{"id":4192,"date":"2012-04-05T16:20:17","date_gmt":"2012-04-05T20:20:17","guid":{"rendered":"http:\/\/blogs.vassar.edu\/rosso\/?page_id=4192"},"modified":"2012-08-20T10:34:25","modified_gmt":"2012-08-20T14:34:25","slug":"e-90-limosin-annunciation","status":"publish","type":"page","link":"https:\/\/pages.vassar.edu\/rosso\/catalogues\/engravings\/e-90-limosin-annunciation\/","title":{"rendered":"E.90 Annunciation"},"content":{"rendered":"
\"\"<\/a>

E.90 Limosin, Annunciation<\/p><\/div>\n

Etching by L\u00e9onard Limosin, 24.7 x 18 S (New York; the four corners cut).\u00a0 Inscribed on the vase in the center: LL<\/em>.<\/p>\n

Fig.E.90 <\/a>(New York)<\/p>\n

Robert-Dumesnil\/Duplessis, XI, 1871, 127.1.\u00a0 Herbet, IV, 1900, 328 (1969, 178), 1.\u00a0 Zerner, 1969, L.L.1, and xxxii-xxxiii, where it is suggested that Limosin\u2019s compositions are of his own designs.<\/p>\n

COLLECTION: New York, 37.42.21 (probably from the collection of Prosper de Baudricour; see Duplessis, above, and Demartial, 1912,\u00a0 21).<\/p>\n

LITERATURE:<\/p>\n

Demartial, 1912, 20.<\/p>\n

Ross, 1938, 361.<\/p>\n

Adh\u00e9mar, 1938, 1, no. 1.<\/p>\n

Kusenberg, 1931, 115, 119.<\/p>\n

Fay, in EdF<\/em>, 1972, 291, under no. 356, mentioned B\u00e9guin\u2019s report of my association of the print with a drawing in D\u00fcsseldorf.<\/p>\n

Baratte, 1993, 22-23.<\/p>\n

 <\/p>\n

This etching, probably of 1544, the date that appears on Limosin\u2019s other prints (see Zerner, 1969), is related to the drawing in D\u00fcsseldorf that is a faithful copy of a lost drawing by Rosso (Fig.D.83<\/a>).\u00a0 On the considerable alterations made by Limosin, see the catalogue entry on the drawing and Chapter X.\u00a0 These changes are so numerous that it would be impossible from the print alone to make an evaluation of Rosso\u2019s invention unless one assumed that Limosin worked from another drawing by Rosso in which Rosso, himself, re-worked his own composition.\u00a0 But the changes that appear in the print are of such a conventional kind – and were made, in part at least, to make Rosso\u2019s image more decorous – that it is very unlikely that they can be attributed to Rosso.<\/p>\n

The vase of flowers in the print, while constituting a traditional iconographical detail of the Annunciation, is also related to Limosin\u2019s coat-of-arms, especially as here it bears his own initials (see Verdier, 1967, 175, and the coat-of-arms in Limosin\u2019s Christ Being Sent Away by Herod<\/em> below, E.96<\/a>).<\/p>\n

ENAMELS: Limosin.\u00a0 \u00c9couen, Ch\u00e2teau, Mus\u00e9e national de la Renaissance, Cl 904A (Fig.E.90, Enamel<\/a>).\u00a0 Oval, 34 x 26.<\/p>\n

LITERATURE: Du Sommerard, 1883, 362, no. 4617.\u00a0 Demartial, 1912, 19, Fig. 1, 22, 25, as reproducing Limosin\u2019s print [which Demartial knew only from Duplessis\u2019s description].\u00a0 Baratte, 1993, 23 and Color Pl. 7.<\/p>\n

The oval enamel, which would seem to have been done in 1557, is closely related to Limosin\u2019s etching, probably of 1544, but is not an exact reproduction of the rectangular print.\u00a0 God-the-Father flies in from the opposite direction, although the group to which he belongs is not entirely reversed, there is an elaborate canopied bed behind the Virgin, and a landscape with buildings is seen in the distance.<\/p>\n

Partially after Limosin.\u00a0 Martial Ydeux (signed: MD Pape<\/em>).\u00a0 Limoges, Mus\u00e9e municipal de l\u2019\u00c9v\u00eache.\u00a0 Annunciation<\/em>.\u00a0 LITERATURE: Baratte, 1993, 23, 74, n. 22, notes that the figure of God-the-Father in clouds in this enamel is related to what appears in Limosin\u2019s etching (Tr\u00e9sors d\u2019email<\/em>, exh. cat., Limoges, 1992, no. 20, Pl. 25).<\/p>\n","protected":false},"excerpt":{"rendered":"

Etching by L\u00e9onard Limosin, 24.7 x 18 S (New York; the four corners cut).\u00a0 Inscribed on the vase in the center: LL. Fig.E.90 (New York) Robert-Dumesnil\/Duplessis, XI, 1871, 127.1.\u00a0 Herbet, IV, 1900, 328 (1969, 178), 1.\u00a0 Zerner, 1969, L.L.1, and xxxii-xxxiii, where it is suggested that Limosin\u2019s compositions are of his own designs. COLLECTION: New […]<\/p>\n","protected":false},"author":13,"featured_media":0,"parent":824,"menu_order":96,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-4192","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/4192","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/users\/13"}],"replies":[{"embeddable":true,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/comments?post=4192"}],"version-history":[{"count":13,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/4192\/revisions"}],"predecessor-version":[{"id":6623,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/4192\/revisions\/6623"}],"up":[{"embeddable":true,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/824"}],"wp:attachment":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/media?parent=4192"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}