An ivory relief, devotional panel of the Crucifixion

Ivory has always been a popular material because it is easy to work with.
It reflects a lot of light and has a shiny surface.
Ivory reliefs occur in the form of miniature altar retables, applied to caskets and as lids of mirror boxes.
The wings of the altars are always made in one piece and connected to each other or to the centerpiece by metal hinges. They are so-called closed reliefs.
The relief is carved deeper than the architectural background.
Until the early 16th century, there were no separate guilds for ivory carvers. They worked in a kind of collecting guild together with e.g. painters, carvers or goldsmiths.
The ivory carvers were therefore easily inspired by monumental sculpture, painting, miniature art and goldsmithing.
The ivory carvers formed small groups, probably headed by a master with one or two servants and an apprentice in service.
In the 14th century the reliefs were bought by the high nobility and wealthy bourgeoisie, depending on the representation and by clergymen in churches and monasteries. In the early 14th century the reliefs become smaller and more standardized . The figures become more dramatized, through an artificial rotation. The hands and also the head are depicted larger to enhance the dramatic effect.
The reliefs were used for personal devotion; poignancy and emotion were important.
The small size made them easy to carry.

France, île-de-France.
14th century.

Literature:
Gotische ivoren in het Catharijneconvent, drs. Roland Koekkoek. De Walburg Pers, 1987.
Collectie Neutelings, vier eeuwen middeleeuwse sculptuur, Lars Hendrikman, page 79

Museums:
Rijksmuseum Amsterdam, right wing of a diptych, Christ on the Cross between two groups, last quarter 14th century.
Victoria & Albert Museum London.

Provenance:
- Ex. Collection Emile Baboin
- Ex. Collection Staal, Netherlands
- Ex Collection private collector America
- Purchased at TEFAF, Kunstzalen A. Vecht

With a European CITES certificate