Ivory;metal (remains of hinges on right).
Register 1: Christ in Glory with his feet on a city (possibly Jerusalem) or church; Virgin and saint John the Evangelist kneeling; angels holding Instruments of the Passion (cross, nails, Christ's seamless garment; spear).
Register 2: standing magus (?); standing Virgin and Child (Vierge glorieuse); two angels holding candlesticks. Presentation in the Temple; Joseph holding a basket of doves brought as offerings.
Tracery. Rosettes in the spandrels. Rose windows.
Museum's opinion 2010: France (Paris), 1260-1270, Workshop of the Soissons Diptych.
Lowden 2013: North France, c. 1275-1300.
Soissons group (Atelier du Diptyque de Soissons)
Two missing hinges on either side, with some remains on the right. Two vertical holes at the base.
Polychromy - Gilding
Traces of polychromy.
Large letter 'B' within a circle inscribed probably in ink.
Very desiccated, probably due to prolonged exposure to sunlight rather than water and damp, as only the front of the piece is affected.
Missing: upper part of the gable to the right; pinnacles; left hand of Christ.
The inner scenes of the wings would have completed the Adoration of the Magi and Presentation scenes.
Thomas Gambier Parry, Highnam Court (Gloucestershire)(d. 1888): bought before 1860; Sir Hubert Parry (d. 1918), his eldest son (from 1888); Ernest Gambier-Parry (d. 1936), half-brother of Hubert (from 1918); Mark Gambier-Parry (d. 1966), youngest son of Ernest (from 1936); bequeathed to the Courtauld Institute Galleries in 1966.
J. Gardner, 'The Ivories in the Gambier-Parry Collection', in Burlington Magazine, CIX (March 1967), pp. 140-143, fig. 41.
The Gambier-Parry Collection. Provisional Catalogue (London, 1967), no. 5.
General Catalogue of the Courtauld Institute Galleries (London, 1979), no. 9, p. 11.
D. Farr, 'Thomas Gambier Parry as a Collector', in Thomas Gambier Parry (1816-1888) as Artist and Collector, exhibition catalogue, London, Courtauld Gallery, 1993, pp. 40, 44.
A. H. Levine, On composite Gothic Ivory carving (London: The Courtauld Institute of Art [unpublished M.A. thesis], 2011).
J. Lowden, Medieval and Later Ivories in the Courtauld Gallery (London, 2013), no. 4, pp. 50-57.
P. Williamson and G. Davies, Medieval Ivory Carvings 1200-1550 (London, 2014), pp. 167-169, in relation to no. 51.
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