Crucifix figure thumbnail 1
Not currently on display at the V&A

Crucifix figure

Figure
ca. 1599 (made)
Artist/Maker
Place of origin

This is an unusually early post-medieval ivory. The carving of the torso, and to a lesser extent the head and loincloth, suggests this piece is by the Italian ivory carver Giovanni Antonio Gualterio (active Rome 1582-1600), who came from Gaeta, south of Rome, and who specialised in carving ivory crucifixes. Many of his works seem to have been exported to Spain, which may explain why coloured pigment is to be seen on some of them. Here the loincloth, as well as the red pigment for blood, are typical of Gualterio's work. The scale of the present piece coincides with fragment of a crucifix in the Grünes Gewolbe in Dresden dated 1599, suggesting an approximate date for this object.

Many Renaissance devotees would have a crucifx within their homes, to which they would devote their daily prayers. In some cases, the beauty of the sculpted crucified Christ communicated divine perfection - in this example, the smooth ivory was intended to evoke feelings of love and reverence as well as pain and sorrow.


Object details

Categories
Object type
TitleCrucifix figure (generic title)
Materials and techniques
Partly painted ivory
Brief description
Crucifix figure (fragmentary), ivory, by Giovanni Antonio Gualterio, Italy, ca. 1599
Physical description
Torso of the crucified Christ, his head down on his right shoulder, and eyes closed. The figure is fully carved at the back. The arms and lower half of the legs are missing. Dowel holes remain for the arms.

Dimensions
  • Height: 13.5cm
Credit line
Given by Dr W.L.Hildburgh F.S.A.
Object history
Given by Dr W.L. Hildburgh F.S.A. in 1927.
Subjects depicted
Summary
This is an unusually early post-medieval ivory. The carving of the torso, and to a lesser extent the head and loincloth, suggests this piece is by the Italian ivory carver Giovanni Antonio Gualterio (active Rome 1582-1600), who came from Gaeta, south of Rome, and who specialised in carving ivory crucifixes. Many of his works seem to have been exported to Spain, which may explain why coloured pigment is to be seen on some of them. Here the loincloth, as well as the red pigment for blood, are typical of Gualterio's work. The scale of the present piece coincides with fragment of a crucifix in the Grünes Gewolbe in Dresden dated 1599, suggesting an approximate date for this object.

Many Renaissance devotees would have a crucifx within their homes, to which they would devote their daily prayers. In some cases, the beauty of the sculpted crucified Christ communicated divine perfection - in this example, the smooth ivory was intended to evoke feelings of love and reverence as well as pain and sorrow.
Bibliographic references
  • Corry, Maya, Howard, Deborah and Laven, Mary (ed.), Madonnas & Miracles: The Holy Home in Renaissance Italy, New York, Philip Wilson Publishers, 2017, pp. 54-55, cat. no. 56.
  • Trusted, Marjorie, Baroque & Later Ivories, Victoria & Albert Museum, London, 2013, cat. no. 284, pp. 290, 1
  • Theuerkauff, C. Die Bildwerke der Skulpturengalerie Berlin. 2. Die Bildwerke in Elfenbein des 16. - 19. Jahrhunderts. Berlin, 1986, p. 386 note. 9.
  • Longhurst, Margaret H. Catalogue of Carvings in Ivory. London: Published under the Authority of the Board of Education, 1929, Part II, p. 109, pl. XC
  • Dieulafoy, M. La statuaire polychrome en Espagne du XIIe au XVe siècle Aragon et Castille. Monuments et mémoires de la Fondation Eugène Piot. 10, 1903, pp. 171-216
Collection
Accession number
A.68-1927

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Record createdFebruary 23, 2009
Record URL
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