Attribution
Unknown

Polychromy - Gilding
Traces of gilding and polychromy (date unknown): red on the brooch, blue. See A. Cascio and J. Levy, Rapports de nettoyage et de restauration des ivoires médiévaux du département des Objets d'art du Louvre (unpublished documentation of the département des Objets d'art of the Louvre, 1995).

Reverse
Carved in the round.

Object Condition
Missing: right hand of the Virgin and left hand of Christ; two blessing fingers of Christ; crown partly broken.
Head and left hand of the Virgin were broken and glued back in place. Rounded base damaged with repairs. Bottom of the Virgin's cloak damaged with repairs. Hole in the head of the Virgin for a later metal crown.

Comments
Attributed to the same workshop as Paris, Musée du Louvre, OA 9490 (Bossy-Sumpt Virgin; Vierge Bossy-Sumpt); New York, Metropolitan Museum, no. 17-140-191 and Baltimore, Walters Art Gallery (Randall, 1985, no. 268) (Gaborit-Chopin, 2003, p. 310).

Provenance
Pierre Révoil collection, Lyon (no. 303); acquired from him in 1828 by the Musée du Louvre.

Bibliography
M. de Laborde, Notice des émaux, bijoux et objets divers exposés dans les galeries du musée du Louvre (Paris, 1857), no. 862.
A. Sauzay, Musée de la Renaissance [Musée du Louvre]. Notice des ivoires (Paris, 1863), no. 4.
J. O. Westwood, Fictile Ivories in the South Kensington Museum (London, 1876), no. 731 ('58.252).
L. Courajod, La Collection Révoil du musée du Louvre (Caen, 1886), no. 286.
E. Molinier, Musée National du Louvre. Catalogue des ivoires (Paris, 1896), no. 41.
R. Koechlin, Les Ivoires gothiques français (Paris, 1924), I, p. 235; II, no. 623; III, pl. CIV.
M. Seidel, 'Die Elfenbeinmadonna im Domschatz zu Pisa', in Mitteilungen des Kunsthistorischen Institutes in Florenz, XVI, 1972, note 48.
D. Gaborit-Chopin, Ivoires médiévaux, Ve-XVe siècle (Paris: Musée du Louvre, 2003), no. 105.