Standing Virgin and Child (Vierge glorieuse); two angels holding candlesticks; angel crowning the Virgin; angel kissing Christ's hand; Virgin trampling a monster.
Medallions enclosing quatrefoils with protruding cones in the spandrels.
Koechlin 1924: France, beginning of the 2nd third of the 14th century.
Randall 1993: French (Paris), early 14th century.
Gaborit-Chopin 2003 and Museum's opinion 2010: Paris, c. 1300-1320.
Attribution
Unknown
Hinges
Traces of two hinges on the right side.
Polychromy - Gilding
Traces of gilding and polychromy (several layers).
Reverse
Hole for hook on back.
Object Condition
Ivory cracked (especially severe behind the Virgin).
Missing: bottom-right corner, part of dragon's ear.
Wrenching around hinges.Evidence of a clasp, on the left.
Comments
The right wing of this diptych is now in the Toledo Museum of Art (50.301). See Gaborit-Chopin 2003, fig. 122a, for photograph of both panels together.
Provenance
Léopold Goldschmidt collection, Paris, 1924. Sold at Guy Ladrière gallery, Paris. Acquired by the Musée du Louvre in 1986.
Bibliography
R. Koechlin, Les Ivoires gothiques français (Paris, 1924), I, pp. 199, 204, II, no. 414; III, pl. LXXXVI.
D. Gaborit-Chopin, Nouvelles acquisitions du département des objets d'art, 1985-1989 (Paris, 1990), no. 20, pp. 52-55.
D. Gaborit-Chopin, 'Les ivoires gothiques français', in Louvre. Trésors du Moyen Âge. Dossier de l'art, no. 16, Dec. 1993-Jan. 1994, p. 38.
R. H. Randall, The Golden Age of Ivory: Gothic Ivory Carvings in North American Collections (New York, 1993), pp. 63-64, no. 52, fig.
Images in Ivory. Precious Objects of the Gothic Age, ed. by Peter Barnet, exhibition catalogue, Detroit, The Detroit Institute of Arts, and Baltimore, The Walters Art Gallery, 1997, no. 22.
L'art au temps des rois maudits: Philippe le Bel et ses fils (1285-1328), exhibition catalogue, Paris, Grand Palais, 1998, no. 111.
D. Gaborit-Chopin, Ivoires médiévaux, Ve-XVe siècle (Paris: Musée du Louvre, 2003), no. 122.
J. Lowden, Medieval and Later Ivories in the Courtauld Gallery (London, 2013), p. 70, in relation to no. 8.
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