Art/ Collection/ Art Object
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Tabernacle of Cherves

Date:
ca. 1220–1230
Geography:
Made in Limoges, France
Culture:
French
Medium:
Copper (plaques): engraved, scraped, stippled, and gilt; (appliqués): repoussé, chased, engraved, scraped, and gilt; champlevé enamel: medium blue, turquoise, medium green, yellow, red, and white, modern wood mount
Dimensions:
Closed: 33 × 19 3/4 × 10 3/4 in., 90 lb. (83.8 × 50.2 × 27.3 cm, 40.8 kg) Open: 33 in. × 37 3/4 in. × 10 3/4 in. (83.8 × 95.9 × 27.3 cm) Other (Proper right wing): 27 3/8 × 9 1/2 in. (69.5 × 24.1 cm) Other (Proper left wing): 27 1/8 × 9 3/8 in. (68.9 × 23.8 cm)
Classification:
Enamels-Champlevé
Credit Line:
Gift of J. Pierpont Morgan, 1917
Accession Number:
17.190.735
Not on view
This tabernacle is the most celebrated object from the Treasure of Cherves, found in 1896 near the site of a ruined priory of the Grandmont order of monks in Gandory. The accomplished openwork medallions depict events following the Crucifixion, including the Holy Women at the Sepulchre on Easter Sunday (center left) and Doubting Thomas (upper right). With their strong emphasis on the physical presence of Christ after his death, these images were most appropriate for a cupboard intended for storing of the bread consecrated as Christ’s body during the mass.
Treasure of Cherves (Charente). Excavated at Château-Chesnel, near Plumejeau, France, December 11, 1896.; comte Ferdinand de Roffignac, Angoulême, France; [ E. Lowengard, London (sold 1902)]; J. Pierpont Morgan, London and New York
Michon, Jean-Hippolyte. Statistique Monumentale de la Charente. Paris: Chez Derache, 1844. p. 296.

Linas, Charles de. "Le Triptyque de la Cathédrale de Chartres." Bulletin De La Société Scientifique, Historique et Archéologique de la Corrèze 8 (1886). pp. 289-312.

Mély, F. de. Le Trésor de Chartres. Paris: Alphonse Picard et Fils, 1886. pp. XX-XXIII.

Bulteau, Marcel-Joseph. Monographie de la Cathédrale de Chartres. Vol. 3. Chartres: R. Selleret, 1887. pp. 121-128.

Montault, Barbier de. "Le Trésor Liturgique de Chevres en Angoumois." Bulletin et Mémoires de la Société Archéologique et Historique de la Charente, 6, 7 (1897). pp. 81 ff., pl. X.

Guibert, Louis. "Les Vieux êmaux de Limoges à l'Exposition de 1900." Bulletin de la Société des Lettres, Sciences et Arts de la Corrèze 23 (1901). pp. 12-13.

"The Pierpont Morgan Gift." The Metropolitan Museum of Art Bulletin 13, no. 1 (January 1918). ill. p. 5.

Breck, Joseph, and Meyric R. Rogers. The Pierpont Morgan Wing: A Handbook. 1st ed. New York: The Metropolitan Museum of Art, 1925. p. 104, fig. 50, ill. p. 91.

Breck, Joseph, and Meyric R. Rogers. The Pierpont Morgan Wing: A Handbook. 2nd ed. New York: The Metropolitan Museum of Art, 1929. p. 104, fig. 50, ill. p. 91.

The Life of Christ: A Loan Exhibition of Works of Art Illustrating Episodes in the Life of Christ. Hartford, CT: Wadsworth Atheneum Museum of Art, 1948. no. 193, p. 33, fig. 11.

Rudrauf, L. Le repas d'Emmaüs, étude d'un thème plastique et de ses variations en peinture et en sculpture. Vol. 1-2. Paris: Nouvelles Editions Latines, 1955-1956. pp. 43, 83, fig. 41.

The Metropolitan Museum of Art. Guide to the Collections: Medieval Art. New York: The Metropolitan Museum of Art, 1962. fig. 28.

Souchal, Geneviève. "Les émaux de Grandmont au XIII siècle." Bulletin Monumental 122, no. 2 (1964). p. 133.

Frinta, Mojmír. "Identified Shutters of a Sculptured Shrine at the Cloisters." Gesta 6 (January 1967). pp. 41, 44, fig. 1.

Gauthier, Marie-Madeleine. Émaux du Moyen Âge Occidental. Fribourg: Office du Livre, 1972. no. 130, pp. 186-187.

Otavsky, Karel. "Zu einer Gruppe von Kupferreliefs aus dem 13. Jahrhundert." In Artes Minores: Dank an Werner Abegg, edited by Michael Stettler, and Mechthild Lemberg. Bern: Stämpfli Verlag, 1973. p. 57, fig. 12.

Gauthier, Marie-Madeleine. "Du Tabernacle au Rétable: Une Innovation Limousine Vers 1230." Revue de l'Art 40-41 (1978). pp. 23-42.

Parker, Elizabeth C. The Descent from the Cross: Its Relation to the Extra-Liturgical "Depositio" Drama. Outstanding dissertations in the fine arts. New York: Garland Publishing, 1978. p. 10, fig. 24, pl. XII.

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Husband, Timothy B., and Charles T. Little. Europe in the Middle Ages. New York: The Metropolitan Museum of Art, 1987. no. 79, pp. 88-89.

Gaborit, Jean-René. "Sur un lit de parade: Essai d'interprétation d'un motif funéraire." In La Figuration des morts dans la chrétienté médiévale jusqu'à la fin du premier quarts du XIVe siècle: Colloque, Abbaye royale de Fontevraud, edited by Roger Grégoire. Maine-et-Loire: Fontevrault Abbey, May 26 - 28, 1988. pp. 117-123.

Gaborit-Chopin, Danielle. "Nicodème travesti: La Descente de Croix d'ivoire du Louvre." Revue de l'art 81 (1988). pp. 36, 41, fig. 21.

Erlande-Brandenburg, Alain. Gothic Art. New York: H. N. Abrams, 1989. pp. 484, 501, fig. 624-25.

Schleif, Corine. "Nicodemus and Sculptors: Self-Reflexivity in Works by Adam Kraft and Tilman Riemenschneider." The Art Bulletin 75, no. 4 (December 1993). pp. 611-615, fig. fig. 25.

Taburet-Delahaye, Elisabeth, and Barbara Drake Boehm, ed. L'Oeuvre de Limoges: Emaux limousins du Moyen Age. Paris: Réunion des Musées Nationaux, 1995. no. 99, pp. 299-302.

Boehm, Barbara Drake, and Elisabeth Taburet-Delahaye, ed. Enamels of Limoges, 1100-1350. New York: The Metropolitan Museum of Art, 1996. no. 98, pp. 299-302.

Boehm, Barbara Drake. "Hommage a Limoges: A Note on the Enamels of Caldwell and Company, New York." Bollettino d'Arte Supplemento 95 (1997). p. 177, fig. 4.

Strouse, Jean. "J. Pierpont Morgan, Financier and Collector." The Metropolitan Museum of Art Bulletin, n.s., 57, no. 3 (Winter 2000). p. 64, fig. 75.

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Kunz, Tobias. Bildwerke nördlich der Alpen 1050 bis 1380: Kritischer Bestandskatalog. Berlin: Michael Imhof, 2014. p. 480.



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