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Gauthier, Marie-Madeleine

Emaux limousins. Champlevés des 12e, 13e, & 14e siècles.

Hatt Rare Books ILAB & CINOA
lbh305313
Paris, Gérard le Prat, 1950. Large 4to. 32 x 24 cms. 172 pp. including 64 plates (11 of which are beautiful tipped-in colour illustrations) + colour frontispiece. Preface by Pierre Verlet. With index and descriptions of all the reproduced objects. Publisher's gilt-stamped linen cloth. Very fine.

A very attractive book devoted to 11th-13th century Champlevé enamels from Limoges, based on an exhibition held in 1948. - - - Champlevé is an enamelling technique in which troughs or cells are carved, etched, die struck, or cast into the surface of a metal object, and filled with vitreous enamel. The piece is then fired until the enamel fuses, and when cooled the surface of the object is polished. The uncarved portions of the original surface remain visible as a frame for the enamel designs; typically they are gilded in medieval work. The name comes from the French for 'raised field'. The technique has been used since ancient times, though it is no longer among the most commonly used enamelling techniques. Champlevé is suited to the covering of relatively large areas, and to figurative images, although it was first prominently used in Celtic art for geometric designs. In Romanesque art its potential was fully used, decorating caskets, plaques and vessels, in Limoges enamel and that from other centres. Champlevé is distinguished from the technique of cloisonné enamel in which the troughs are created by soldering flat metal strips to the surface of the object. The difference between the techniques is analogous to the woodworking techniques of intarsia and marquetry. It differs from the basse-taille technique, which succeeded it in the highest quality Gothic work, in that the bottoms of the recesses for the enamel are rough, and so only opaque enamel colours are used (Wikipedia).
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