Attribution
Unknown

Polychromy - Gilding
Traces of gilding and polychromy: gold and black (along the hems).

Reverse
Carved in the round.

Object Condition
Missing: crowns of the Virgin and of the younger kings.

Provenance
Possibly donated to Denmark's ancient Archbishop's church in Lund by Andreas Sunesen in 1228 (Nyborg 2008). Registered in the inventory of the Museum Wormianum in 1655, wherefrom it entered the inventories of Det kgl. Kunstkammer (The Royal Danish Kunstkammer, 1650-1825) of 1674, 1689, 1690; after the Kunstkammer was dissolved the piece appeared in the inventory of Det kgl. Kunstmuseum (The Royal Danish Art Museum, 1825-1867) of 1825, in the inventory of Museet for Nordiske Oldsager (Museum of Northern Antiquities 1819-1892), in the inventory of Nationalmuseet (The National Museum of Denmark, 1892-).

Bibliography
A. Goldschmidt, Die Elfenbeinskulpturen, 4 vols (Berlin, 1914-1926), III, no. 125.
A. Anderson, English Influence in Norwegian and Swedish Figure Sculpture in Wood 1220-1270 (Stockholm, 1949), p. 73.
H. Swarzenski, Monuments of Romanesque Art: the Art of Church Treasures in North-Western Europe (Chicago, 1953), p. 738.
A. Roussel, The Adoration of the Kings- A Group in Ivory, The National Museum of Denmark (Copenhagen, 1957), p. 96.
H. Swarzenski, 'A Vierge dorée', in Boston Museum of Fine Arts Bulletin 58 (1960), pp. 64-83.
A. Andersson, 'The Holy Road of Skokloster and the Scandinavian Early Gothic', in The Burlington Magazine (March 1970), p. 135.
The Year 1200: the exhibition, exhibition catalogue, New York, Metropolitan Museum of Art, 1970, p. 66.
T. E. Christiansen, Nationalmuseets vejledning til Danmarks Middelal (Copenhagen, 1972), p. 36.
D. A. Porter, Ivory Carvings in Later Medieval England 1200-1400 (unpublished PhD thesis, State University of New York at Binghamton, 1974), no. 13.
M. Blindheim, 'Scandinavian Art and its Relations to European Art around 1200', in The Year 1200: A Symposium, exhibition catalogue, New York, The Metropolitan Museum of Art, 1975, p. 445, p. 467.
P. A. Young, 'The origin of the Herlufsholm ivory crucifix figure', in Burlington Magazine, 119 (1977), pp. 12-17, p. 19.
C. Lapaire, 'La Vierge de l'Épiphanie, une sculpture française du XIIIe siècle', in Genava 26 (1978), pp. 193-194.
N. K. Liebgott, Elfenben- fra Danmarks Middelalder (Copenhagen, 1985), p. 37, fig. 30.
B. Gundestrup, Det Kongelige danske Kunstkammer 1737 (Esbjerg, 1991), vol. II, p. 185.
D. Sandron, 'La sculpture en ivoire au début du XIIIe siècle, d'un monde à l'autre', in Revue de l'Art 102 (1993), p. 58, n. 65.
E. Nyborg, 'The Holy Rood crucifixion group of Roskilde cathedral and the Scandinavian early Gothic', in Hafnia, Copenhagen Papers in the History of Art, 12 (2003) p. 185.
E. Nyborg, Tranderup Kirkes tronende Madonna- en franskinspireret 'Vierge dorée' fra o.1270-90'. Tranderup kirke. En landsbykirke og dens historie (Eroskobing, 2003).
E. Nyborg, 'Wybrane dziela rzezby wczesnego I pelnego gotyku na pomorzu I ich zwiazki ze sztuka skandynawska', in Terra Transmoderna (Szczecin, 2004), pp. 225-238.
J. H. Lind, Danske korstog. Krig og mission i Østersøen (Copenhagen, 2004).
J. von Fircks, Skulptur im südlichen Ostseeraum. Stile und Werkstätten im 13. Jahrhundert (dissertation Freie Universität Berlin, 2005), pp. 46-47.
E. Nyborg, 'Anders Sunesen helligtrekingersgruppe og en baltisk madonnatype', in Nationalmuseets Arbejdsmark (2008), pp. 187-202.