Art/ Collection/ Art Object


before 1227
Made in Limoges, France
Copper, champlevé enamel
Overall: 3 7/16 x 3/16 in. (8.7 x 0.5 cm)
Credit Line:
Gift of J. Pierpont Morgan, 1917
Accession Number:
On view at The Met Fifth Avenue in Gallery 304
These medallions probably come from a large traveling chest that belonged to Cardinal Guala Bicchieri. A collector and bibliophile, he purchased several such coffrets in Limoges and took them to his residence near Turin. Later the medallions were used as decorative elements on the choirstalls of the Church of Saint Sebastian in Biella, a dependency of one of the cardinal’s foundations. At an unknown date, the originals were replaced by copies.
Georges Hoentschel (French, Paris 1855–1915 Paris); J. Pierpont Morgan, London and New York (until 1917)
Paris. Musée du Louvre. "L'Oeuvre de Limoges," October 23, 1995–January 22, 1996.

New York. The Metropolitan Museum of Art. "Enamels of Limoges, 1100-1350," January 22, 1996–June 16, 1996.

Pératé, André. Collections Georges Hoentschel: Émaux du XIIe au XVe siècle. Paris: Librairie Centrale des Beaux-Arts, 1911. no. 76, fig. XLVIII.

Sutton, Denys, ed. Treasures from the Metropolitan Museum of Art: French Art from the Middle Ages to the Twentieth Century. Yokohama: Yokohama Museum of Art, 1989. no. 5, p. 63.

Benton, Janetta Rebold, ed. Medieval Monsters: Dragons and Fantastic Creatures. Katonah: Katonah Museum of Art, 1995. pp. 14–15, 34, fig. 34.

Taburet-Delahaye, Elisabeth, and Barbara Drake Boehm, ed. L'Oeuvre de Limoges: Emaux limousins du Moyen Age. Paris: Réunion des Musées Nationaux, 1995. no. 93, pp.288-291.

Boehm, Barbara Drake, and Elisabeth Taburet-Delahaye, ed. Enamels of Limoges, 1100-1350. New York: The Metropolitan Museum of Art, 1996. no. 92, pp. 288–91.

Boehm, Barbara Drake. "Le goût des Américains pour l'Œuvre de Limoges aux XIXe et XXe siècles." In L’Œuvre de Limoges et sa diffusion: Trésors, objets, collections, edited by Danielle Gaborit-Chopin, and Frédéric Tixier. Paris: Institut national d'histoire de l'art, 2011. p. 134.

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