Attribution
Unknown

Polychromy - Gilding
Extensive polychromy and gilding (hair; pattern on the loincloth).

Reverse
Carved in the round.

Object Condition
The arms are made of two different pieces of ivory.

Provenance
Carrand collection: bequeathed by Louis Carrand (d. 1888) to the Museo del Bargello in 1888.

Bibliography
G. Sangiorgi, La Collection Carrand au Bargello (Rome, 1895), p. 24, pl. 61.
I. B. Supino, Catalogo del R. Museo Nazionale di Firenze (Rome, 1898), p. 130, no. 679.
P. Thoby, Le Crucifix des origines au Concile de Trente: étude iconographique (Nantes, 1959), p. 175, ill. 299.
H. Schnitzler, 'Ein Kruzifix aus Walroßzahn', in Festchrift für Erich Meyer zum 60. Geburtstag (Hamburg, 1959), p. 92.
H. Stafski, Kataloge des Germanischen Nationaslmuseums Nürnberg. Die mittelalterlichen Bildwerke, Pt. 1. Die Bildwerke in Stein, Holz, Ton und Elfenbein bis um 1450 (Nuremberg, 1965), p. 242.
E. Steingräber, 'Ein hochgotisches Elfenbein-Kruzifix', in Festschrift Klaus Lankheit zum 20. Mai 1973, ed. by W. Hartmann (Cologne, 1973), pp. 126-129.
D. Gaborit-Chopin, Ivoires du Moyen Age (Freiburg, 1978), no. and fig. 208, 209.
D. Gaborit-Chopin, Avori medievali - Museo Nazionale del Bargello (Florence, 1988), pp. 58-61, no. 15.
Arti del Medioevo e del Rinascimento. Omaggio ai Carrand, 1889-1989, exhibition catalogue, Museo Nazionale del Bargello, 1989, pp. 241-242, no. 24 (E. Castelnuovo).
L'art au temps des rois maudits: Philippe le Bel et ses fils (1285-1328), exhibition catalogue, Paris, Grand Palais, 1998, p. 149.
B. Chiesi, Catalogo degli avori gotici del Museo Nazionale del Bargello (unpublished PhD thesis - Università degli Studi di Firenze, 2011), pp. 136-146.
P. Williamson and G. Davies, Medieval Ivory Carvings 1200-1550 (London, 2014), in relation to no. 25.