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ATELIER DU MAÎTRE DU TRIPTYQUE D'ORLÉANS
Center plate of a triptych depicting the Last Judgment, painted enamel on copper plate with gold highlights. Heterogeneous dark ground counter-enamel.
Limoges, workshop of the Master of the Orléans triptych, circa 1500.
Height: 27.3 cm - Width: 24.6 cm
(Minor accidents and chips, hair, occasional restorations)
In an adapted gilded copper frame, molded with fleurons.
Our plaque should be compared with the Last Judgment triptych attributed to the same artist and now in the Metropolitan Museum of New York.
Metropolitan Museum, New York [Accession Number: 1975.1.1225] (Fig.1), which it resembles in size and style. It should be noted, however, that our plate adopts exactly the same iconographic composition as another (fragmentary) plate in the Metropolitan Museum, New York [Accession Number: 32.100.250] (Fig.2) from the Friedsam Collection, which is attributed to Monvaerni's workshop. Nothing is known of the artist referred to as the Master of the Orleans Triptych, a name given by Marquet de Vasselot in reference to his masterpiece in the Orleans museum. He was one of the first followers of the Monvaerni master, and was clearly unaffected by the Italian influence, which is virtually absent from his work. His works are rare and belong to the early productions of the emblematic plates of Limousin production, which makes the plate presented here all the more remarkable.
Center plate of a triptych depicting the Last Judgment, painted enamel on copper plate with gold highlights. Heterogeneous dark ground counter-enamel.
Limoges, workshop of the Master of the Orléans triptych, circa 1500.
Height: 27.3 cm - Width: 24.6 cm
(Minor accidents and chips, hair, occasional restorations)
In an adapted gilded copper frame, molded with fleurons.
Our plaque should be compared with the Last Judgment triptych attributed to the same artist and now in the Metropolitan Museum of New York.
Metropolitan Museum, New York [Accession Number: 1975.1.1225] (Fig.1), which it resembles in size and style. It should be noted, however, that our plate adopts exactly the same iconographic composition as another (fragmentary) plate in the Metropolitan Museum, New York [Accession Number: 32.100.250] (Fig.2) from the Friedsam Collection, which is attributed to Monvaerni's workshop. Nothing is known of the artist referred to as the Master of the Orleans Triptych, a name given by Marquet de Vasselot in reference to his masterpiece in the Orleans museum. He was one of the first followers of the Monvaerni master, and was clearly unaffected by the Italian influence, which is virtually absent from his work. His works are rare and belong to the early productions of the emblematic plates of Limousin production, which makes the plate presented here all the more remarkable.