MASTERPIECES OF IVORY.


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The Golden Age of Ivory


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Definitive illustrated catalogue: every medieval ivory in America. Sets new scholarly standard.




Africa and the Renaissance


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Masterpieces of Ivory


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Ivory Vikings


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In the early 1800's, on a Hebridean beach in Scotland, the sea exposed an ancient treasure cache: 93 chessmen carved from walrus ivory. Norse netsuke, each face individual, each full of quirks, the Lewis Chessmen are probably the most famous chess pieces in the world. Harry played Wizard's Chess with them in Harry Potter and the Sorcerer's Stone. Housed at the British Museum, they are among its most visited and beloved objects. Questions abounded: Who carved them? Where? Nancy Marie Brown's Ivory Vikings explores these mysteries by connecting medieval Icelandic sagas with modern archaeology, art history, forensics, and the history of board games. In the process, Ivory Vikings presents a vivid history of the 400 years when the Vikings ruled the North Atlantic, and the sea-road connected countries and islands we think of as far apart and culturally distinct: Norway and Scotland, Ireland and Iceland, and Greenland and North America. The story of the Lewis chessmen explains the economic lure behind the Viking voyages to the west in the 800s and 900s. And finally, it brings from the shadows an extraordinarily talented woman artist of the twelfth century: Margret the Adroit of Iceland.




Masterpieces of the J. Paul Getty Museum: European Sculpture


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The J. Paul Getty Museum’s collection of European sculpture featured in this volume ranges in date from the late fifteenth century to the very early twentieth and includes a wide variety of media: marble, bronze, alabaster, terracotta, plaster, wood, ivory, and gold. The earliest sculpture represented is the mysterious Saint Cyricus by Francesco Laurana; the latest is a shield-like portrait of Medusa by the eccentric Italian sculptor Vincenzo Gemito. Among the more than forty works included in this handsomely illustrated volume are sculptures by Antico (Bust of a Young Man); Cellini (a Satyr designed for Fontainebleau); Giambologna (a Female Figure that may represent Venus); Bernini (Boy with a Dragon); and Carpeaux (Bust of Jean-Léon Gérôme). Well represented here is the Museum’s splendid collection of Mannerist and early Baroque bronzes, including such masterpieces as Johann Gregor van der Schardt’s Mercury and two superb works by Adriaen de Vries: Juggling Man and Rearing Horse. These works are indicative of the extraordinary quality of the J. Paul Getty Museum’s collection of post-Classical European sculpture.




Masterpieces of Ivory from the Walters Art Gallery


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One Egyptian ivory figurine of a hippopotamus, though less than two inches long, manages to convey the heaviness and power of the animal. Ivory is a supple medium, and each age has shaped it according to its concepts of refinement, pomp, utility and beauty. The Greeks built ivory couches as a symbol of luxury. Roman general Lucius Scipio and his men carried 1231 ivory tusks in a triumphal procession. Byzantine artisans carved lifelike ivory saints and angels on miniature altar panels. Muslim craftsmen fashioned intricate inscriptions on oliphants or hunting horns made from tusks. Among the unusual or outstanding objects reproduced in this catalog of the Walters collection in Baltimore are a Cretan snake goddess, a Coptic statuette of the Virgin of Tenderness (the earliest known example of this image), a German Baroque statue of Cleopatra being bitten by a serpent, and an Art Nouveau orchid comb by Rene Lalique. More than 700 plates (100 in color) are accompanied by essays contributed by various scholars who trace this highly developed art through the centuries.




Medieval Ivory Carvings


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"The first volume of a new catalogue of the Victoria and Albert Museum's collection of medieval ivory carvings, covering the years 400-1200, appeared in 2010. The present two volumes complete the catalogue, taking in every piece carved between about 1200 and 1550; and it is satisfying to report that a further volume, on the post-medieval ivories, was published by my colleague Marjorie Trusted in 2013."--Preface, p. 9.




Ivory Pearl


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Set in Cuba's Sierra Maestra in the 1950s, in the days leading up to the Revolution--Manchette's unfinished masterpiece with a fearless female protagonist. Out of the wreckage of World War II swaggers Ivory Pearl, so named (rhymes with girl) by some British soldiers who made her their mascot, a mere kid, orphaned, survivor of God knows what, but fluent in French, English, smoking, and drinking. In Berlin, Ivy meets Samuel Farakhan, a rich closeted intelligence officer. Farakhan proposes to adopt her and help her to become the photographer she wants to be; his relationship to her will provide a certain cover for him. And she is an asset. The deal is struck... 1956: Ivy has seen every conflict the postwar world has on offer, from Vietnam to East Berlin, and has published her photographs in slick periodicals, but she is sick to death of death and bored with life and love. It’s time for a break. Ivy heads to Cuba, the Sierra Maestra. History, however, doesn’t take vacations. Ivory Pearl was Jean-Patrick Manchette’s last book, representing a new turn in his writing. It was to be the first of a series of ambitious historical thrillers about the “wrong times” we live in. Though left unfinished when Manchette died, the book, whose full plot has been filled in here from the author’s notes, is a masterpiece of bold suspense and black comedy: chilling, caustic, and perfectly choreographed.




The Color of Ivory


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Intrigued by barely visible traces of paint or stain, Connor subjected such ivory objects as boxes, plaques, and book covers to scientific analysis. Under the microscope, she saw that their surfaces were once ablaze with color, while tests identified the actual pigments. Her findings, presented here, demonstrate that the ivories were colored and that the paint or stain - which does not adhere well to the surface of ivory - either wore off or was cleaned away. She draws on the work of archaeologists, classicists, historians, and art historians to show that this color was almost certainly original and not, as many scholars have assumed, a medieval or later addition. The author also locates Byzantine ivories within a long tradition of colored ivory going back, for example, to a painted chest found in the tomb of the Egyptian boy-king Tutankhamen.