Attribution
Unknown

Hinges
Traces of three missing hinges on either side. Two later hinges.

Polychromy - Gilding
Traces of gilding and polychromy: green and red (backgrounds, not original), gold (hair, ornament, crowns, scroll and cross, architectural details, along the hems; gilded borders along the edges of the exterior of the wings).

Reverse
Crosshatching and gilded borders on the outer wings. The crosshatching on the exterior of the wings seems to indicate that two standing angels with upstretched wings, probably made of gilt metal, were once attached to the surface (Los Angeles 2008).
Back of the centre panel flat and smooth.The left wing has a thin strip of gilded ivory pinned to its outer edge to seal the triptych when shut.
Crosshatching and holes on the underside of the centre panel.

Object Condition
Holes in the top of the buttresses on either side of the centre panel and in the second crockets and finial suggest the presence of separately-made elements (see Williamson and Davies 2014)

Provenance
In the possession of John Webb (b. 1799, d. 1880), London (by 1862): purchased from him by the Museum in 1866.

Bibliography
Catalogue of the Special Exhibition of Works of Art of the Mediaeval, Renaissance, and more recent periods on loan at the South Kensington Museum, June 1862..., revised edition, exhibition catalogue (London, 1863), no. 89.
HMSO, Inventory of the Objects in the Art Division of the Museum at South Kensington, arranged According to the Dates of their Acquisition (London, 1868), p. 18.
W. Maskell, Ivories Ancient and Mediaeval in the South Kensington Museum (London, 1872), p. 61.
W. Griggs, Portfolio of Ivories [London, 1904-1907], pt. XXXVI.
M. Longhurst, Catalogue of Carvings in Ivory, Victoria and Albert Museum, 2 vols (London, 1927 and 1929), II (1929), p. 61, pl. LIII.
J. Natanson, Gothic Ivories of the 13th and 14th Centuries (London, 1951), p. 39, fig. 62.
Medioevo e produzione artistica di serie. Smalti di Limoges e avori gotici in Campania, ed. by P. Giusti, P. Leone de Castris, exhibition catalogue, Naples, Museo Duca di Martina, 1981, pp. 35-36.
R. H. Randall, Masterpieces of Ivory from the Walters Art Gallery (New York, 1985), in relation to no. 351.
P. Williamson, 'Avori italiani e avori francesi', in Il Gotico europeo in Italia (Naples, 1994), pp. 293, 295.
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. 49.
P. Williamson, 'Gothic Ivories in Detroit and Baltimore', in Apollo, 145 (March 1997).
Annali della Scuola Normale Superiore di Pisa. Classe di Lettere e Filosofia, IV serie, IV-1, 1999 [2001], pp. 221-246 (pp. 229-230, fig. 252).
M. Tomasi, 'Baldassarre Ubriachi, le Maitre, le Public' in Revue de l'art, 134 (2001), pp. 53-54, fig. 4.
M. Tomasi, 'Angeli per gli Embriachi' in Intorno a Lorenzo Monaco: Nuovi Studi Sulla Pittura Tardogotica, ed. by D. Parenti (Livorno, 2007), pp. 168-175.
The Color of Life: Polychromy in Sculpture from Antiquity to the Present, ed. by R. Panzanelli with E. Schmidt and K. Lapatin, exhibition catalogue, Los Angeles, J. Paul Getty Museum, 6 March-23 June 2008, no. 23.
J. Cherry and J. Lowden, Medieval Ivories and Works of Art: The Thomson Collection at the Art Gallery of Ontario (Toronto, 2008), p. 106.
G. Davies and K. Kennedy (eds.), Medieval and Renaissance Art. People and Possessions (London, 2009), p. 87, pl. 56.
P. Williamson and G. Davies, Medieval Ivory Carvings 1200-1550 (London, 2014), no. 64.