Attribution
Unknown

Hinges
Traces of three missing hinges on the right side.

Reverse
Flat and smooth.

Object Condition
Damaged upper right corner.

Comments
Of almost identical dimensions and considered as part of the same object as a similar leaf in the Musée du Louvre, Paris (OA 105). These panels did not however form a diptych, as the hinges do not match, so they were certainly part of a triptych or polyptych.

Provenance
Made for John Grandisson, Bishop of Exeter (b. 1327, d. 1369) (evidence for this is given by his partly-effaced coat of arms (before 1358), featuring on both the Louvre panel and the British Museum panel). Collection of Louis Fould (b. 1794, d. 1858), Paris: his sale, Paris, 4 June 1860 and following days, lot 1689; bought by British Museum from John Webb in 1861.

Bibliography
Messrs. Prior and Gardner, Architectural Review, XVII (1905), fig. 264, p. 89.
A. Maskell, Ivories (Connoisseurs Library), (London, 1905), pl. xxxi.
O. M. Dalton, Catalogue of the Ivory Carvings of the Christian Era in the British Museum, (London, 1909), no. 246, pl. LV.
R. Koechlin, Les Ivoires gothiques français (Paris, 1924), I, p. 161; II, no. 272A.
J. Natanson, Gothic Ivories of the 13th and 14th Centuries (London, 1951), p. 39, fig. 59.
D. A. Porter, Ivory Carvings in Later Medieval England 1200-1400 (unpublished PhD thesis, State University of New York at Binghamton, 1974), no. 49.
Age of Chivalry: Art in Plantagenet England 1200-1400, ed. by J. J. G. Alexander and P. Binski, exhibition catalogue, London, Royal Academy of Arts, (London, 1987), no. 594.
N. Stratford, 'Bishop Grandisson and the Visual Arts', in Exeter Cathedral: A Celebration, ed. by M. Swanton (Exeter, 1991), pp. 144-155
D. Gaborit-Chopin, Ivoires médiévaux, Ve-XVe siècle (Paris: Musée du Louvre, 2003), pp. 442-443, fig. 192a.
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. 576, in relation to no. 169.