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The style of the composition suggests that this plaque, like its companion, "Plaque with the Resurrection of Christ" (Walters 44.345), is based on an engraving after a design by the Flemish painter Martin de Vos (1532-1603); however, a specific model has not been identified. The Latin inscription translates, "The Holy Ghost shall come upon thee, and the power of the Most High shall overshadow thee. And therefore also the Holy which shall be born of thee shall be called the Son of God."Jean Limosin signed this finely worked piece and dated it 1605. His effort to balance the definition of space with the decorative qualities of the enamel can be contrasted to the frankly decorative approach of Suzanne de Court's treatment of the same composition to the right. His handling of the translucent enamel is not as subtle. The frames on the companion plaques are original and indicate that they were hung as independent works of art.

Page data

Page
1
Source index
0
Type
photo
Media ID
47f63f587ab40606
Size
unknown

Document data

ID
38273
Core
obj
Type
object
DTO data
{
    "id": "38273",
    "sourceUrl": "https://purl.thewalters.org/art/44.346",
    "contentType": "object",
    "stage": "normalized",
    "title": "Plaque with the Annunciation",
    "description": "The style of the composition suggests that this plaque, like its companion, \"Plaque with the Resurrection of Christ\" (Walters 44.345), is based on an engraving after a design by the Flemish painter Martin de Vos (1532-1603); however, a specific model has not been identified. The Latin inscription translates, \"The Holy Ghost shall come upon thee, and the power of the Most High shall overshadow thee. And therefore also the Holy which shall be born of thee shall be called the Son of God.\"Jean Limosin signed this finely worked piece and dated it 1605. His effort to balance the definition of space with the decorative qualities of the enamel can be contrasted to the frankly decorative approach of Suzanne de Court's treatment of the same composition to the right. His handling of the translucent enamel is not as subtle. The frames on the companion plaques are original and indicate that they were hung as independent works of art.",
    "provenance": "Formerly in a château near Montauban, France; Henri Daguerre, Paris [date and mode of acquisition unknown]; Henry Walters, Baltimore, 1928, by purchase; Walters Art Museum, 1931, by bequest.",
    "date": "1605 (Baroque)",
    "citationUrl": "https://purl.thewalters.org/art/44.346",
    "rightsUri": "CC0",
    "language": "en",
    "genreSpecific": [
        "Enamels",
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    "imageCount": 1,
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    "source": "import",
    "dimensions": [
        {
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        }
    ],
    "dimensionsRaw": "H: 13 3/16 × W: 9 5/8 in. (33.5 × 24.5 cm)"
}

Context sent to Scholar

Document identity
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    "localId": "38273",
    "label": "Plaque with the Annunciation",
    "core": "obj",
    "dtoType": "object",
    "citationUrl": "https://purl.thewalters.org/art/44.346"
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Document source metadata
{
    "id": "38273",
    "sourceUrl": "https://purl.thewalters.org/art/44.346",
    "contentType": "object",
    "stage": "normalized",
    "title": "Plaque with the Annunciation",
    "description": "The style of the composition suggests that this plaque, like its companion, \"Plaque with the Resurrection of Christ\" (Walters 44.345), is based on an engraving after a design by the Flemish painter Martin de Vos (1532-1603); however, a specific model has not been identified. The Latin inscription translates, \"The Holy Ghost shall come upon thee, and the power of the Most High shall overshadow thee. And therefore also the Holy which shall be born of thee shall be called the Son of God.\"Jean Limosin signed this finely worked piece and dated it 1605. His effort to balance the definition of space with the decorative qualities of the enamel can be contrasted to the frankly decorative approach of Suzanne de Court's treatment of the same composition to the right. His handling of the translucent enamel is not as subtle. The frames on the companion plaques are original and indicate that they were hung as independent works of art.",
    "provenance": "Formerly in a château near Montauban, France; Henri Daguerre, Paris [date and mode of acquisition unknown]; Henry Walters, Baltimore, 1928, by purchase; Walters Art Museum, 1931, by bequest.",
    "date": "1605 (Baroque)",
    "citationUrl": "https://purl.thewalters.org/art/44.346",
    "rightsUri": "CC0",
    "language": "en",
    "genreSpecific": [
        "Enamels",
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    ],
    "iiifBase": "https://art.thewalters.org/images/art/PL9_44.346_Fnt_SL_C80.jpg",
    "thumbnailUrl": "https://art.thewalters.org/images/art/PL9_44.346_Fnt_SL_C80.jpg",
    "largeImageUrl": "https://art.thewalters.org/images/art/PL9_44.346_Fnt_SL_C80.jpg",
    "imageCount": 1,
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    "source": "import",
    "dimensions": [
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        }
    ],
    "dimensionsRaw": "H: 13 3/16 × W: 9 5/8 in. (33.5 × 24.5 cm)"
}
Document source extras
{
    "med": "painted enamel on copper; gilded metal frame",
    "creator_ids": [
        "15374"
    ],
    "collection_ids": [
        "BAR"
    ],
    "exhibition_ids": []
}
Page context
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