- Museum number
Triptych; painted Limoges enamel on copper; set in giltwood frame: Left panel: the Deposition; Central Panel: the Entombment; Right panel: the Resurrection. Central panel inscribed. Painted on a white preparation on which the design was drawn and covered with translucent enamels; spangles of raised enamels on foils; the flesh tones have been modelled on a blue ground; main contours in black enamel fired on a white ground; flesh tones vary from semi-opaque lilac to white; details gilt. Counter-enamel splashed with purple and violet flux.
- Production date
- 1510 (circa)
Height: 21.90 centimetres (central panel)
Height: 22 centimetres (left panel)
Height: 29.90 centimetres (right panel)
Width: 25.80 centimetres (central panel)
Width: 10.55 centimetres (left panel)
Width: 10.60 centimetres (right panel)
- Curator's comments
- A Triptych attrib. to Nardon at Sotheby's, Sculpture and works of Art, 12 December 2000, lot 64, features Crucifixion at centre, Arrest of Christ on left, Christ in Limbo trampling devils on right, ex- Neuerberg Collection, Cologne exhibited there in Schnutgen Museum 1960 in exhibition of medieval art from ptrivate collections. On that piece, textiles have been punched to imitate brocade etc and hairy devils, gilding is not heavily used or has worn off. Faces are much cruder than in our example, which lacks the kind of punching seen on the Sothbey's one, though has subtle gilding to mould draperies as seen on lefthand figure in central scene on Sotheby's piece. The dappled horse on Sotheby's example is finely done. I am not convinced these are by the same artist. BM work has no white mark on reverse: Sotheby's piece has a white mark on counter-enamel (drawn in catalogue). DFT December 2000.
This BM triptych thought to be based on Schongauer prints, according to 1924 GUide to Medieval Antiquities, and can be dated to around 1510. His only signed and dated work in the CLuny dates from 1503, see Verdier catalogue of painted enamels in Baltimore, Baltimore 1967, nos 25 and 26.
Marquet de Vasselot, 1921, p. 132 describes this after JPMorgan triptych with six panels, in which lower three are identical (but restored) to this. The Morgan one is signed in gold on sabre of sleeping soldier in central scene. He wondered if the signature on the Morgan one had been added by restorer,. which, in light of recent suggestions by High Tait on signatures in gold seems possible. The BM piece is also in the colour frontispiece in Burlington Enamels cat 1897, as an acknowledged masterpiece. Compares this with other Resurrection plaque by same artist, ex Barwell, which must be one of his earliest works, plate XXVIII, p.108 for 1913, 12-20, 7.DFT December 2000.
- Not on display
- Exhibition history
1897, London, Burlington Fine Arts Club, 'Catalogue of A Collection of European Enamels From the Earliest date to the End of the XVII. Century', exh. cat., p. 41, no. 150.
- Good. THere are however long cracks in the enamel along the body of Christ in the central panel, which are clearly shown in the 1924 GUide to Medieval Antiquities, plate VI. The damage must have occurred before 1913 since it is mentioned in the notebook on Barwell enamels kept in the Barwell COllection file under 1913. The damage is said there to have been done by a nail in the frame and the enamel had been "sent to Andres for repair", probably the restorer, collector and faker? Alfred Andre in Paris. DFT December 2000.
- Acquisition date
- Acquisition notes
- Ex Collection William Beckford, Sale Catalogue, Christie's, Fonthill Abbey, 1822, no.143. Retained by Beckford from aborted sale, thereafter by descent to 12th Duke of Hamilton, Sale, Christie's, London, Hamilton Palace Collection, 1882, no. 977, purchased G. Attenborough, £1,764.
- Britain, Europe and Prehistory
- Registration number