15929845180001312637261000Standard Recordobject-139848170905691923017090526740001709056917036fitz-onlineadlib-object-139848https://data.fitzmuseum.cam.ac.uk/id/object/139848d0d61e80-5d42-30eb-adc4-79fc60c282e114Sir Francis Cook, Bart.referenceagent-154374adlib-agent-1543743f725262-fb78-3737-b123-cd1480eddd54Cook, Francispersonreferenceagent-149696adlib-agent-149696c1d7b5bf-63d4-3ba4-a080-9810b80bf16cChristpersonreferenceagent-152759adlib-agent-1527595c091042-4a5e-35cc-b5f3-2152afa269e4puttopersonreferenceagent-179508adlib-agent-1795088b749afd-1897-3f33-a6b2-032644b5bb14flagellantreferenceterm-107563adlib-term-10756338dcd825-1de1-3222-82c6-15a95729b5ffenamelsreferenceterm-125750adlib-term-1257502b10ac09-63c3-34ed-87d5-487058c1c344Limoges painted enamelsreferenceterm-115872adlib-term-1158726da1c0ff-a799-3023-9ff4-fe88fbdd54e2Leonard D. Cunliffetranslucent blue, turquoise, green, tan, and mulberry opaque red, white, and blackreferenceterm-32638adlib-term-3263897b8d1a5-7b8f-3a2a-a275-7d001aeaae2benamelreferenceterm-39593adlib-term-39593e3e2a3f8-2433-3f63-9bcf-e776644d312dgoldDecorationrectangular copper plaque, almost flat, with drawing in black over a white ground covered with translucent blue, turquoise, green, tan, and mulberry enamels, opaque red, white, and black enamels, blue, red, and green enamel jewelling over foils, and gilding. The counter enamel is not visible.blackreferenceterm-97946adlib-term-97946388f10ba-526c-32ab-869a-65750eb7faacdrawingtranslucent blue, turquoise, green, tan, and mulberry enamels, opaque red, white, and blackreferenceterm-28662adlib-term-28662dd47e505-ccda-3f2b-b576-6104109430e8enamellingreferenceterm-28681adlib-term-28681c1f659e2-1209-31cf-8ff4-154e11452559gildingreferenceterm-39588adlib-term-39588b17ff981-06b2-30a2-b9a9-b514fe84a191copperHeightcm28.5Widthcm11.5Plaquereferenceterm-39778adlib-term-397788bd60ed6-968d-3faf-8ad5-b4e4ee9bb245silverFoilsHeightcm30.8Widthcm14Inner FrameHeightcm34Widthcm17.5Outer FrameFrontreferenceterm-28662adlib-term-28662dd47e505-ccda-3f2b-b576-6104109430e8enamellingApplied Artscopper decorated with polychrome enamels, jewelling, and gilding. The Flagellation of Christ by a group of tormentors. Above the architectural background a pair of putti hold up a shield bearing the initials IHSRectangular copper plaque with drawing in black over a white ground covered with translucent blue, turquoise, green, tan, and mulberry enamels, opaque red, white, and black enamels; blue, red, and green enamel jewelling over presumed silver foils, and gilding. The counter enamel is a semi-translucent, unevenly dappled dark brown, with many tiny raised dots, and several large corrosion craters. Christ stands in the centre tied with his arms behind his back to a mulberry column. He is naked except for a white loin cloth and his arms, torso and legs are covered with horizontal lines of drops of blood. His mulberry-coloured cloak lies in the foreground on greensward scattered with numerous flowers with red and green jewelled centres and white dotted petals. Two men on the right and one on the left stand with their arms raised holding bunches of green twigs with which they are about to strike Christ. Another man kneels on the left holding a snaking cord in his right hand and a crown of thorns in his left. The head of another is visible behind the column. Above the figures there is a black drape bordered by a curved line of red, blue and green jewels with white dotted edges. Above it, two fluted arches with jewelled edges spring from the green capital of the column. In the spandrel between them is a green mask, and a blue shield bearing the mnogram IHS in gothic letters, held up by two putti who lie horizontally on the top of the arches. Remnants of lavish gilding are visible on the figures and arches. The narrow gilt-metal inner frame has eighteen flower headed rivets. The outer frame of the stand is covered in very worn crimson velvet and is backed by crimson damask with a hinged prop in the middle.M.8-19381accession numberM.8-1938139848priref139848inventory numberB39urihttps://data.fitzmuseum.cam.ac.uk/id/object/139848https://data.fitzmuseum.cam.ac.uk/id/object/139848in gothic letterson blue shield in spandrel between archespainted in goldIHSinscriptionreferenceagent-149638adlib-agent-1496387376d833-d0a7-3be0-916e-9c892b7a24d8The Fitzwilliam MuseumL.D. Cunliffe Bequest, 1937referenceagent-149807adlib-agent-149807e699d770-0f16-32bf-b0b1-da62f9118c29Cunliffe, Leonard Daneham193719371937bequeathedEntry date: 193815151515CE1515circa1515152511525CE15251525makerreferenceagent-179444adlib-agent-179444ed67bba8-3737-3e75-b79c-5eddbb32b80aworkshop of Nardon Penicaudmakerreferenceagent-105577adlib-agent-1055770760ccbc-1239-3a7f-9ad2-4b95d7f1decePenicaud, Nardonafterprintmakerreferenceagent-123091adlib-agent-12309182a5516a-498d-3949-8e5e-ab3f5d7ce3edSchongauer, MartinThis Flagellation and its companion plaque of the Crowning of Christ with Thorns (M.9-1938) probably formed the left and right wings of a triptych with the Crucifixion in the centre, as these subjects do on an example in the Museo Sacro Vaticano. The figures and garment in the foreground were derived from a print in a series of twelve illustrating the Passion of Christ by Martin Schongauer (c. 1441-1491), or from a copy after it. (See Documentation, Bartsch and Hollstein). The architectural setting was omitted, and the figures were depicted in more static and less muscular style. The man at the front of the group on the right follows the print in having his feet and legs facing away from the viewer, but the enameller has created a torso and head facing the viewer.
The plaque was attributed to the workshop of Nardon Penicaud on its accession. The treatment of the draping of Christ’s loin cloth and the jewelled flowerheads on this plaque are very close in style to those on the Crucifixion plaque signed by Nardon Pénicaud and dated 1503 (Musée de Cluny, Paris), but although the faces of the figures have similarly long noses, they are treated with greater realism, which suggests that the plaque was made some years later. The triptych in the Museo Sacro Vaticano is also attributed to Nardon Pénicaud. There is very little deterioration of the blues and manganese-purples, which suggests that it was made later than the Deposition (MAR.M.250-1912) which has considerable degrading of the manganese-purples, probably in the 1520s.
The metal frame and red velvet-covered mount are typical of French 19th century mounting of painted enamels. The scarlet damask backing and prop could have been made for it while it was in Leonard D. Cunliffe's collection or possibly, after it entered the Fitzwilliam's collection.referenceterm-124749adlib-term-1247493cb14eef-9414-324c-8abb-f4e5e0d52ff116th Century, Early#referenceterm-15498adlib-term-1549861725bf5-360f-3837-8aab-3c90b956a537literalFranceFrancecountryliteralHaute VienneHaute VienneregionLimogesreferenceterm-130759adlib-term-130759f9058fb6-5239-3190-97d0-62a0faac8f72literalFranceFrancecountryColmarreferencemedia-115299adlib-media-11529987a425d9-6c8c-3082-8578-4e87721f8af3jpegaa/aa20/M_8_1938_20_281_29.jpg1heightpixels760widthpixels43416162646157061imagejpegaa/aa20/M_8_1938_20_281_29.jpg1heightpixels760widthpixels43416162646157061imagejpegaa/aa20/M_8_1938_20_281_29.jpg1heightpixels760widthpixels43416162646157061imagejpegaa/aa20/preview_M_8_1938_20_281_29.jpg1heightpixels438widthpixels25016162646157061image0media
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imagereferenceterm-107484adlib-term-107484935e21d3-0b7f-3ca6-9987-b79c82e054fdplaquewing of triptychhistory noteSir Francis Cook Bart. (1817-1901); Wyndham Francis Cook (1860–1905); Humphrey Wyndham Cook (1893–1978); sold Christie’s, 7-10 July 1925, Catalogue of an important collection of objects of art of the Middle Ages and Renaissance, the property of Humphrey W. Cook, Esq., and removed from 8 Cadogan Square, S.W., Being a portion of the Celebrated Collection formed by the late Sir Francis Cook, Bart., 2nd Day, 8 July, p. 47, first part of lot 205, described as framed but illustrated unframed; L.D. Cunliffe (1860–1937).1referenceobject-139849adlib-object-13984921374576-a58b-38ca-8abd-95eb049726f61reference1term-107484adlib-term-107484935e21d3-0b7f-3ca6-9987-b79c82e054fdplaqueplaquereferenceagent-149638adlib-agent-1496387376d833-d0a7-3be0-916e-9c892b7a24d8The Fitzwilliam MuseumCf. p. 50, S 111 (2218), and pl. XXVII, a triptych with wings of the Flagellation and Crowning with Thorns. The iconography of the Flagellation differs considerably from the Fitzwilliam’s.50referencepublication-6077adlib-publication-6077b752963f-3a30-378c-94a9-ea129b34d2fbGli smalti del Museo Sacro VaticanoCf. pp. 97-9, lot 50, a plaque of the same subject, probably later in date in a set of twelve plaques illustrating the Passion of Christ. The writer notes the existence of only one plaque signed and dated by Nardon Penicaud, the Crucifixion in the Musée de Cluny, Paris, which is dated 1 April 1503 (1504 NS) and that it is therefore difficult to attribute enamels specifically to him as opposed to by him and his workshop. The writer also notes that his younger brother, Jean I Penicaud, had a very similar style.97-9referencepublication-2224adlib-publication-22248581cbcf-dc92-3f91-86f7-6d792f793a82European Sculpture and Works of Art from the collection formed by the British Rail Pension FundCf. p. 225, 12 (125) a print of the Flagellation or Scourging of Christ n by Martin Schongauer225referencepublication-6075adlib-publication-607508cc642f-6f62-3ec7-bc4a-d8d0fce9ef1dThe Illustrated Bartsch, 8, Formerly Volume 6 (Part 1), Early German ArtistsCf. p. 62, illustrated p. 76, the Flagellation or Scourging of Christ62referencepublication-6076adlib-publication-6076068a21f1-ace1-3495-956a-8069df651c67Hollstein’s German Engravings, Etchings and Woodcuts 1400-1700, vol. XLIXreferenceterm-10618adlib-term-106189ebc0ae1-8cf8-312b-832c-9cf44da02136Renaissanceobject namereferenceterm-110078adlib-term-110078fb262b3f-3d7f-3dd2-9c43-d65bb431bc0acolumnobject namereferenceterm-43048adlib-term-43048f25c2410-1ce9-306f-8aad-bf3dad68e1b2archobject namereferenceterm-107516adlib-term-107516146a0bfc-a677-3f01-8f8a-18d01ec5f2f2shieldnamed eventreferenceterm-125850adlib-term-125850dbf59323-d915-38fb-8803-08d59df38c4dFlagellation of ChristliteralcolumncolumnliteralarcharchliteralshieldshieldliteralFlagellation of ChristFlagellation of Christreferenceterm-107484adlib-term-107484935e21d3-0b7f-3ca6-9987-b79c82e054fdplaqueplaqueThe Flagellationobject
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