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The brilliant, jewel-like surfaces of this small folding triptych (three panels hinged together) are characteristic of painting in enamel on copper which was a specialty of Limoges. The vibrancy and surface richness possible with this technique made it attractive for decorating personal objects. They had to be fairly small because of the relatively small sheets of copper then available. Pénicaud was a great enamelist and the founder of a successful workshop carried on by his heirs. Like many contemporary enamelists, however, he did not compose the religious images he executed. This scene is based on a woodcut published in Paris in 1505. The French woodcut was, in turn, derived from a German engraving. Originality was not as important then as it is today; what mattered most was the quality of the product. This exquisite triptych was clearly held in high esteem as it was the model for several others.
Page data
- Page
- 1
- Source index
- 0
- Type
- photo
- Media ID
- b9098a440e194bde
- Size
- unknown
Document data
- ID
- 11396
- Core
- obj
- Type
- object
DTO data
{
"id": "11396",
"sourceUrl": "https://purl.thewalters.org/art/44.149",
"contentType": "object",
"stage": "normalized",
"title": "Triptych with Crucifixion",
"description": "The brilliant, jewel-like surfaces of this small folding triptych (three panels hinged together) are characteristic of painting in enamel on copper which was a specialty of Limoges. The vibrancy and surface richness possible with this technique made it attractive for decorating personal objects. They had to be fairly small because of the relatively small sheets of copper then available. Pénicaud was a great enamelist and the founder of a successful workshop carried on by his heirs. Like many contemporary enamelists, however, he did not compose the religious images he executed. This scene is based on a woodcut published in Paris in 1505. The French woodcut was, in turn, derived from a German engraving. Originality was not as important then as it is today; what mattered most was the quality of the product. This exquisite triptych was clearly held in high esteem as it was the model for several others.",
"provenance": "P. Morgan Collection; Arnold Seligmann, Rey & Co.; Henry Walters, Baltimore, 1922 [mode of acquisition unknown]; Walters Art Museum, 1931, by bequest.",
"date": "ca. 1495-1525 (Early Modern)",
"citationUrl": "https://purl.thewalters.org/art/44.149",
"rightsUri": "CC0",
"language": "en",
"genreSpecific": [
"Mosaics & Cosmati",
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],
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"source": "import",
"dimensions": [
{
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"width": 34,
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}
],
"dimensionsRaw": "framed: 13 3/8 x 20 1/4 x 7/8 in. (34 x 51.5 x 2.2 cm); plan view: 17 1/2 x 5 1/4 in. (44.5 x 13.4 cm)"
}
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Document identity
{
"localId": "11396",
"label": "Triptych with Crucifixion",
"core": "obj",
"dtoType": "object",
"citationUrl": "https://purl.thewalters.org/art/44.149"
}
Document source metadata
{
"id": "11396",
"sourceUrl": "https://purl.thewalters.org/art/44.149",
"contentType": "object",
"stage": "normalized",
"title": "Triptych with Crucifixion",
"description": "The brilliant, jewel-like surfaces of this small folding triptych (three panels hinged together) are characteristic of painting in enamel on copper which was a specialty of Limoges. The vibrancy and surface richness possible with this technique made it attractive for decorating personal objects. They had to be fairly small because of the relatively small sheets of copper then available. Pénicaud was a great enamelist and the founder of a successful workshop carried on by his heirs. Like many contemporary enamelists, however, he did not compose the religious images he executed. This scene is based on a woodcut published in Paris in 1505. The French woodcut was, in turn, derived from a German engraving. Originality was not as important then as it is today; what mattered most was the quality of the product. This exquisite triptych was clearly held in high esteem as it was the model for several others.",
"provenance": "P. Morgan Collection; Arnold Seligmann, Rey & Co.; Henry Walters, Baltimore, 1922 [mode of acquisition unknown]; Walters Art Museum, 1931, by bequest.",
"date": "ca. 1495-1525 (Early Modern)",
"citationUrl": "https://purl.thewalters.org/art/44.149",
"rightsUri": "CC0",
"language": "en",
"genreSpecific": [
"Mosaics & Cosmati",
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],
"iiifBase": "https://art.thewalters.org/images/art/PL2_44.149_Fnt_TR_II.jpg",
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"largeImageUrl": "https://art.thewalters.org/images/art/PL2_44.149_Fnt_TR_II.jpg",
"imageCount": 2,
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"source": "import",
"dimensions": [
{
"units": "cm",
"width": 34,
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}
],
"dimensionsRaw": "framed: 13 3/8 x 20 1/4 x 7/8 in. (34 x 51.5 x 2.2 cm); plan view: 17 1/2 x 5 1/4 in. (44.5 x 13.4 cm)"
}
Document source extras
{
"cul": "French",
"style": "Renaissance",
"med": "painted and gilded enamel on copper",
"creator_ids": [
"7473"
],
"collection_ids": [
"MED",
"REN"
],
"exhibition_ids": []
}
Page context
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"url": "https://art.thewalters.org/images/raw/PS4_44.149_Fnt_DD_AT22_33294-tms.jpg",
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