Triptych: The Way to Calvary; The Crucifixion; The Deposition

Enamelers in the workshops in Limoges are known to have copied each other’s compositions and also to have worked together. For example, the three crosses, the view of Jerusalem, and the detachment of soldiers in the central panel are seen, with only slight variations, in several enamels by the Master of the Orléans Triptych, including The Crucifixion in The Frick Collection (1918.4.01). The body of Christ closely follows a composition by Nardon Pénicaud, who had himself adapted a scene by the Master of the Orléans Triptych. Also typical of the period is the extensive use of cabochons, recalling the work of contemporary silversmiths. Such “gems” were created by applying raised drops of colored translucent enamels over small pieces of silver foil.

Source: Vignon, Charlotte. The Frick Collection Decorative Arts Handbook. New York: The Frick Collection/Scala, 2015.

J. Pierpont Morgan, London and New York. Duveen. Frick, 1916.

Source: Enamels, Rugs and Silver in The Frick Collection. Volume VIII. New York: The Frick Collection, 1977.