LOT 0359

Large Medieval Limoges Gilt Copper Processional Cross

FRANCE, EARLY 13TH CENTURY A.D. AND LATER

29 3/8 in. (3.55 kg, 74.6 cm).

A substantial and finely worked crucifix, of elongated proportions, the surface retaining traces of original mercury gilding, with the arms of the cross enriched by inset red, blue and green cabochons arranged in the manner of a crux gemmata; on the obverse, a slender corpus with clearly defined ribs, a gently inclined head, and a well-articulated drapery falling from the gathered perizonium, the face exhibiting serene, introspective expression, over the crowned head a rhomboid appliqué with Gothic inscription in red enamel 'HIS XRS' (Iesus Hominum Salvator Χριστός = The Saviour Jesus Christ), four lobed appliqués on the arms, each with a large central cabochon flanked by smaller cabochons in high settings; the reverse with the surface decorated with rosettes and other vegetal motifs enamelled in champlevé on the four arms, central circular appliqué with rich floral decoration and numerous cabochons. [No Reserve]

Maintained within a family’s ancestral country residence, where it formed part of a small group of inherited ecclesiastical objects retained in private hands throughout the 19th and 20th centuries, thence by descent to the present owner.

Accompanied by an academic report by Dr Raffaele D'Amato.
This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13030-247521.

Cf. Dalton, O.M., Fitzwilliam Museum McClean Bequest Catalogue of the Mediaeval Ivories, Enamels, Jewellery, Gems and Miscellaneous Objects Bequeathed to the Museum by Frank McClean, M.A., F.R.S., Cambridge University Press, 1912 (2009); Thoby, P., Les croix Limousines de la fin du XIIe siècle au début du XIVe siècle, Paris, 1953, pp.45-48; Walters Art Gallery, Painted Enamels of Limoges, Baltimore, 1968; Campbell, M., An Introduction to Medieval Enamels, London, 1983; Drake Boehm, B. and Taburet-Delahaye, E. (eds.), Enamels of Limoges 1100-1350, Paris and New-York, Musée du Louvre and Metropolitan Museum, 23 October 1995 - 16 June 1996, pp.184-187, nos.49-50; Toman, R., Romanesque Architecture, Sculpture, Painting, Cologne, 1997; Stratford, N., Catalogue of Medieval Enamels in the British Museum. Vol. II - Northern Romanesque Enamel, London, 1993.

A distinguished item of enduring Northumbrian heritage, preserved within the same local family household for several generations. By established family tradition, the crucifix is thought to possess early devotional associations with the Raymes Chapel of St Andrew’s Church, Bolam, a site historically connected with notable gentry of the district.


The cross is an exceptional example of Late Romanesque art, combining champlevé enamel appliqués - flat panels with geometric ornament – and the arms of the cross decorated in champlevé. However, this piece is a composite artwork: the circular floral plaque from Limoges, on the reverse, dates from the second quarter of the 13th century, while the facade plaques, of similar origin, come from the end of that same century; the figure of Christ from Central France seems to belong to a later medieval period.