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Limoges Enamels 1100-1350.

O'Neill, John P. (editor)

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ISBN 10: 0870997580 / ISBN 13: 9780870997587
Editorial: The Metropolitan Museum of Art, New York, 1996
Condición: Fine Encuadernación de tapa dura
Librería: Lawrence Jones Books (Ashmore, Australia)

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VERY HEAVY. 478pp, index, bibliography, tables, appendices, hundreds bw & col ills. Or copper cloth in jacket. Light edge wear to jacket which has some fading to spine. Published in conjunction with a major exhibition of medieval Limoges enamels with almost 200 examples from the collections of the Met, the Louvre, the great church treasuries of Europe and other sources. Size: Large 4to. N° de ref. de la librería 035304

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Detalles bibliográficos

Título: Limoges Enamels 1100-1350.

Editorial: The Metropolitan Museum of Art, New York

Año de publicación: 1996

Encuadernación: Hard Cover

Condición del libro:Fine

Condición de la sobrecubierta: Very Good

Edición: First Edition.

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Published in connection with an exhibition at the Metropolitan Museum of Art, this is a study of the delicate and precious art of Limoges metalwork. Early in the 12th century, goldsmiths at the Benedictine Abbey of Conques began to create enamels with jewel-like colours and rich, golden surfaces. By the 1160s their techniques were perfected, and the enamels made in the French city of Limoges were a hallmark of the region. Included in the book are nearly 200 religious objects, secular decorations, and small items such as medallions and pendants created for ecclesiastical and royal patrons such as Pope Innocent III and King Henry II of England. Strikingly beautiful, the works are also important for the information they impart about life in the age of monasticism and the cult of saints, and about the elegance of the Court and the dramatic history of the monarchy. Six essays provide insights into the enamals in terms of the origins and evolution of Limoges work, the history of Limoges and the Limousin region, the materials and techniques used by the goldsmiths of Limoges, and the iconography and provenance of the works themselves.

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