Ivory was used all over Europe for religious works of art. It was often combined with precious metals and usually took the form of relief panels, for book covers, portable altars and caskets. An almost unbroken tradition of ivory carving extends from the Roman and Byzantine empires until the end of the 14th century. From about 1250, Paris became the centre of production for figures and reliefsintended for private devotion.
Physical description
Polyptych of four panels of ivory carved in high relief with scenes from the early life of Christ: the Nativity, the Annunciation to the Shepherds, the Adoration of the Magi, and the peresentation in the Temple. The Annunciation has no architectural decoration, the Nativity is surmounted by three trefoil arches and the two remaning panels by one. The painting and gilding are much restored.
[Polyptych leaf the Presentation in the Temple] Panel shows the Child being presented in temple. The relief is surmounted by one arch.
[Polyptych leaf the adoration of the magi] Panel depicts the Virgin, seated with the Child on her lap, receiving gifts from the three Magi. The relief is surmounted by one arch.
[Polyptych leaf the annunciation to the shepherds] This panel has no architectural decoration.
[Polyptych leaf the nativity] Panel shows the Child in an altar cradle behind the Virgin with the ox and ass and is surmounted by three trefoil arches.
Place of Origin
Paris, France (possibly, made)
Date
first half 14th century (made)
1300-1350 (made)
Artist/maker
unknown (production)
Materials and Techniques
Carved elephant ivory
Dimensions
Height: 7.7 cm, Width: 5.3 cm each relief, Depth: 0.7 cm
Object history note
From the Webb Collection. Formerly in the Debruge-Duménil collection (Labarte Description des Objets d'Art, Paris 1847, no. 160, and Soltykoff Collection (Sale, 1861, No.239).
Historical significance: The present object was probably made in a Parisian workshop which specialised in small scale objects such as booklets and diptychs or polyptychs.
Historical context note
Polyptychs of this size could have easily been held in the hand and used like manuscripts to deepen the experience of prayer and and stimulate meditation on the humanity of Christ.
Descriptive line
Ivory, French (Paris School ?), first half of the 14th century
Bibliographic References (Citation, Note/Abstract, NAL no)
Longhurst, Margaret H. Catalogue of Carvings in Ivory. London: Published under the Authority of the Board of Education, 1927-1929. Part II. p.23
Inventory of Art Objects acquired in the Year 1867. Inventory of the Objects in the Art Division of the Museum at South Kensington, arranged According to the Dates of their Acquisition. Vol. 1. London : Printed by George E. Eyre and William Spottiswoode for H.M.S.O., 1868., p. 12.
Cf. The Jack and Belle Linsky Collection in the Metropolitan Museum of Art. New York: Metropolitan Museum of Art, 1984. cat. no. 50.
Production Note
Possibly Paris School.
Materials
Ivory; Elephant ivory
Techniques
Gilding; Relief
Subjects depicted
Jesus Christ; Mary (Virgin Mary); Jesus Christ; Balthazar (King); Caspar (King); Melchior (King)
Categories
Sculpture; Christianity
Collection code
SCP
