France, Limoges, vers 1210-1230

Collection Michel Boy,
sa vente à Paris, le 15 mai 1905, lot 160.

Exposition d'objets d'art du Moyen Age et de la Renaissance, Hôtel de Sagan, Paris, 1913.

Exposition d'objets d'art du Moyen Age et de la Renaissance organisée par la marquise de Ganay chez Jacques Seligmann, 23 rue Constantine, Hôtel de Sagan, cat. exp. Paris, 1913, no. 226.

Very good condition overall. As can be seen on the photograph, minor elements of enamel missing in several places, especially along the edges of the plaque, in particular, a small piece of enamel missing from the right roundel with an angel in clouds, as well as another lack of enamel in the top left hand corner; furthermore, to the right hand side in the center, a small horizontal element of blue enamel is missing from the background (circa 3 cm). General wear to the gilding, consistent with age and handling, especially to the copper heads in high relief and bodies of the three central figures. As stated in the catalogue, the copper frame and the wooden core are later replacements.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Les précieux plats de reliures émaillés étaient destinés à recouvrir les faces des manuscrits sacrés. L'existence de reliures produites à Limoges est attestée depuis le XIIème siècle. La première mention d'un émail champlevé est d'ailleurs un plat de reliure cité dans une lettre d'un religieux de saint Satur en Angleterre adressée au prieur de l'abbaye de saint Victor à Paris (Abbé Arbellott).

L' iconographie des reliures émaillées se limite souvent à deux thèmes: traditionnellement, la Crucifixion figure au plat supérieur, et le Christ en Majesté au dos du livre comme le montre la paire de plats de reliure partagée aujourd'hui entre le Victoria and Albert Museum de Londres (inv. no. 651-1898) et les Staatliche Museen de Berlin (no. 1917.85). Bien que les plaques de reliures produites à Limoges à la fin du XIIème siècle et au début du XIIIème siècle montrent des différences de qualité et de style, la grande majorité d'entre elles offre toujours la même composition classique.

La plaque de la collection Dormeuil se distingue toutefois par la qualité de son exécution (notamment dans la finesse des détails gravés des vêtements) et l'originalité de son iconographie avec les deux anges porteurs de livres inscrits dans une mandorle circulaire, bordée de fleurons. On retrouve deux anges dans une mandorle similaires sur la châsse de Saint Etienne à Gimel-les-Cascades (Corrèze), (L'Oeuvre de Limoges, 1995-1996 no.88).

REFERENCE BIBLIOGRAPHIQUES
E. Taburet-Delahaye, B. Boehm, L'Oeuvre de Limoges. Emaux limousins du Moyen Age, cat. exp. Paris, New York, 1995- 1996, p. 278, no. 88.
M. Gauthier, "A Limoges Champlevé Book-Cover in the Gambier-Parry Collection " in The Burlington Magazine, Vol. 109, no. 768, The Gambier-Parry Bequest to The University of London, 1967, pp. 150-157.
Abbé Arbellott : 'L' Oeuvre de Limoges', Bull. de la Soc. Archéol. et hist. du Limousin, XXXV,1888, p. 238.

FRENCH, LIMOGES, CIRCA 1210 - 1230
A CHAMPLEVE ENAMELLED BOOK COVER

Limoges Champlevé enamel book covers were fashioned to protect bound biblical texts and to equal in splendour the illuminations of the sacred words within. Such book covers were produced in Limoges from the workshops' inception in the 12^th century.  The earliest known mention of a Limoges champlevé enamel is, in fact, a reference to a book cover in a letter of 1169 from a priest at Saint-Satur in England to the prior at the Abbey of St. Victor in Paris in which the priest mentions a Limoges binding they viewed together (Abbé Arbellott).

The subject matter of the covers is limited to two themes: the Crucifixion and Christ in Majesty. From surviving bindings it is known that the Crucifixion most often featured on the front cover, with the Christ in Majesty on the reverse. For an example see the pendants now divided between the Victoria and Albert Museum, London (inv. no. 651-1898) and the Staatliche Museen, Berlin (acq. No. 1917.85).  Whilst the surviving examples vary in quality and design, they retain the prescribed, icon-like composition. This book cover is notable both for its high quality and for the roundels surrounding the angels, which can be compared to those illustrated on the 12^thcentury Châsse de saint Etienne, Gimel-les-Cascades, Corrèze, église Saint Pardoux (L'Œuvre de Limoges, 1995-1996 no. 88).