Attribution
Master of the Agrafe Forgeries (Leeuwenberg 1969)

Reverse
Flat and smooth. Crosshatching along three edges.

Object Condition
Holes for the missing fittings.
Vertical crack along the right side.

Comments
Other panels from this casket are in the Museo del Bargello in Florence (Inv. 118 C), the Metropolitan Museum of Art, New York (17.190.194) and at the Victoria and Albert Museum in London (Inv. 284-1867, 284a-1867 and 284b-1867). See related objects.
This panel would have originally been the back of the casket.

Provenance
Carrand collection: bequeathed by Louis Carrand (d. 1888) to the Museo del Bargello in 1888.

Bibliography
I. B. Supino, Catalogo del R. Museo Nazionale di Firenze (Florence, 1898), p. 235.
E. Gerspach, 'La Collection Carrand au musée national de Florence', in Les Arts 32 (August 1904), p. 21.
R. Koechlin, Les Ivoires gothiques français (Paris, 1924), I, p. 484; II, no. 1280; III, pl. CCXVII.
J. Leeuwenberg, 'Early Nineteenth-Century Gothic Ivories', in Aachener Kunstblätter 39 (1969), pp. 111-148 (pp. 140-141 tbc).
G. Schmidt, 'Herzogswerkstatt und die Kunst Nordwesteuropas', in Gotische Bildwerke und ihre Meister (Vienna, 1992), pp. 142-174 (esp. p. 159).
B. Chiesi, Catalogo degli avori gotici del Museo Nazionale del Bargello (unpublished PhD thesis - Università degli Studi di Firenze, 2011), pp. 393-400.
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), p. 24.
P. Williamson and G. Davies, Medieval Ivory Carvings 1200-1550 (London, 2014), in relation to no. 231, pp. 670-672, fig. 3-4.