Plaque, ivory, the Annunciation, the Nativity and the Adoration of the Magi, Italian (central), possibly about 1200-30

Ivory panel from the side of a casket depicting the Annunciation, the Nativity and the Adoration of the Magi. In three horizontal compartments. In the left-hand compartment, under an architectural canopy, the Virgin is shown seated in the centre, looking left towards the approaching Angel Gabriel, while behind the Virgin is a handmaid witnessing the scene behind a curtain. In the centre panel the Nativity takes place; The Virgin lies, with the Child above her, to the right. In the left-hand corner is the seated figure of Joseph while above from the left and right respectively come the heads of the ass and ox, the latter shown in disproportionately large figures. In the third panel, below an architectural canopy, the three Magi approach the Virgin and Child. The Virgin is shown holding the nimbed Child on her knee. Between the two groups a star is shown in the sky. Above both the left and right-hand panels is a narrow band of architectural ornaments. The eyes of all figures have ben enlivened with the addition of tiny blue glass beads, most of which survive.

Purchased under the bequest of the late Francis Reubell Bryan

In the collection of Dr Adolf Hommel, Villa 'Dem Schönen', Zürich, until 1909 (sale 10-18 August 1909, lot 1375, ill.); in the possession of an unnamed German private collector or dealer in 1933. Bought through John Hunt, London, for £210, together with inv.no. A.9-1933, an English 13th century ivory relief.

Historical significance: The work is extremely naïve and provincial, but the closest parallels in both style and iconography are with Italian rather than Spanish sculptures and a date at the beginning of the 13th century seems likely.
The format of the scenes, the figure types and canopies may be compared with the more accomplished wooden reliefs from the now-detached wings of the tabernacle containing the Madonna di Costantinopoli in Alatri, of about 1230, and the marble panels on the pulpits in Barga Cathedral and in S. Leonardo in Arcetri outside Florence.
It should be noted however that the plaque's earliest known provenance, coupled with stylistic and iconographic peculiarities, might allow for some doubts over its authenticity (for more details see: Williamson, Paul, 2010, pp. 355).

The plaque appears to have originally formed part of a casket.

possibly ca. 1200-30

During the period 900-1200, ivories were produced all over Europe, often in monasteries and ecclesiastical or royal courts. Ivory carvings appeared on book covers, reliquary caskets, antependia (the panel in front of an altar) and religious icons. This would have originally been from the side of a casket.
The work is extremely naïve and provincial, but the closest parallels in both style and iconography are with Italian rather than Spanish sculptures and a date at the beginning of the 13th century seems likely.
The format of the scenes, the figure types and canopies may be compared with the more accomplished wooden reliefs from the now-detached wings of the tabernacle containing the Madonna di Costantinopoli in Alatri, of about 1230, and the marble panels on the pulpits in Barga Cathedral and in S. Leonardo in Arcetri outside Florence.
It should be noted however that the plaque's earliest known provenance, coupled with stylistic and iconographic peculiarities, might allow for some doubts over its authenticity (for more details see: Williamson, Paul, 2010, pp. 355).

A.8-1933