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The Virgin\u2019s garments and those of the Archangel and his wings, the vase, the flowers in it and those lying on the table are foiled. The outlines are drawn in black on the white preparation or on the foils. The flesh is tinted by a thin wash of pink with clusters of fine pale red lines. The counter-enamel is concealed by the frame."}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28662","uid":"adlib-term-28662","uuid":"dd47e505-ccda-3f2b-b576-6104109430e8"},"summary_title":"enamelling"}},{"note":[{"value":"in translucent blue, turquoise, yellow, pale red, dark red, mulberry, purple, and brown, and black, and white"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-106226","uid":"adlib-term-106226","uuid":"194567f2-2bcd-3446-ae31-652386611815"},"summary_title":"painting"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28681","uid":"adlib-term-28681","uuid":"c1f659e2-1209-31cf-8ff4-154e11452559"},"summary_title":"gilding"}}]}],"content":{"motifs":[{"@link":{"type":"reference"},"admin":{"id":"term-107707","uid":"adlib-term-107707","uuid":"cbae1ed2-5069-35db-a029-700dc23ada11"},"summary_title":"Christian religion"}]},"department":{"value":"Applied Arts"},"description":[{"value":"Copper plaque decorated with polychrome enamels, silver foils, and gilding. The Virgin is seated at a table on the right with a canopied bed in the background, and a vase of lilies in the foreground.  The Archangel Gabriel holding a stem of lilies swoops down  in from the left. Gilt-metal frame"},{"value":"Rectangular, slightly convex copper plaque with arched top, enamelled over a white preparation or silver (probably) foils in translucent blue, turquoise, yellow, pale red, dark red, mulberry, purple, and brown, and in black, and white, and gilded. The Virgin\u2019s garments and those of the Archangel and his wings, the vase, the flowers in it and those lying on the table are foiled. The outlines are drawn in black on the white preparation or on the foils. The flesh is tinted by a thin wash of pink with clusters of fine pale red lines. The counter-enamel is concealed by the frame.                                                                                       The Virgin is seated on a yellow bench with her feet on a footstool beside a brown table covered by a turquoise cloth on which lie an open book, and scattered  flowers. She wears a dark red mantle over a blue dress with turquoise sleeves. She holds open the book with her right hand and has raised her left to her breast. Behind her there is a brown four-poster bed with turquoise valance and cover. A blue two-handled vase containing four lilies, a purple four-petalled flower,two small blue flowers, and a turquoise flower, stands to the left on the purple tiled floor, which has two brown edged steps in the foreground. The Archangel Gabriel swoops down from turquoise clouds on the left. His right arm is raised in salutation, and he holds a stem with three lilies in his left hand. He has blue and turquoise wings and wears a crimson tunic over a blue gown with a yellow sash. Below is a wall with an arched window and a door, and in the distance beyond the bed, a building with a doorway and window, all in purple. Gold  is used to define the edges of the furniture, table cover, and bed hangings, the vase and its handles, the stylized floral and other motifs on the tiles, the edges and shading on the Virgin\u2019s dress and halo, Gabriel\u2019s wings and sash, and the rays of light on the clouds. The plaque is mounted in a arched rectangular gilt metal frame with toothed outer frame on the front, and closed back with a vertically hinged support."}],"identifier":[{"accession_number":"M.42-1904","primary":true,"type":"accession number","value":"M.42-1904"},{"priref":"156428","type":"priref","value":"156428"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156428","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156428"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Frank McClean Bequest"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-172414","uid":"adlib-agent-172414","uuid":"73d94f64-8c0d-30c1-9764-25b005f3ce1d"},"summary_title":"McClean, Frank"}],"date":[{"earliest":1904,"latest":1904,"value":"1904"}],"method":{"value":"bequeathed"}}],"creation":[{"date":[{"earliest":1605,"from":{"earliest":1605,"era":["CE"],"latest":1605,"precision":"circa","value":"1605"},"latest":1625,"range":true,"to":{"earliest":1625,"era":["CE"],"latest":1625,"value":"1625"}}],"maker":[{"@link":{"role":[{"value":"enameller"}],"type":"reference"},"admin":{"id":"agent-179447","uid":"adlib-agent-179447","uuid":"e5d8ff65-d64f-33a8-bc21-4d0dbc106ae8"},"summary_title":"Limosin, Jean"}],"note":[{"value":"The Annunciation is described in St Luke's Gospel, verses 26-28. The Angel Gabriel visits the Virgin Mary to tell her that she has found favour with God, and will bear a son, who will be named Jesus. The lilies in Gabriel's hand, and in the vase beside the Virgin, are symbols of her purity. The overall design and details have features in common with several prints of the Annunciation by Jan Sadeler (1500-1600), Justus Sadler (1572\/83-1620), and Johannes Wierix (1549-1620). The dark, rich colouring of the enamels, partly applied over silver paillons (small pieces of leaf silver) is typical of Limoges enamels at the end of the sixteenth and during the early seventeenth century. A rectangular Annunciation attributed to Jean Limosin, and having closely comparable figures of the Angel Gabriel and the Virgin, but with a more detailed background, was on the market in Antwerp in 2024 (see Documentation).\n\nOn accession by the Fitzwilliam the plaque was unattributed. In 1911, the French scholar, Marquet de Vasselot considered that it was by Suzanne Court c. 1600, but O.M. Dalton in his Catalogue of the McClean Collection (1912) described it as in the style of Jean Limosin (c. 1580-5\u20131646), and that attribution is upheld here. The Virgin's facial characteristics are very different from those of Suzanne Court's charming female figures, the tiles in the paved floor have a pattern which appears on other enamels attributed to Jean Limosin, but differs from those in Suzanne Court's enamels, and the splayed fingers of the Virgin's hand is a characteristic of other figures by Jean Limosin, such Esther on a large dish in the Louvre decorated with  Esther and Ahasurus and signed \u2018JEHAN\/LIMOSIN\u2019. This was a feature of representations of the Virgin in many prints of the time, and could therefore have been copied by other enamellers, but it does seem to be prominent in the work of Jean Limosin.\n\nJean or Jehan Limosin was a son of Fran\u00e7ois I Limosin. He was not mentioned in the Limoges  role for the taille (a tax) in 1602, and was therefore probably not yet adult, suggesting a date around 1580-5 for his birth. His earliest recorded work, dated 1605, is an oval plaque of the Annunciation signed \u2018I. LIMOSIN\u2019, in the Walters Art Museum at Baltimore. Documents in the archives of the department of Haute-Vienne at Limoges dated in 1621, 1623 and 1627 referred to him as enameller to the King which explains his use of a fleur-de-lys between his initials. He was still working in 1635 when he was described as \u2018esmailleur\u2019 in the roll for the taille. His will, made in 1631 with a codicil made on his death bed on 3 May 1646, indicated that he was more wealthy than most enamellers, and had agricultural and commercial interests apart from enamelling. He had a brother Joseph, who was also an enameller."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-106607","uid":"adlib-term-106607","uuid":"61babb74-f8fd-3e53-abf6-c2c2f5dd351b"},"summary_title":"17th Century, Early"},{"@link":{"type":"reference"},"admin":{"id":"term-147439","uid":"adlib-term-147439","uuid":"9687faa0-6080-32c6-b989-0d2828b67da4"},"summary_title":"Henry IV (1553-1610)"},{"@link":{"type":"reference"},"admin":{"id":"term-15532","uid":"adlib-term-15532","uuid":"45c8d670-040f-3ca8-98f3-297a39337fa8"},"summary_title":"Louis XIII (1610-43)"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-15498","uid":"adlib-term-15498","uuid":"61725bf5-360f-3837-8aab-3c90b956a537"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"France"}],"summary_title":"France","type":"country"},{"@link":{"type":"literal"},"name":[{"value":"Haute Vienne"}],"summary_title":"Haute 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Magniac Esq. (known as the Colworth Collection), 5th Day, 7 July, p. 138, lot 519A, sold for \u00a364.1.0 to Frank McClean, MA, FRS (1837-1904), Rusthall House, near Tunbridge Wells."}],"owners":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"publications":[{"@link":{"notes":"Publ. p. 138, 5th day,  7 July, lot 519A","page":"138","type":"reference"},"admin":{"id":"publication-5925","uid":"adlib-publication-5925","uuid":"5e8330b4-b645-34d4-88b6-acecc1f61ce6"},"summary_title":"Catalogue of the Renowned Collection of Works of Art, chiefly formed by the late Hollingworth Magniac, Esq. (Known as the Colworth Collection)"},{"@link":{"notes":"Publ., p. 114, no. 70, pl. XXIII, described as 'In the style of Jean I Limosin'","page":"114","type":"reference"},"admin":{"id":"publication-4060","uid":"adlib-publication-4060","uuid":"0f6d91a4-87ab-338c-b868-7d56c66bc250"},"summary_title":"Fitzwilliam Museum, McClean Bequest, Catalogue of the Mediaeval Ivories, Enamels, Jewellery, Gems and Miscellaneous Objects Bequeathed to the Museum by Frank McClean, M.A., F.R.S."},{"@link":{"notes":"Cf. pp. 338-40, an Annunciation attributed to Susanne de Court with some closely comparable features, where other Annuncation's are mentioned; and pp. 352-3, no. 188 (44.346) an Annunciation by Jean Limosin, dated 1605, which seems less like the Fitzwilliam's plaque.","page":"338-40","type":"reference"},"admin":{"id":"publication-6021","uid":"adlib-publication-6021","uuid":"6dafbb49-bc39-3d0c-b5ad-634dbead2cf0"},"summary_title":"The Walters Art Gallery, Catalogue of the Painted Enamels of the Renaissance"},{"@link":{"notes":"Cf. pp. 386-7, no. 25, an Annunciation signed SVSANNE COVRT.F.","page":"386-7","type":"reference"},"admin":{"id":"publication-200002174","uid":"adlib-publication-200002174","uuid":"2f2f438b-3a67-356e-ab29-5b60caca190c"},"summary_title":"Limoges and other painted Enamels"},{"@link":{"type":"reference"},"admin":{"id":"publication-6073","uid":"adlib-publication-6073","uuid":"273632b3-da99-366e-9c3b-efd466467b8e"},"summary_title":"Les \u00e9maux peints de Limoges. 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The central oval medallion has a white ground, decorated in translucent blue, green, turquoise, brownish-yellow, and mulberry enamels over foils, and in pinkish-red, and white enamels for the flesh .The border has a black ground, with motifs in translucent enamels over foils. Gilding, brownish in places, has been applied for outlines or details over both areas."}],"note":[{"value":"translucent blue, green, turquoise, brownish-yellow, and mulberry;  pinkish-white, red, white, and black"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28662","uid":"adlib-term-28662","uuid":"dd47e505-ccda-3f2b-b576-6104109430e8"},"summary_title":"enamelling"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28681","uid":"adlib-term-28681","uuid":"c1f659e2-1209-31cf-8ff4-154e11452559"},"summary_title":"gilding"}}]},{"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39588","uid":"adlib-term-39588","uuid":"b17ff981-06b2-30a2-b9a9-b514fe84a191"},"summary_title":"copper"}}],"name":"Plaque"},{"measurements":{"dimensions":[{"dimension":"Height","units":"cm","value":"10.1"},{"dimension":"Width","units":"cm","value":"7.2"}]},"name":"Frame"}],"content":{"motifs":[{"@link":{"type":"reference"},"admin":{"id":"term-1111","uid":"adlib-term-1111","uuid":"46c949dd-f376-3538-878f-397baee5be09"},"summary_title":"mythology"}]},"department":{"value":"Applied Arts"},"description":[{"value":"Mirror enclosed in a gilt-metal frame with on the exterior a copper plaque decorated with polychrome enamels, partly over foils, and gilded. Jupiter in the form of Diana and Callisto in a landscape."},{"value":"Elongated octagonal slightly convex copper plaque, decorated in polychrome enamels over foils and and gilded. The central oval medallion has a white ground, decorated in translucent blue, green, turquoise, brownish-yellow, and mulberry enamels over foils, and in pinkish-red, and white enamels for the flesh. The border has a black ground, with motifs in translucent enamels over foils. Gilding, brownish in places, has been applied for outlines or details over both areas. The plaque is mounted in an octagonal gilt-metal frame hinged to another octagonal gilt-metal frame with an egg and dart border enclosing an octagonal bevelled mirror. At the top there is a foliated suspension loop with a ring through it, and another ring through that. decorated in polychrome enamels over foils and and gilded.\nWithin a horizonal oval medallion Jupiter in the form of Diana embraces Callisto in a landscape. The former wears a mulberry gown with a blue tunic and a blue scarf which billows out behind her. Callisto wears a blue dress which reveals her right leg. Both have wavy brownish-yellow hair drawn back from their brows. A gold bow and a quiver lie on the grass in the foreground. In the background to the right there is a tree on a mound, and to the left, a house beside a tree. The sky is blue. Above and below the panel there is a bird with blue, and mulberry plumage, flanked by green, mulbery or blue foiled flowers, reserved in a black ground decorated with delicate gold tendrils."}],"exhibitions":[{"@link":{"catalogue":"125","type":"reference"},"admin":{"id":"exhibition-2376","uid":"adlib-exhibition-2376","uuid":"3e2208a0-ad25-3b64-b03f-cb63aa00fd02"},"summary_title":"Treasured Possessions from the Renaissance to the Enlightenment"}],"identifier":[{"accession_number":"M.11-1938","primary":true,"type":"accession number","value":"M.11-1938"},{"priref":"139824","type":"priref","value":"139824"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139824","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139824"}],"inscription":[{"description":[{"value":"circular paper label; C looks rather like an L"}],"location":"on back of enamel plaque","method":"hand-written in faded black ink","transcription":[{"value":"B\/1\/L.D.C."}],"type":"label"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"L.D. Cunliffe Bequest, 1937"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-149807","uid":"adlib-agent-149807","uuid":"e699d770-0f16-32bf-b0b1-da62f9118c29"},"summary_title":"Cunliffe, Leonard Daneham"}],"date":[{"earliest":1938,"latest":1938,"value":"1938-02-15"}],"method":{"value":"bequeathed"}}],"creation":[{"date":[{"earliest":1600,"from":{"earliest":1600,"era":["CE"],"latest":1600,"precision":"circa","value":"1600"},"latest":1625,"range":true,"to":{"earliest":1625,"era":["CE"],"latest":1625,"value":"1625"}}],"maker":[{"@link":{"qualifier":"probably","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-179445","uid":"adlib-agent-179445","uuid":"354c0b9b-f4b7-324d-9187-afb7d4d7d4c6"},"summary_title":"Limosin, Fran\u00e7ois I"},{"@link":{"qualifier":"perhaps","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-179447","uid":"adlib-agent-179447","uuid":"e5d8ff65-d64f-33a8-bc21-4d0dbc106ae8"},"summary_title":"Limosin, Jean"}],"note":[{"value":"Portable mirrors in silver or gilt-metal frames backed by Limoges plaques survive in large numbers. They have octagonal or oval frames with a suspension loop at the top, and are decorated in polychrome enamels, partly over paillons (silver foil), usually with a central medallion surrounded by a border of stylized flowers and birds reserved in a dark manganese-black ground overlaid by gold foliage or rinceaux. There are several formats for these borders. Others have a mythological scene or figures with ornamental surrounds which cover the whole plaque. None of the recorded examples are dated, but on stylistic grounds their manufacture probably extended from the late 1590s to the 1620s.. The only closely datable examples have comparable borders around bust portraits of Louis XIII, or of Anne of Austria, probably made at the time of their marriage in 1615 (See Documentation, Baratte, 2000, and Sotheby's, 19 November, 2007, lot 26). Comparable motifs occur on a rectangular plaque with a portrait of the King apparently some ten years older in the Wallace Collection, which bears the initials IL separated by a fleur de lis, for Jean Limosin (c. 1580-1646).\n\nOvid tells the story of Jupiter\u2019s deception of Callisto by appearing to her as Diana, and then ravishing her, in Metamorphoses 2, 420-531. Associated with a mirror it might serve as a warning to the owner to beware of deceitful suitors. The figures on the plaque was probably derived from Bernard Salomon\u2019s woodcut illustration of 'Caliston de\u00e7ue par Jupiter' in  La Metamorphose d\u2019Ovide figuree, Lyon (Jean de Tournes), 1557, or the later editions of 1564 or 1583, and might also have been influenced by an engraving by  Antonio Tempesta  (1555-1630) in Metamorphoseon sive transformationum ovidianarum . . Amsterdam, 1606, pl. 13, which has the direction of the figures transposed.  A plaque for a mirror decorated with the same figures is in the Hermitage, St Petersburg. (see Documentation).  Another decorated with an earlier moment in the story, Jupiter in the form of Diana appearing to Callisto is in the Victoria and Albert Museum (8421-1863), and one with a later incident, Diana and her companions bathing with Callisto sitting apart because of her loss of virginity is in the Mus\u00e9e municipal de l\u2019\u00c9v\u00each\u00e9, Limoges.\n\nThis plaque has been attributed probably to Fran\u00e7ois I Limosin on account of stylistic resemblance to an oval plaque in the Mus\u00e9e du Louvre, which is initialled FL (see Documentation, Baratte, 2000).  It is also closely comparable to three octagonal mirrors attributed to Jean I (or II) Limosin, and one attributed either to him or Fran\u00e7ois Limosin in the James A. de Rothschild collection at Waddesdon Manor (see Documentation, Marcheix, 1977) These are decorated with mythological subjects and have similar flowers and birds reserved in the black background around the scene. Catalogue nos. 36 and 37 are signed I.L., with a fleur de lys between the letters on no. 37."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-125343","uid":"adlib-term-125343","uuid":"d348d136-7498-3a55-85f7-09117d44d4e6"},"summary_title":"17th Century, Early"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-15498","uid":"adlib-term-15498","uuid":"61725bf5-360f-3837-8aab-3c90b956a537"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"France"}],"summary_title":"France","type":"country"},{"@link":{"type":"literal"},"name":[{"value":"Haute Vienne"}],"summary_title":"Haute 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