Virgin and Child
Statuette
ca. 1150 (carving)
ca. 1150 (carving)
| Artist/Maker | |
| Place of origin |
Walrus ivory, or morse, had been widely used in Northern Europe for the production of luxury items since at least the 9th century.
The present group and the figure of the Magus in the Dorset County Museum in Dorchester formed part of an Adoration of the Magi group, and Christ would thus have been blessing the approaching magi. It is likely that the magus was originally the second of the three kings. The ivories were probably attached to a separate background, possibly of a contrasting material such as gilt-copper, and the whole was possibly intended for a shrine or small reredos, but this must remain as speculation.
A striking iconographic and stylistic parallel is provided by the limestone relief of the Virgin and Child in York Minster. Especially the unusual position of the Child - more a boy than a child - with his knees across the Virgin's right wrist, his large right hand and with two elongated fingers raised ion blessing, is virtually identical, as the way the Virgin holds him under his body. It is likely that there was a model, which must have been especially venerated in England around the middle of the 12th century.
The present group and the figure of the Magus in the Dorset County Museum in Dorchester formed part of an Adoration of the Magi group, and Christ would thus have been blessing the approaching magi. It is likely that the magus was originally the second of the three kings. The ivories were probably attached to a separate background, possibly of a contrasting material such as gilt-copper, and the whole was possibly intended for a shrine or small reredos, but this must remain as speculation.
A striking iconographic and stylistic parallel is provided by the limestone relief of the Virgin and Child in York Minster. Especially the unusual position of the Child - more a boy than a child - with his knees across the Virgin's right wrist, his large right hand and with two elongated fingers raised ion blessing, is virtually identical, as the way the Virgin holds him under his body. It is likely that there was a model, which must have been especially venerated in England around the middle of the 12th century.
Object details
| Categories | |
| Object type | |
| Title | Virgin and Child (generic title) |
| Materials and techniques | Walrus tusk ivory. |
| Brief description | Statuette, walrus ivory, representing the Virgin and Child, England (probably South-West), ca. 1150 |
| Physical description | The Virgin wearing a low crown over a veil, with both hands holds the large crowned Christ Child on her lap, while seated on a throne with twisted columns and pine-cone terminals. In His left hand Christ holds a scroll, while His right hand is raised in blessing. An ivory figure of a Magus in the Dorset County Museum clearly belongs with this piece, being very close in size and style. The group is cracked and has flakled in many places, the most noticeable loss being the Virgin's right shoulder. The holes pierced in the eyes would probably have been filled with jet or glass beads, and the piece has been stained a grey-purple colour. The back is plain. |
| Dimensions |
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| Credit line | Purchased under the Beqquest of Francis Reubell Bryan |
| Object history | Bought through Alfred Spero in 1933 at Willis's Rooms, London, £200. Historical significance: A striking iconographic and stylistic parallel is provided by the limestone relief of the Virgin and Child in York Minster. Especially the unusual position of the Child - more a boy than a child - with his knees across the Virgin's right wrist, his large right hand and with two elongated fingers raised ion blessing, is virtually identical, as the way the Virgin holds him under his body. It is likely that there was a model, which must have been especially venerated in England around the middle of the 12th century. |
| Historical context | The present group and the figure of the Magus in the Dorset County Museum formed part of an Adoration of the Magi group, and Christ would thus have been blessing the approaching magi. It is likely that the magus was originally the second of the three kings. The ivories were probably attached to a separate background, possibly of a contrasting material such as gilt-copper, and the whole was possibly intended for a shrine or small reredos, but this must remain as speculation. |
| Subjects depicted | |
| Summary | Walrus ivory, or morse, had been widely used in Northern Europe for the production of luxury items since at least the 9th century. The present group and the figure of the Magus in the Dorset County Museum in Dorchester formed part of an Adoration of the Magi group, and Christ would thus have been blessing the approaching magi. It is likely that the magus was originally the second of the three kings. The ivories were probably attached to a separate background, possibly of a contrasting material such as gilt-copper, and the whole was possibly intended for a shrine or small reredos, but this must remain as speculation. A striking iconographic and stylistic parallel is provided by the limestone relief of the Virgin and Child in York Minster. Especially the unusual position of the Child - more a boy than a child - with his knees across the Virgin's right wrist, his large right hand and with two elongated fingers raised ion blessing, is virtually identical, as the way the Virgin holds him under his body. It is likely that there was a model, which must have been especially venerated in England around the middle of the 12th century. |
| Bibliographic references |
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| Collection | |
| Accession number | A.25-1933 |
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| Record created | December 14, 2006 |
| Record URL |
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