Standing Virgin (part of an Annunciation scene); Virgin holding a book in her left hand; brooch.
Koechlin 1924: French, 3rd quarter of the 13th century.
Natanson 1951: French, c. 1260.
Gaborit-Chopin 2003 and Museum's opinion 2010: Paris, 13th century, c. 1250.
Attribution
Unknown
Polychromy - Gilding
Traces of gilding and polychromy: 3 layers, earliest is gilt orphreys and Virgin's hair; traces of blue and pink; traces of green on the clasp of the Virgin's robe belong to the third layer (15th century (?)) (see Gaborit-Chopin 2003).
Reverse
Carved in the round.
Object Condition
Missing: scroll formerly held by the angel.
Right hand and arm of the Virgin damaged and put back into place. Chips around the edge of her veil, above her left hand and at her right elbow. Hole under base.
Comments
It has long been assumed that this Virgin formed a group with the Chalandon Angel (Musée du Louvre, OA 7507). However, as Aubert 1922 noted, important differences between the statuettes suggest they were made by different craftsmen at different times, and could therefore have only been brought together later (see Gaborit-Chopin 2003).
Provenance
Charles Pillet collection. Paul Garnier collection, Paris: given by him to the Museum in 1916.
Bibliography
G. Migeon, 'L'exposition rétrospective de l'art français', in Revue de l'art ancien et moderne, VII, 1900, pp. 453-462 (p. 457).
Exposition Universelle de 1900, Catalogue illustré Officiel de l'Exposition Rétrospective de l'Art Français (Paris, 1900), no. 58 (ill.).
E. Molinier, F. Marcou, L'Exposition rétrospective de l'Art français des origines à 1900 (Paris, 1900), p. 7 and ill. (héliogravure).
P. Vitry, 'La sculpture à l'exposition des primitifs français', in Gazette des Beaux-Arts, (August 1904), p. 153.
A. Michel, L'histoire de l'art depuis les premiers temps chrétiens jusqu'à nos jours, 8 vols, 17 parts (Paris, 1905-1929), II, p. 468.
G. Migeon, 'Collection Paul Garnier', in Les Arts 53 (May 1906), pt. 2, pp. 13-24 (pp. 14-15).
Exposition d'objets d'art du Moyen Age et de la Renaissance, organisée par la marquise de Ganay chez Mr Jacques Seligmann, exhibition catalogue, Paris, Hôtel de Sagan, 1913, no. 108, pl. XL.
O. Pelka, Elfenbein (Berlin, 1920), fig. 115.
M. Aubert, 'L'ange de la collection Chalandon au musée du Louvre', in Revue de l'art ancien et moderne XLI (1922), pp. 387-390.
R. Koechlin, Les Ivoires gothiques français (Paris, 1924), I, p. 61; II, no. 20; III, pl. IX.
L. Grodecki, Ivoires français (Paris, 1947), pp. 84-85.
J. Natanson, Gothic Ivories of the 13th and 14th Centuries (London, 1951), p. 32, fig. 12.
R. Koekkoek, Gotische ivoren in het Catharijneconvent (Utrecht, 1987), fig. 7a.
D. Gaborit-Chopin, 'Les ivoires gothiques français', in Louvre. Trésors du Moyen Age. Dossier de l'art, no. 16, December 1993-January 1994, p. 37.
B. Guineau, 'Études des couleurs dans la polychromie des ivoires médiévaux', in Bulletin de la Société nationale des antiquaires de France, 1996, pp. 9, 200
L'art au temps des rois maudits: Philippe le Bel et ses fils (1285-1328), exhibition catalogue, Paris, Grand Palais, 1998, pp. 152-153.
A. Cascio, J. Levy, 'Les ivoires peints. La polychromie des statuettes d'ivoire', in Coré, 5, 1998, pp. 5-20, no. 120.
D. Gaborit-Chopin, Ivoires médiévaux, Ve-XVe siècle (Paris: Musée du Louvre, 2003), no. 97.
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