centered by a seated figure of Christ in Majesty in relief (replaced) and symbols of the evangelists in the corners, the heads applied in relief, the whole against an enameled ground (repaired at the corners) enriched with flower-head roundels and running scrolls embellished with fine stippling, the reverse with red paint Morgan collection number P.M. 873. 

J. Pierpont Morgan, London and New York&nಞbsp;until 1917

RELATED LITERATURE

M-M. Gauthier, "A Limoges Champlevé bookcover in the Gabier-Parry Collection," The Burlington Magazine, vol. 109, 1967, pp.151-157

M-M. Gauthier, "Les Reliures en émail de Limoges conservée en France; recensement raisonné," in Humanisme actif: mélanges d'art et de littérature offerts á Julien Cain, Paris, 1968, pp.271-287.

Overall standard wear, losses and small chips. Larger losses predominantly at the corners where there are restorations/fills to the blue ground. There is also a fill around the area of Christ's raised arm. Losses along upper and lower borders. The appliqué figure of Christ is later. The quality of the engraving and of the applied heads is high.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Limoges enamel bookcovers of the late 12th and early 13th century, intended for liturgical use, followed a conventional pattern. The front would have an image of the Crucifixion, while the back would, as in the present case, have Christ in Majesty. Of the extant bookcovers of this period only a small group incorporate this second panel with the Christ in Majesty. Madame Gauthier (op.cit.) in fact concludes that both covers were not always used and that more often only the💝 front cover, which faced the congregation and depicted the Crucifixion, was employed.

The present bookcover can be closely compared to one in the Museé du Louvre dated 1190-1210 (L'Oeuvre de Limoges, op.cit.,nos.42 an𝄹d 43). The inclusion of applied heads as well as the enamelled rosettes within the mandorla are characteristic of the per꧙iod.