Gothic Ivories Project | Diptych, 3 registers, 5 arches across (frise d'arcatures) (Front)

Diptych, 3 registers, 5 arches across (frise d'arcatures) (Front)

Diptych, 3 registers, 5 arches across (frise d'arcatures) (Front)

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Front

Detail

Front

Wing, left

Wing, right

Detail

Links

Subject
Religious. Passion.

Repository Institution
www.ago.net

To purchase an image
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Toronto, The Thomson Collection at the Art Gallery of Ontario (AGO)

69306

Ivory;metal (modern hinges and clasp)

Height: 231mm
Width: 114mm (closed); 231mm (open)
Depth: 11mm
Weight: 707g

Wing, left
Register 1: Entry into Jerusalem.
Register 2: Last Supper with saint John the Evangelist leaning on Christ's breast; Christ feeding Judas across the table.
Register 3: Betrayal (Taking of Christ; Kiss of Judas); Christ restores Malchus' ear, cut by saint Peter.
Wing, right
Register 1: Christ washing the feet of the apostles.
Register 2: Agony in the Garden; apostles asleep.
Register 3: Crucifixion; swooning Virgin supported by Holy Women; saint John the Evangelist and onlookers holding scrolls; Longinus with spear kneeling in prayer; Stephaton giving Christ vinegar.

Lowden 2008: Paris or Cologne, c. 1350-1375. Radiocarbon dating produced a date of 775+- 35 years bp, i.e. a 95% probability of a date for the ivory within the range AD 1210-1290.
Museum's opinion 2008: France (Paris) or Germany (Cologne), c. 1350-1375.

Attribution
Unknown

Hinges
Three modern hinges.

Polychromy - Gilding
No easily identifiable traces of gilding or polychromy.

Reverse
Flat and smooth.

Comments
The Crucifixion is very close to one in a Louvre diptych attributed to the Meuse/Rhine are, c. 1340-1350 (Lowden 2008).

Provenance
Thomson collection, Toronto: acquired, Sotheby's, London, 13 December 2000, lot 11; since 2008 The Thomson Collection at the Art Gallery of Ontario (AGO), Toronto.

Bibliography
J. Cherry, J. Lowden, Medieval Ivories and Works of Art: The Thomson Collection at the Art Gallery of Ontario (Toronto, 2008), cat. 24.
J. Lowden, Medieval and Later Ivories in the Courtauld Gallery (London, 2013), p. 91, in relation to no. 14.

Image

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