virgin Mary is seated in the centre, looking down at the dead Christ who lies across her knees with his right arm hanging down, and his left extended but only partly visible. The Virgin’s right hand is raised, and she supports Christ’s right shoulder with her left hand. Christ’s left hand is held by Mary Magdalen, who stands on the right holding a jar of ointment in her right hand. St John stands on the left looking towards the others. Both he and the Magdalene are shown three-quarter view with their heads in profile. Christ wears a green head band and a brown cloth round his loins. The Virgin has a mulbery halo with gold rays and eight alternately green and blue jewels. She wears a dark blue cloak over a mulbery gown. Mary Magdalene has waist-length pale brown and gold wavy hair, and wears a green turban-like cap, and a pale purple cloak over a green dress. St John has shoulder-length golden hair, and a green halo with six alternately mulberry and blue jewels. wears a mulberry gown and has a pale blue cloth over his right arm. All have white flesh shaded in grey. Behind the figures is a niche with a trefoil arch rising from cylindrical columns with carved capitals and bases. The columns are blue and have three jewels on their capitals and two on their bases. The trefoil arch has a jewel on a trefoil on the two angles. The words ‘O(insert a large n) OVO AVER’ are inscribed in gold on the wall of the niche. The lower part is scattered with gold dots over a black ground. The area within the trefoil arch is blue. The plaque is set into a gilt-metal frame with a wire rope edge on the front partly covered by teeth folded over from the back which hold it in place. The frame covers the reverse completely and has a vertically hinged prop, pierced by two groups of three holes. It is inscribed in black on the left B/55/L.D.C, and on the right 'igi' underlined, and lower down '615' on a tabula ansata with 'Ic.' (dot above I) above and below M.7-1938 1 accession number M.7-1938 156453 priref 156453 uri https://data.fitzmuseum.cam.ac.uk/id/object/156453 https://data.fitzmuseum.cam.ac.uk/id/object/156453 underlined on back at top right hand-written, probably in black Indian ink igi inscription possibly with a V in front of the first Ic. half-way down the right of the back hand-written, probably in black Indian ink '615' on a tabula ansata inscribed with ‘Ic.’ (dot above I) above and ‘Ic.’ below inscription on left side of back hand-written in black B/55/L.D.C inscription reference agent-149638 adlib-agent-149638 7376d833-d0a7-3be0-916e-9c892b7a24d8 The Fitzwilliam Museum L.D. Cunliffe Bequest, 1937 reference agent-149807 adlib-agent-149807 e699d770-0f16-32bf-b0b1-da62f9118c29 Cunliffe, Leonard Daneham 1938 1938 1938-02-15 bequeathed Provenance from information in list of objects selected by the Fitzwilliam from Mr Cunliffe’s collection. 1500 CE 1500 When acquired, the plaque was dated to c. 1480, but it probably dates from around 1500. Its authenticity has been doubted but the degree of damage to its edges suggests that it is probably genuine, but heavily restored. circa 1500 probably workshop of maker reference agent-88154 adlib-agent-88154 fb2f6872-99ae-3003-8dd4-953d30c3a7dc Master of the Orléans Triptych Plaques of this arched form were sometimes used as paxes, but few have retained their handle. Others were set into small free-standing frames, or were framed and hung at the head of the owner’s bed, as an image de chevet. The composition is closely related to a Pietà in the Hermitage, St Petersburg, which has a similar iconography but with a tau Cross and landscape in the background, and was attributed to the Master of the Orleans Triptych by Marquet Vasselot. (see Documentation). It differs from the Fitzwilliam’s in three other iconographical details: the Magdelene has a jewelled halo, St John is shown three-quarter face instead of in profile, and there is a flower near the lower left corner. Another plaque in the Hermitage has analogous icongraphy and was alsoformerly attributed to the Master of the Orleans triptych. (see Documentation, Rappé and Boulkina, 2005). A plaque of this subject, presumably deriving from a shared source, but much more naively delineated, and with the group in a room with an ogee arch above is in the Louvre, OA 4011 (see Documentation, Baratte, 2000). All four plaques have a Mary Magdalene who wears a turban-like cap, fashionable in the mid to late 15th century, which distinguishes them from another series of plaques on which she it hatless and vaseless. She also appears in this way on the right wing of a triptych by the Master of the Orleans Triptych in the Hermitage (F 275), and in the Crucifixion forming the central panel of the triptych attributed to the workshop of Nardon Pénicaud at Bourges. This type of headdress went out of fashion by the early sixteenth century but continued to be worn by Mary Magdalene in works of art in which she was not depicted with her hair hanging loosely about her shoulders. The unidentified enameller known as the Master of the Orléans Triptych was named by J.J. Marquet de Vasselot in 1921 after a triptych which had been given to the museum at Orléans in 1825. reference term-106256 adlib-term-106256 1bd8ad44-09c2-3c55-825a-635e463bb56b 16th Century, Early reference term-15498 adlib-term-15498 61725bf5-360f-3837-8aab-3c90b956a537 literal France France country Limoges reference media-136173 adlib-media-136173 035c0809-61e9-3c16-8b53-20cfa57886ca jpeg aa/aa20/M_7_1938_20_281_29.jpg 1 height pixels 760 width pixels 620 1742591847745 1 image jpeg aa/aa20/mid_M_7_1938_20_281_29.jpg 1 height pixels 613 width pixels 500 1742591847745 1 image jpeg aa/aa20/M_7_1938_20_281_29.jpg 1 height pixels 760 width pixels 620 1742591847745 1 image jpeg aa/aa20/preview_M_7_1938_20_281_29.jpg 1 height pixels 306 width pixels 250 1742591847745 1 image 0 media image reference media-136174 adlib-media-136174 fd1b369f-729c-3c29-a9e0-1a69a33d4fb6 jpeg aa/aa20/M_7_1938_20_282_29.jpg 1 height pixels 760 width pixels 628 1742591819088 1 image jpeg aa/aa20/mid_M_7_1938_20_282_29.jpg 1 height pixels 605 width pixels 500 1742591819088 1 image jpeg aa/aa20/M_7_1938_20_282_29.jpg 1 height pixels 760 width pixels 628 1742591819088 1 image jpeg aa/aa20/preview_M_7_1938_20_282_29.jpg 1 height pixels 303 width pixels 250 1742591819088 1 image 1 media image reference media-2422967590 portfolio portfolio-media-2422967590 5f839ccb-2819-3754-bf7a-b76558cb67c3 jpeg portfolio/F25982D9_7CB9_CFFF_028E_8BBFC531887C/505/281/large_M_7_1938_1_200801_mfj22_mas.jpg 1 height pixels 1536 width pixels 1024 1529370862000 1 image jpeg portfolio/F25982D9_7CB9_CFFF_028E_8BBFC531887C/505/281/mid_M_7_1938_1_200801_mfj22_mas.jpg 1 height pixels 750 width pixels 500 1529370862000 1 image M.7-1938_1_200801_mfj22_mas.tif 1529370862000 1 1 image jpeg portfolio/F25982D9_7CB9_CFFF_028E_8BBFC531887C/505/281/preview_M_7_1938_1_200801_mfj22_mas.jpg 1 height pixels 375 width pixels 250 1529370862000 1 image pyramid tiff portfolio/F25982D9_7CB9_CFFF_028E_8BBFC531887C/505/281/M_7_1938_1_200801_mfj22_mas.ptif 1 height pixels 4992 width pixels 3328 1529370862000 1 image 2 media image reference media-2753947624 portfolio portfolio-media-2753947624 a660fda1-e772-3320-90ba-9bc96fc3709e jpeg portfolio/F25982D9_7CB9_CFFF_028E_8BBFC531887C/505/283/large_M_7_1938_2_200801_mfj22_mas.jpg 1 height pixels 1536 width pixels 1024 1529370866000 1 image jpeg portfolio/F25982D9_7CB9_CFFF_028E_8BBFC531887C/505/283/mid_M_7_1938_2_200801_mfj22_mas.jpg 1 height pixels 750 width pixels 500 1529370866000 1 image M.7-1938_2_200801_mfj22_mas.tif 1529370866000 1 1 image jpeg portfolio/F25982D9_7CB9_CFFF_028E_8BBFC531887C/505/283/preview_M_7_1938_2_200801_mfj22_mas.jpg 1 height pixels 375 width pixels 250 1529370866000 1 image pyramid tiff portfolio/F25982D9_7CB9_CFFF_028E_8BBFC531887C/505/283/M_7_1938_2_200801_mfj22_mas.ptif 1 height pixels 4992 width pixels 3328 1529370866000 1 image 3 media image reference term-107484 adlib-term-107484 935e21d3-0b7f-3ca6-9987-b79c82e054fd plaque pax history note Perhaps Edmond Bonnaffé, Paris. M. Joubert, probably Félix Joubert (1872–1953), The Pheasantry, 152 King’s Road, Chelsea, London, from whom purchased probably on 17 November 1930 for £50 by Leonard. D. Cunliffe (1860–1937); bequeathed by him. reference agent-149638 adlib-agent-149638 7376d833-d0a7-3be0-916e-9c892b7a24d8 The Fitzwilliam Museum Cf. p. 88, and p. 249, no. 60, ill. pl. XXI in the Hermitage, St Petersburg, which the author attributes to the workshop of the Master of the Orléans Triptych. Formerly in the Basilewsky collection. Rectangular with rounded top. Unframed 88, 249 reference publication-6072 adlib-publication-6072 16b7c8dd-a034-3641-b87a-c2f1ae0386e8 Les émaux limousins de la fin du XVe siècle et de la première partie du XVIe; étude sur Nardon Penicaud et ses contemporains Cf. pp. 122-3, no. 48 (F 273) the plaque in the Hermitage published by Marquet de Vasselot in 1921 (above) illustrated in colour. The plaque is slightly larger than the Fitzwilliam's h. 15, w. 11 cm. Another plaque in the Hermitage is mentioned, but was not considered by the authors to be by the same hand. 122-3 reference publication-6117 adlib-publication-6117 11dbf863-8759-3f10-b7ae-107ffcf6fd4d Émaux limousins du Musée national de l'Ermitage de Saint-Pétersbourg Cf. p. 52, OA 4011, the author does not attribute the plaque and is a little doubtful of its authenticity 52 reference publication-6073 adlib-publication-6073 273632b3-da99-366e-9c3b-efd466467b8e Les émaux peints de Limoges. Musée du Louvre, Département des objets d'art Cf. p. 32, no. 6 (F 273; See also Limoges, 2004, no. 48) and p. 33, no. 7 (F 1418). The triptych on which a comparable Mary Magdalene is on the right wing pp. 30-31 no. 5 (F 275). 33 reference publication-6919 adlib-publication-6919 8b4a9038-183f-3bc5-8ff1-5233cdf97dbc Limozhskie raspisnye ėmali v sobranii Ėrmitazha/Émaux peints de Limoges de la collection de l'Ermitage reference publication-6186 adlib-publication-6186 d285f449-3ec3-39f8-be77-cd185ea3fe64 Painted Enamels of Limoges. XV & XVI Centuries, The State Ermitage Collection Cf. p. 45, pl. 5, a triptych at the museum at Bourges on the central panel of which Mary Magdalene wears a turban-like cap 45 reference publication-200002688 adlib-publication-200002688 733b893d-287d-3482-9111-aa92030346ca La Passion du Christ d’après Schongauer: douze plaques émailléees au Petit Palais, Paris Ref. pp. 165-8 for the restorer, Felix Joubert. 165-8 reference publication-200003261 adlib-publication-200003261 58004fae-c935-3dfa-a460-28d9bdde9a92 Crediton: the Story of Two Helmets reference term-10618 adlib-term-10618 9ebc0ae1-8cf8-312b-832c-9cf44da02136 Renaissance named event reference term-107264 adlib-term-107264 069cc5f4-bf09-37ac-9ff6-3df07135d01b Pietà literal Pietà Pietà

reference term-107484 adlib-term-107484 935e21d3-0b7f-3ca6-9987-b79c82e054fd plaque

plaque object OBJECT