Randall 1993: French (Paris), 1375-1390.
Rowe 2011: Paris, c. 1375-1400.
Attribution
Unknown
Hinges
Two hinges.
Reverse
Flat and smooth.
Provenance
Collection of Félix Ravaisson-Mollien, Paris (until 1903). Paul Garnier collection Paris (at least 1900-1917; no. 40). Jacques Seligmann collection, Paris. Cranbrook Academy of Art, Bloomfield Hills, Michigan: sale, Sotheby's, New York, 25 March 1972, lot 97. Bought from Ruth Blumka, New York, in 1983.
Bibliography
Exposition Universelle de 1900, Catalogue illustré Officiel de l'Exposition Rétrospective de l'Art Français (Paris, 1900), no. 133.
G. Migeon, 'L'Exposition rétrospective de l'art français', in Revue de l'art ancien et moderne 1 (1900), p. 46.
G. Migeon, 'Collection Paul Garnier', in Les Arts 53 (May 1906), pt. 2, pp. 13-24 (pp. 13, 15-16).
R. Koechlin, Les Ivoires gothiques français (Paris, 1924), I, p. 293; II, no. 809.
R. H. Randall, 'An Ivory Diptych', in The Minneapolis Institute of Arts Bulletin 5, no. 66 (1983-1986), pp. 2-17.
R. H. Randall, The Golden Age of Ivory: Gothic Ivory Carvings in North American Collections (New York, 1993), no. 147.
Images in Ivory. Precious Objects of the Gothic Age, ed. by Peter Barnet, exhibition catalogue, Detroit, The Detroit Institute of Arts, and Baltimore, The Walters Art Gallery, 1997, no. 33, pp. 177-179.
N. Rowe, 'Pocket Crucifixions: Jesus, Jews, and Ownership in Fourteenth-Century Ivories', in Studies in Iconography 32 (2011), pp. 81-120 (p. 82, fig. 2).
J. Lowden, Medieval and Later Ivories in the Courtauld Gallery (London, 2013), p. 91, fig. 45, in relation to no. 14.
J. Warren, Medieval and Renaissance Sculpture in the Ashmolean Museum, 3 vols (Oxford, 2014), Vol. 2: Sculptures in Stone, Clay, Ivory, Bone and Wood, p. 579, in relation to no. 170 and p.588, no. 175.
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