A & A spacer courtauld institute of art
quick search advanced search browse temp folder

Group; known as the Annunciation of Philip the Bold (Annonciation de Philippe le Hardi) (Front)

Group; known as the Annunciation of Philip the Bold (Annonciation de Philippe le Hardi) (Front)
enlarge image zoom image








Repository Institution

To purchase an image

Langres, Musée d'Art et d'Histoire Guy-Baillet

Inv. 844.3.4

Ivory;ebony and 'alla certosina' marquetry (base)

Height: 275mm
Width: 185mm
Depth: 85mm


Koechlin Number: 0850

Koechlin 1924: France, early 15th century.
Leeuwenberg 1969: France (?), last quarter of the 18th century to 1st half of the 19th century.
Gaborit-Chopin 1970: Italian (Sicilian?), 14th century.
Dijon-Cleveland 2004-2005: Sicily, end of the 14th century (S. Jugie).


Polychromy - Gilding
Extensive polychromy and gilding: gold (hair; pattern along the hems and on the robes and cloaks); blue (lining of the cloaks); red (lips). This polychromy and gilding do not appear to conceal any remains of earlier painting (study carried out by J. Lévy and A. Cascio in 1987, mentioned in Dijon 2004-2005).

Carved in the round.

Kept in a late 14th-century wooden case covered in leather decorated with metal medallions with animals (hares, birds) and, in the centre, the coat of arms of Philip the Bold, Duke of Burgundy (r. 1363-1404).
The measurements of the case are: 335 x 300mm x 125mm).
The base is made of ebony, decorated with ivory roses. Traces of a pin in the base suggest there was a vase of lilies between the two figures.
Leeuwenberg (1969) saw in this group a 19th-century creation, not accepting the Philip the Bold evidence: these doubts have since been dissipated on stylistic grounds by D. Gaborit-Chopin (1970) and, on heraldic grounds, by F. Salet (1974).

Belonged to Philip the Bold, Duke of Burgundy (r. 1363-1404) (his arms on the leather case; see Brocard 1900 and Salet 1974). Collection of Pierre Guyot de Giey: his gift to the Museum in 1842.

Exposition Universelle de 1900, Catalogue illustré Officiel de l'Exposition Rétrospective de l'Art Français (Paris, 1900), no. 173, p. 22 (ill.).
E. Molinier, F. Marcou, L'Exposition rétrospective de l'Art français des origines à 1900 (Paris, 1900), pp. 8-9 and ill. (héliogravure).
F. Marcou, 'L'Exposition rétrospective de l'Art français', in Gazette des Beaux-Arts (1900), I, p. 490.
G. Migeon, 'L'Exposition rétrospective de l'art français', in Revue de l'art ancien et moderne 1 (1900), p. 460.
H. Brocard, 'L'Annonciation du musée de Langres (XIVe siècle)', in Bulletin de la Société historique et archéologique de Langres, vol. 4, fasc. 60 (1900), pp. 359-368.
R. Koechlin, Histoire de l'art depuis les premiers temps chrétiens jusqu'à nos jours, ed. by A. Michel, II (Paris, 1906), p. 489.
H. Brocard, 'Tableau en ivoire représentant l'Annonciation', in Bulletin de la Société historique et archéologique de Langres, fasc. 98 and 99, no. 440 (1917), pp. 295-296.
R. Koechlin, Les Ivoires gothiques français (Paris, 1924), I, pp. 319, 329; II, no. 850; III, pl. CLIII.
L. Grodecki, Ivoires français (Paris, 1947), p. 107, pl. XXXVIII.
Bourgondische pracht: van Philips de Stoute tot Philips de Schone, ed. by R. van Luttervelt, exhibition catalogue, Amsterdam, Rijksmuseum, 28 July-1 October 1951, no. 185.
De Madonna in de Kunst, 1954, exhibition catalogue, Antwerp, Koninklijk Museum voor Schone Kunsten, 1954, no. 278.
Tardy, Les Ivoires (Paris, 1966), fig. p. 65.
J. Leeuwenberg, 'Early Nineteenth-Century Gothic Ivories', in Aachener Kunstblätter, 39 (1969), pp. 111-148 (pp. 131-132, fig. 35).
D. Gaborit-Chopin, 'Les ivoires gothiques. A propos d'un article récent', in Bulletin monumental 128-2 (1970), pp. 127-133 (pp. 129-130).
F. Salet, 'La « Croix du serment » de l'ordre de la Toison d'or', in Journal des Savants (1974), vol. II, pp. 73-94 (p. 88, n. 37); article accessible online as part of the Persée portal: http://www.persee.fr/web/revues/home/prescript/article/jds_0021-8103_1974_num_2_1_1298 [accessed 8 October 2012].
D. Gaborit-Chopin, Ivoires du Moyen Age (Freiburg, 1978), p. 171.
A. Erlande-Brandenburg, L'Art gothique (Paris, 1983), pp. 486 and 639.
F. Salet, 'Emblématique et histoire de l'art', in Revue de l'art 87 (1990), pp. 13-28 (p. 18); article accessible online as part of the Persée portal: http://www.persee.fr/web/revues/home/prescript/article/rvart_0035-1326_1990_num_87_1_347817 [accessed 8 October 2012].
Art from the Court of Burgundy. The Patronage of Philip the Bold and John the Fearless 1364-1419 [French title: Les Princes des fleurs de lis: l'art à la cour de Bourgogne], exhibition catalogue, Dijon, Musée des Beaux-Arts and Cleveland Museum of Art, 2004-2005, no. 56 (S. Jugie).
KIK/IRPA database: http://www.kikirpa.be/www2/wwwopac/en/object.html [accessed 8 October 2012].


Conway Library © Courtauld Institute of Art.

All images on this website are made available exclusively for scholarly and educational purposes and may not be used commercially.

spacer spacer spacer spacer
Please remember to acknowledge any use of the site in publications and lectures as: 'Gothic Ivories Project at The Courtauld Institute of Art, London, www.gothicivories.courtauld.ac.uk', followed by the date you accessed the site.