French, Limoges, early 13th century

with an associated shaft

private collection, Switzerland;
Sankt-Galler und Basler Privatbesitz, Auktionen in Luzern, 1935, lot 1.200, plate 32

J.J. Marquet de Vasselot, Les Crosses Limousines du XIII^e siècle, Paris, 1941, p. 324, no. 197

Overall the condition of the crozier is good. There are losses wear to the enamel throughout and there is some wear to the gilding, particularly at the knop, along the outer edge and to cheeks of the serpent. The corzier head is slightly loose on the knop. The stem under the knop is associated. The leaves over the knop are slightly warped and there is a small dent to one of the flowers on the knop.
"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."

The motif of the serpent's head holding a tri-lobe leaf in its mouth is a typical feature of early 13^th century Limoges croziers. It may refer to the staff of Moses or that of his brother Aaron, both of which were gifted with miraculous powers. Both staffs turned into serpents, and Aaron's rod flowered in the Tabernacle as a proof of the exclusive rite to the priesthood of the tribe of Levi.

The present crozier can be compared to the crozier of Jean de Chanlay in the Louvre Museum. The scrolling foliate motif on the spiral form of the crozier head, highlighted with gilding against blue enamel, is closely similar. The motif of the three angels within mandorlas on the knop is typical of Limoges croziers of the period and also appears on the Jean de Chanlay crozier.

RELATED LITERATURE
E. Taburet-Delahaye & B. Drake Boehm et al. L'Oeuvre de Limoges: Emaux limousins du Moyen Age, ex. cat. Musée du Louvre, Paris, 1995, p. 273, no. 83