Ask the Scholar
Document scope · 1 page
Scholar
Ask about this object, its catalog metadata, its source description, or the page inventory.
For page-specific OCR and visual context, open one of the page chats.
Source 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.
Scholar Source Context
Document identity
localId
38273
label
Plaque with the Annunciation
core
obj
dtoType
object
citationUrl
pageCount
1
Source metadata
id
38273
sourceUrl
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
rightsUri
CC0
language
en
genreSpecific
Enamels
plaques
imageCount
1
pageCount
1
source
import
dimensions
units
cm
width
33.5
height
24.5
dimensionsRaw
H: 13 3/16 × W: 9 5/8 in. (33.5 × 24.5 cm)
Source extras
med
painted enamel on copper; gilded metal frame
creator_ids
15374
collection_ids
BAR
exhibition_ids
none
Single page context
seq
1
pageIndex
0
type
photo
mediaId
47f63f587ab40606