Medieval Ivory Carvings


Book Description

"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 Carvings in Early Medieval England


Book Description

Ivory carvings are among the most beautiful achievements of medieval art. They reflect not only the deeply religious nature of the medieval world but also express the consummate skill and highly creative minds of those who carved them. The English craftsmen of the Early Middle Ages produced such renowned masterpieces as the Bury St Edmunds Cross and the Lewis Chessmen. John Beckwith provides a definitive study of English ivory carving from 700-1200 AD, which describes and illustrates over 160 carvings. He places the ivories in relation to contemporary illuminated manuscripts and enamel work. Through fascinating and lively portraits of some of the abbots and bishops who were the great patrons of their time, and in particular, Henry of Blois, bishop of Winchester, he places the art form firmly within its historical and cultural context.







The Wyvern Collection


Book Description

One of the most important collections of medieval ivory carvings and small sculpture, available to the public for the first time. This volume, the second catalog of the Wyvern Collection, celebrates an outstanding group of medieval ivory carvings and small sculpture, the finest assemblage of its kind in private hands. The book has pieces from every period of the Middle Ages, including rare pieces from the Early Christian era, spectacular panels from the workshops of tenth-century Constantinople, objects produced by the celebrated carvers active in South Italy in the eleventh and twelfth centuries, and several important pieces from the Romanesque period. At the heart of the collection is an outstanding group of Gothic ivories whose highlights include one of the most important secular medieval ivories discovered in recent years. The collection also features a number of small amber, hard stone, jet, wood, and mother-of-pearl carvings. In addition to their virtuoso craftsmanship, many of these pieces have illustrious histories as part of famous aristocratic or ecclesiastical collections. This is a precious opportunity to study these miniature masterpieces.







Carving as Craft


Book Description

From 1989 to 1994 more than fifteen hundred bone and ivory objects were excavated from the northeast slope of Rome's Palatine Hill. These remains constitute the largest such find in the western Mediterranean and the first traces of the actual working of ivory in Rome itself. In this original work, art historian Archer St. Clair explores the significance of these finds in understanding both the development of artisanship in Rome and the broader Greco-Roman cultural and artistic tradition to which they belong. Dating primarily from the first through the fifth century C.E., the carved objects include ornamentation for furniture and boxes in the form of plaques and framing strips, jewelry, dolls, a wide variety of pins, as well as smaller numbers of handles, needles, and other implements. Also present at the site was extensive evidence of a bone and ivory workshop, including prepared blanks and waste fragments that provide valuable evidence for artisanal practices in both materials. This volume includes a representative catalog of 648 objects from Palatine East, extensively illustrated with photographs and detailed drawings. Four chapters of introductory material offer a comprehensive overview of the material properties of bone and ivory, the literary evidence, and wider context of their use in the ancient world, and the particular significance of the Palatine East site. While bone has often been treated simply as an inferior and less valuable alternative to ivory, St. Clair notes the close association in their use and elucidates a complex relationship between them. In doing so, she offers a detailed, contextual study of the uses, social perception, and distribution of the two materials, revealing a shared Mediterranean vocabulary of form and technique.




Gothic Ivory Sculpture


Book Description







French Gothic Ivories


Book Description

This volume is the first to consider the golden century of Gothic ivory sculpture (1230-1330) in its material, theological, and artistic contexts. Providing a range of new sources and interpretations, Sarah Guérin charts the progressive development and deepening of material resonances expressed in these small-scale carvings. Guérin traces the journey of ivory tusks, from the intercontinental trade routes that delivered ivory tusks to northern Europe, to the workbenches of specialist artisans in medieval Paris, and, ultimately, the altars and private chapels in which these objects were venerated. She also studies the rich social lives and uses of a diverse range of art works fashioned from ivory, including standalone statuettes, diptychs, tabernacles, and altarpieces. Offering new insights into the resonances that ivory sculpture held for their makers and viewers, Guérin's study contributes to our understanding of the history of materials, craft, and later medieval devotional practices.