1592970669000 1312637261000 Standard Record object-156454 1755194558946 1710851454000 1755194515997 adlib fitz-online adlib-object-156454 https://data.fitzmuseum.cam.ac.uk/id/object/156454 11f80f3f-f9d5-301b-89d0-135e7eed04da 10 2nd Marquess of Ripon and 4th Earl de Grey (1871), London and Studley Royal, a keen sportsman and crack shot, who was a trustee of the Wallace Collection. He may have purchased the plaques, but they could have been inherited from his father, George Frederick Samuel Robinson (1827-1909); 1st Marquess of Ripon and 3rd Earl de Grey (1859-71), a politician and diplomat, who converted to Roman Catholicism in 1874, and died at Studley Royal. reference agent-207552 adlib-agent-207552 859a1816-bf5e-3b20-96c6-cbe4f66f7986 Robinson, Frederick Oliver (1852-1923) 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 reference term-109906 adlib-term-109906 cbea03fb-f9ac-3c28-ab2d-d20a955a2b53 silver foil reference term-32638 adlib-term-32638 97b8d1a5-7b8f-3a2a-a275-7d001aeaae2b enamel reference term-39593 adlib-term-39593 e3e2a3f8-2433-3f63-9bcf-e776644d312d gold Decoration two adjacent narrow rectangular copper plaques enamelled in multicouche technique (Biron Type A) with dark and white layers overlaid by translucent pale and bright blue, green, tan, and brownish-mulberry, and in black, and opaque white, and gilded. The flowers and jewels are backed with lozenge-shaped silver foils (pailons). blue, green, red, tan, brown reference term-28662 adlib-term-28662 dd47e505-ccda-3f2b-b576-6104109430e8 enamelling reference term-39588 adlib-term-39588 b17ff981-06b2-30a2-b9a9-b514fe84a191 copper Plaque Height cm 22.5 Width cm 16.3 Frame reference term-110523 adlib-term-110523 d1291b77-5525-36c4-9cec-9f651a7a76a9 bible Applied Arts Copper, enamelled in polychrome with Mary Magdalene encountering Christ after his resurrection Two joined narrow slightly convex rectangular copper plaques enamelled over dark and white layers in translucent blue, green, red, tan, mulberry-brown, and opaque white, and gilded The flowers and jewels are backed with silver foil. On the left plaque (A), Mary Magdalene stands in profile to right holding an ointment pot in her left hand and raising its conical lid in her right. She wears a blue and white headscarf which billows out behind her, a mulberry brown dress and a royal blue cloak. Behind her there is a tan-coloured wattle fence with a lychgate on the left. In front of her is half of a tree with a tall narrow trunk and a round top with leaves and flowers with white petals and blue or mulberry centres. On the right panel (B), Christ stands facing three-quarters to the left, raising his right hand. to prevent the approach of Mary Magdalene, and showing the bleeding wound in his hand. Blood also trickles from his side and from the thorn wounds in his head. He has a dark brown cloak held together with a green brooch. In his left hand he holds the staff of a cross with a pennant. Behind him there is a tan wattle fence and to the left, half of a tree matching that on the other plaque.The ground of both plaques is green with numerous plants bearing daisy-like flowers with blue or red centres and white petals. The sky at the top of both panels is closely strewn with gold stars. The counter-enamel on the reverse is semi-translucent dark brown, with uneven concentrations of colour giving a mottled effect. The rectangular gilt-metal frame has applied ornaments of a twisted stem with a leaf on each end: two on the top and bottom, and three on he sides. The outer frame is of red velvet, extremely worn on the edge. The back of the plaque is covered by a red damask-covered board with a hinged prop in the centre of more recent manufacture. M.10A & B-1938 1 accession number M.10A & B-1938 156454 priref 156454 uri https://data.fitzmuseum.cam.ac.uk/id/object/156454 https://data.fitzmuseum.cam.ac.uk/id/object/156454 an octagonal white stick-on label edged by a broad blue line and a narrow blue line on reverse of both plaques hand-written in black ink E. De Grey label 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 bequeathed bequeathed 1937 1500 1500 CE 1500 circa 1500 1525 the frame is second half of 19th century 1 1525 CE 1525 1525 workshop of maker reference agent-105577 adlib-agent-105577 0760ccbc-1239-3a7f-9ad2-4b95d7f1dece Penicaud, Nardon Mary Magdalene’s meeting in the garden with the risen Christ whom she at first supposes is a gardener is described in the Gospel of St John (20:14-18), and more briefly by St Mark (16:9-10). The design may have been derived from more than one printed source. Possibly Martin Schongauer’s Christ appearing to Mary Magdalene, which has a fence and tree in the background but shows Christ with his arm outstretched and Mary Magdalene kneeling with her ointment pot beside her on the ground, and his Resurrection for the position of Christ’s raised hand. Comparable scenes with a central tree occur in manuscripts, such as a Flemish or northern French Legenda Aurea of c. 1480-1515, in the Fitzwilliam (MS 22, fol. 45 v) .The standing figure of Mary Magdalene might have been influenced by one of a series of forty-eight roundels for use by goldsmiths by Israhel van Meckenhem (1440-1503) after Master ES, which shows her standing holding her jar and wearing a turban-like cap with streamers at the back. The plaques can be compared with three other versions of the same subject. One, likewise on two plaques, whose present location is unknown, was formerly in the collection of Prince Czartoryski, in the Château de Goluchow, Poland.This has a tree divided between the two plaques, and a Magdalene who kneels holding her ointment pot in her right hand but it is not by the same enameller. The background is reminiscent of the central panel of a triptych in the Bargello, attributed to the Monvaerni Master (Pseudo Monvaerni) by Marquet de Vasselo, but at present to an anonymous enameller, which features an analogous wattled fence with a lychgate on the left, and a tree in the centre, but different figures of Christ and the Magdalene. A smaller version of the Noli me tangere on one plaque is in the Musée des Arts Décoratifs, Paris (see Blanc, 2011). On entering the collection the two plaques were attributed to Nardon Penicaud and there seems no reason to change that. The design of the body of Christ and the draping and fastening of his cloak are fairly close to those of the Risen Christ in the right wing of a two-stage triptych attributed to Nardon Penicaud in the Frick Collection. reference term-124749 adlib-term-124749 3cb14eef-9414-324c-8abb-f4e5e0d52ff1 16th Century, Early reference term-15498 adlib-term-15498 61725bf5-360f-3837-8aab-3c90b956a537 literal France France country literal Haute Vienne Haute Vienne region Limoges reference media-136175 adlib-media-136175 f7ae3089-7b04-3ae9-897c-e50566e19c81 jpeg aa/aa20/M_10_1938_20_281_29.jpg 1 height pixels 760 width pixels 596 1616285873987 1 image jpeg aa/aa20/mid_M_10_1938_20_281_29.jpg 1 height pixels 638 width pixels 500 1616285873987 1 image jpeg aa/aa20/M_10_1938_20_281_29.jpg 1 height pixels 760 width pixels 596 1616285873987 1 image jpeg aa/aa20/preview_M_10_1938_20_281_29.jpg 1 height pixels 319 width pixels 250 1616285873987 1 image 0 media image reference media-136176 adlib-media-136176 42bfd4d0-3a9e-3dfd-bb4a-7772394915b1 jpeg aa/aa20/M_10_1938_20_282_29.jpg 1 height pixels 760 width pixels 592 1616251051046 1 image jpeg aa/aa20/mid_M_10_1938_20_282_29.jpg 1 height pixels 642 width pixels 500 1616251051046 1 image jpeg aa/aa20/M_10_1938_20_282_29.jpg 1 height pixels 760 width pixels 592 1616251051046 1 image jpeg aa/aa20/preview_M_10_1938_20_282_29.jpg 1 height pixels 321 width pixels 250 1616251051046 1 image 1 media image reference media-1816852844 portfolio portfolio-media-1816852844 77b9aeab-a94f-3568-bd27-6c127c72b4e6 jpeg portfolio/F25982D9_7CB9_CFFF_028E_8BBFC531887C/505/29/large_M_10_1938_1_200801_mfj22_mas.jpg 1 height pixels 1536 width pixels 1024 1529370496000 1 image jpeg portfolio/F25982D9_7CB9_CFFF_028E_8BBFC531887C/505/29/mid_M_10_1938_1_200801_mfj22_mas.jpg 1 height pixels 750 width pixels 500 1529370496000 1 image M.10-1938_1_200801_mfj22_mas.tif 1529370496000 1 1 image jpeg portfolio/F25982D9_7CB9_CFFF_028E_8BBFC531887C/505/29/preview_M_10_1938_1_200801_mfj22_mas.jpg 1 height pixels 375 width pixels 250 1529370496000 1 image pyramid tiff portfolio/F25982D9_7CB9_CFFF_028E_8BBFC531887C/505/29/M_10_1938_1_200801_mfj22_mas.ptif 1 height pixels 4992 width pixels 3328 1529370496000 1 image 2 media image reference media-3477020762 portfolio portfolio-media-3477020762 966b55ac-c3f1-369c-a6ce-c5e97a66114b jpeg portfolio/F25982D9_7CB9_CFFF_028E_8BBFC531887C/505/30/large_M_10_1938_2_200801_mfj22_mas.jpg 1 height pixels 1536 width pixels 1024 1529370496000 1 image jpeg portfolio/F25982D9_7CB9_CFFF_028E_8BBFC531887C/505/30/mid_M_10_1938_2_200801_mfj22_mas.jpg 1 height pixels 750 width pixels 500 1529370496000 1 image M.10-1938_2_200801_mfj22_mas.tif 1529370496000 1 1 image jpeg portfolio/F25982D9_7CB9_CFFF_028E_8BBFC531887C/505/30/preview_M_10_1938_2_200801_mfj22_mas.jpg 1 height pixels 375 width pixels 250 1529370496000 1 image pyramid tiff portfolio/F25982D9_7CB9_CFFF_028E_8BBFC531887C/505/30/M_10_1938_2_200801_mfj22_mas.ptif 1 height pixels 4992 width pixels 3328 1529370496000 1 image 3 media image reference term-107484 adlib-term-107484 935e21d3-0b7f-3ca6-9987-b79c82e054fd plaque history note Possibly George Frederick Samuel Robinson (1827-1909), London and Studley Royal, Yorkshire, 1st Marquess of Ripon and 3rd Earl de Grey (1859); certainly his son, Frederick Oliver Robinson, 2nd Marquess of Ripon, and 4th Earl de Grey, GCVO, FRS, (1852-1923), Studley Royal, Yorkshire; his cousin, Clare Vyner, Esq., Studley Royal, Yorkshire; sold Sotheby's, 19 March 1926, Catalogue of the well-known collection of old English wine glasses, etc. the property of Henry Peech Esq., . . . . A Fine large enamel, Japanese Imari ware . . . the property of Clare Vyner Esq., removed from Studley Royal. From the collection of the late Marquess of Ripon, p. 13, lot 78; sold to S.J. Phillips. 113 New Bond Street, London, W1, for £410 on behalf of Leonard D. Cunliffe (1860-1937), 109 Eaton Square, London, and Trelissick, Cornwall; bequeathed by him reference agent-149638 adlib-agent-149638 7376d833-d0a7-3be0-916e-9c892b7a24d8 The Fitzwilliam Museum reference publication-7042 adlib-publication-7042 fbdb694f-29d2-3112-a1bf-3ce1177f5109 Objets d’art du Moyen Age et de la Renaissance : Collections du château de Goluchow Cf. p. 350, no. 194, not illustrated, the plaque in the château de Goluchow 350 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. 24-35, 16.4.3, a triptych, with the risen Christ on the right wing, see illustrations on p. 25 and 35 24-35 reference publication-200002180 adlib-publication-200002180 a2294bc4-cc14-3e0f-9aab-728d1027c94e Limoges Painted Enamels, Sixteenth and Seventeenth Centuries Cf. pp. 40-1, no. 8, four plaques with arched tops, the last of which depicts the Noli me tangere scene, which although different in details of iconography (e.g. the ointment pot is on the ground), and style, has some features in common, and is attributed to the Penicaud workshop 40-1 reference publication-7297 adlib-publication-7297 63470d8f-cfbe-3825-9919-c40c11c83e45 Émaux peints de Limoges XVe-XVIIIe siècles, la collection du Musée des Arts Décoratifs reference term-10618 adlib-term-10618 9ebc0ae1-8cf8-312b-832c-9cf44da02136 Renaissance reference term-102735 adlib-term-102735 9ffebc71-0d53-3435-b13f-9ab850955082 prayer object name reference term-108538 adlib-term-108538 795ce314-a9bb-3fcc-9c39-4b671ec72fc3 cross object name reference term-101999 adlib-term-101999 3f48e900-1eee-39b3-bb67-6acd9b9e1d62 pennant object name reference term-66011 adlib-term-66011 a139886c-fb20-367b-b5aa-bd52177a9c5c fence object name reference term-125796 adlib-term-125796 5a1e9dbf-5375-39eb-b42b-36a19854ad55 ointment jar plant reference term-106795 adlib-term-106795 619c7689-2029-3c57-b0e2-12f5b54bedb8 flower plant reference term-58471 adlib-term-58471 ce00216e-da4e-37b3-974c-c2b6377d6c19 tree object name reference term-147448 adlib-term-147448 d3b6b8e7-10cf-3af7-af41-82d020f36b58 lychgate literal cross cross literal pennant pennant literal fence fence literal ointment jar ointment jar literal flower flower literal tree tree literal lychgate lychgate

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

plaque object OBJECT