Attribution
Unknown

Polychromy - Gilding
Traces of gilding and polychromy: gold (along the hems, hair); blue (lining of some cloaks), red (cross on Christ's halo)

Reverse
Flat and smooth.

Object Condition
19th-century additions: base and pinnacles.

Provenance
Collection of Michel Boy (b. 1845), Paris. Collection of Frédéric Spitzer (d. 1890): his sale, 1893, lot 98. 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
La Collection Spitzer (Paris, 1890), I, no. 63 (E. Molinier)
E. Molinier, Histoire générale des Arts appliqués à l'Industrie. I: Les Ivoires (Paris, 1896), p. 189.
R. Koechlin, 'Quelques ateliers d'ivoiriers français aux XIII et XIVe siècles. I. L'atelier du diptyque du trésor de Soissons', in Gazette des Beaux-Arts 34 (1905), p. 377, illus. p. 373
R. Koechlin, Les Ivoires gothiques Français (Paris, 1924), I, pp. 85, 89; II, no. 52; III, pl. XX.
M. Seidel, 'Opus heburneum. Entdeckung einer Elfenbeinskulptur von Giovanni Pisano', in Pantheon XLII (1984), pp. 223, 228, fig. 16.
R. H. Randall, Masterpieces of Ivory from the Walters Art Gallery (New York, 1985), p. 206.
Medieval Art in America: Patterns of Collecting, 1800-1940, exhibition catalogue, Penn State University, The Palmer Museum of Art, 9 January-3 March 1996 and Pittsburgh, The Frick Art Museum, 1 April-26 May 1996, no. 35.
J. Gardner, 'The Artistic Patronage of Boniface VIII: the Perugian Inventory of the Papal Treasure of 1311', in Römisches Jahrbuch der Bibliotheca Hertziana 34 (2001-2002), pp. 69-86 (fig. 11).
K. Christensen, 'Duccio and the Origins of Western Painting', in Metropolitan Museum of Art Bulletin (Summer 2008), p. 42, fig. 35 (colour images with later additions removed).
P. Williamson and G. Davies, Medieval Ivory Carvings 1200-1550 (London, 2014), pp. 167-169, in relation to no. 51.