Painted enamel on copper in black wooden frame with gilt metal suspension ring. The Annunciation. Jean II Pénicaud or Jean III Pénicaud, Limoges, France, ca. 1550-70.

Rectangular convex plaque in probably later dark wood frame with gilded metal circular suspension ring. Painted in mainly grisaille enamels with an Annunciation scene adapted from an engraving by Marco Dente (Ravenna ca.1493 to Rome 1527). The Archangel Gabriel bearing a golden sceptre or herald's caduceus approaches the Virgin Mary with the news that she will bear a son, Jesus. Mary, kneeling at her prie-dieu on which a book lies open, half turns towards the angel in surprise. God the Father is shown top left surrounded by clouds and with two cherubim. He opens his arms and releases the dove of the Holy Spirit upon Mary. Gabriel gestures with his right arm, indicating the dove. In the background is a mantelpiece or dresser surmounted by a figure of Moses with the Tablets of the Law. The Biblical account depicted is related in Luke 1:26-38. Gilding is used to cover the whole area behind the figure of God the Father. Mary's halo and the edging of her garments are also gilded. Flesh tones have been used delicately to enhance faces and limbs as well as the clouds. The tiled floor is executed in a pinkish red with darker outlines to each tile. The counter-enamel is clear, revealing the three punch-marks on the copper.

Bequeathed by John Jones

Limoges, central France, was famous for the production of champlevé enamels from the late 12th century until the town was destroyed by the Black Prince in 1370. The enamel industry began to revive about a century later but the technique of painted enamels produced from 1460s/70s was quite different from the earlier medieval work. The copper, probably from Spanish mines, was hammered to thin sheets then coated with enamel (a mix of powdered glass known as flux coloured with metal oxides) front and back. The front ground colour for grisaille work appears black but is usually a deep mulberry. The design was outlined on the dark ground colour, then the image built up with a brush and spatula. Grisaille was created by varying the thickness of the white enamel to allow the dark enamel beneath to show through to a greater or lesser extent. The piece might be fired several times, with gilding which needed the lowest temperature, done last. Apart from artistic skill, there was immense technical skill, perfected through careful experimentation, in producing the correct colour and shade required and a smooth correct consistency of enamel powder. The result, after much time and labour, had to be as free of bubbles, defects, specks of dirt and cracks as possible. Limoges painted enamels were therefore regarded as luxury items.

Jean Pénicaud II, whose dated works indicate he was working from at least 1534 to at least 1549, was a member of the Limoges enamelling dynasty started by his father Léonard known as Nardon Pénicaud ca.1500. His uncle was the enameller Jean Pénicaud I, hence Jean Pénicaud II styled himself 'junior'. He was the leading exponent in Limoges of a Renaissance style based on the Italian Mannerism of the Fontainebleau School and excelled in both grisaille and polychrome painted enamels, though he showed a preference for grisaille work and his extant polychrome works are rare. Other members of the workshop were Pierre Pénicaud, thought to have been his brother and the third son of Jean Pénicaud I, and Jean III Pénicaud who was probably the son of Jean Pénicaud II.

This plaque was made in about 1550-70 in the enamelling workshop of the Pénicaud family in Limoges, central France. The work is not signed or dated but is most likely to be by the skilled master enameller Jean Pénicaud II or Jean Pénicaud III who was probably his son. The painting is largely executed in grisaille, a technique in which dark enamel shows through varying thicknesses of white enamel to create tones varying from white to dark grey. In addition, flesh-coloured enamel enhances the faces and limbs and a reddish-pink has been used to colour the tiled floor. Gold has been used both for outlining and as background, top left. The enameller took an engraving by Marco Dente (Ravenna ca.1493 to Rome 1527) as his design source. The scene shows the Annunciation as described in the Bible in the opening chapter of the Gospel of Luke. The Archangel Gabriel announces to the Virgin Mary that she has been chosen to become the mother of Jesus, the son of God. The plaque was most likely used for private devotional purposes, possibly to be hung on a bedroom wall above a prie-dieu - a prayer desk similar to that at which Mary is shown kneeling.

Limoges was famous for the production of champlevé enamels from the late 12th century until the town was destroyed by the Black Prince in 1370. Nearly a century later, enamelling resumed there but the technique of painting in enamels was quite different from the earlier medieval work. Enamelling required both artistic and technical proficiency so Limoges painted enamels were treasured items.

838-1882