The Virgin and Child
Polyptych
ca. 1320-1340 (made)
ca. 1320-1340 (made)
| Artist/Maker | |
| Place of origin |
This is an ivory tabernacle polyptych made in France or possibly Italy, in about 1320-1340.
The term tabernacle polyptych has been used here (ref. Williamson and Davies) to describe an object which consists of a deep central chamber with canopy, usually containing the Virgin and Child, and four hinged wings with narrative scenes, which would distinguish them from the smaller category of simpler polyptychs, which are made up of a series of plaques hinged together but with no central tabernacle.
A feature that links most tabernacle polyptychs together is the method of facture: Although the Virgins in the tabernacles appear from the front to be statuettes they are with few exceptions carved integrally with the back and base panels, which is remarkably skilful.
During the 14th century specialist ivory craftsmen carved both secular and religious objects in great numbers. Although Paris was the main centre of production, other workshops emerged in Italy and Germany. Some of the craftsmen may have been trained in Paris as their work often combines French and local styles.
The term tabernacle polyptych has been used here (ref. Williamson and Davies) to describe an object which consists of a deep central chamber with canopy, usually containing the Virgin and Child, and four hinged wings with narrative scenes, which would distinguish them from the smaller category of simpler polyptychs, which are made up of a series of plaques hinged together but with no central tabernacle.
A feature that links most tabernacle polyptychs together is the method of facture: Although the Virgins in the tabernacles appear from the front to be statuettes they are with few exceptions carved integrally with the back and base panels, which is remarkably skilful.
During the 14th century specialist ivory craftsmen carved both secular and religious objects in great numbers. Although Paris was the main centre of production, other workshops emerged in Italy and Germany. Some of the craftsmen may have been trained in Paris as their work often combines French and local styles.
Object details
| Categories | |
| Object type | |
| Title | The Virgin and Child (generic title) |
| Materials and techniques | Elephant ivory, painted and gilded. |
| Brief description | Tabernacle Polyptych, ivory painted and gilt, with the Virgin and Child, French or possibly Italian, ca. 1320-1340 |
| Physical description | In the centre, under a canopy supported on slender columns, stands the Virgin, crowned and with a painted and gilded halo on the back panel. She holds a rose in her right hand and supports the Infant Christ on her left arm. On the wings are reliefs representing the Annunciation, Visitation, Adoration of the Magi, Nativity and Presentation of Christ. He holds an apple in his left hand and places his right arm around her neck. A cross nimbus, gilded, is painted on the back panel aboce his head. The tabernacle, on a stepped base plate, is set on a pedestal decorated with intarsia work. |
| Dimensions |
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| Credit line | Salting Bequest |
| Object history | Formerly in the Vaïsse collection, Marseilles; Vaïsse sale, Hôtel Drouot, Paris, 5-8 May 1885 (sold 7 May, lot 2); then in the Heckscher collection, Vienna; Heckscher sale, Christie, Manson and Woods, London, 4-6 May 1898, lot 192, ill.; then George Salting collection, London. Bequeathed to the V&A by Salting in 1910 (no. 2060). |
| Production | the base possibly of later date and the pinnacles are modern additions. |
| Subjects depicted | |
| Summary | This is an ivory tabernacle polyptych made in France or possibly Italy, in about 1320-1340. The term tabernacle polyptych has been used here (ref. Williamson and Davies) to describe an object which consists of a deep central chamber with canopy, usually containing the Virgin and Child, and four hinged wings with narrative scenes, which would distinguish them from the smaller category of simpler polyptychs, which are made up of a series of plaques hinged together but with no central tabernacle. A feature that links most tabernacle polyptychs together is the method of facture: Although the Virgins in the tabernacles appear from the front to be statuettes they are with few exceptions carved integrally with the back and base panels, which is remarkably skilful. During the 14th century specialist ivory craftsmen carved both secular and religious objects in great numbers. Although Paris was the main centre of production, other workshops emerged in Italy and Germany. Some of the craftsmen may have been trained in Paris as their work often combines French and local styles. |
| Bibliographic references |
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| Collection | |
| Accession number | A.557-1910 |
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| Record created | June 24, 2009 |
| Record URL |
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