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Limoges enamel was usually applied on a copper base, but also sometimes on silver or gold. [5] Preservation is often excellent due to the toughness of the material employed, [5] and the cheaper Limoges works on copper have survived at a far greater rate than courtly work on precious metals, which were nearly all recycled for their materials at some point.
Sometimes called epola (imitation cloisonné) or hard enamel, cloisonné is stamped out from a sheet of copper. The stamping leaves recessed areas, or pools, which are filled with enamel powder and high fired at 800° to 900°. [11] After cooling, the surface of the pin is ground down to a smooth finish and then the copper is plated. Soft enamel
Champlevé is an enamelling technique in the decorative arts, or an object made by that process, 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.
Shotai shippo ("Japanese plique-à-jour"): A layer of flux (clear enamel) is fired over a copper form. Wires are fired onto the flux (similar to cloisonné) and the resulting areas are enameled in the colors of choice. When all the enameling is finished, the copper base is etched away leaving a translucent shell of plique-à-jour. 4.
Romanesque champlevé enamel was applied to a cheap copper or copper alloy form, which was a great advantage, but for some pieces the prestige of precious metal was desired, and a small number of nielloed silver pieces from c. 1175–1200 adopt the ornamental vocabulary developed in Limoges enamel. [25]
A ewer with painted enamel was a wedding gift for William, Prince of Hohenzollern and Princess Maria Teresa of Bourbon-Two Sicilies. [24] The European enamel paintings in the collection include a portrait of Marshal Turenne by the Geneva-born artist Jean Petitot who worked for the English court of Charles I as well as for the French court. [25]
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