Couples in contemporary costume, wearing pendant sleeves; youth with a hawk on his wrist; ladies with braided hair.
Architectural framework; tracery; pinnacles.
Koechlin 1924: England, end of 14th century or beginning of 15th century.
Leeuwenberg 1969: France, last quarter of the 18th century or 1st half of the 19th century.
Museum's opinion 2012: France (?), c. 1400-1425.
Attribution
Master of the Agrafe Forgeries (Leeuwenberg 1969)
Object Condition
Holes for lost fittings. A few breakages.
Comments
Other panels from this casket are in the Victoria and Albert Museum, London (284-1867, 284a-1867 and 284b-1867) and the Museo Nazionale del Bargello, Florence (Inv. 118 C and Inv. 119C). See related objects.
This panel probably decorated the lid of the casket.
Provenance
Collection of J. Pierpont Morgan (d. 1913), London and New York; estate of J. Pierpont Morgan (1913-1917); gift of J. Pierpont Morgan, 1917.
Bibliography
R. Koechlin, Les Ivoires gothiques français (Paris, 1924), I, p. 484; II, no. 1280.
D. D. Egbert, 'North Italian Gothic Ivories in the Museo Cristiano of the Vatican Library', in Art Studies 7 (1929), p. 198, n. 4.
J. Leeuwenberg, 'Early Nineteenth-Century Gothic Ivories', in Aachener Kunstblätter 39 (1969), pp. 111-148 (pp. 140-141, fig. 146).
G. Schmidt, 'Herzogswerkstatt und die Kunst Nordwesteuropas', in Gotische Bildwerke und ihre Meister (Vienna, 1992), pp. 142-174 (esp. p. 159).
J. Warren, Medieval and Renaissance Sculpture in the Ashmolean Museum, 3 vols (Oxford, 2014), Vol. 2: Sculptures in Stone, Clay, Ivory, Bone and Wood, pp. 594-5, in relation to no. 179.
C. T. Little , ‘The Art of Gothic Ivories: Studies at the Crossroads,’ in The Sculpture Journal 23.1 (2014), pp. 13-29, fig. 11.
P. Williamson and G. Davies, Medieval Ivory Carvings 1200-1550 (London, 2014), in relation to no. 231, pp. 670-672, fig. 2.
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