Left panel of a large, deeply carved ivory diptych... Lot 19

Left panel of a large, deeply carved ivory diptych depicting four scenes in two registers: the Flagellation, the Crucifixion, the Annunciation and the Nativity. The scenes are sheltered by a frieze of arcatures surmounted by gables with fleurons and hooks and separated by slender colonnettes. Paris, circa 1360/1380 H. 17.2 - L. 10.2 cm (top edge levelled by a few millimeters, two fixing holes) Provenance : - Private collection, Portugal, once part of a doctor's collection, in the family since the early 20th century. Works and sources consulted: - R. Koechlin, Les Ivoires gothiques français, Paris, 1924, TII, n°374, p. 159, pl. LXXIII - P. Williamson and G. Davies, Medieval Ivory Carvings 1200-1550, Victoria and Albert Museum, London, 2014, Part I, cat.102. Gothic Ivories link, The Courtauld Institute of Art: http://www.gothicivories.courtauld.ac.uk/images/ivory/89F404F1_f3316e82.html This object has a CITES certificate issued on June 9, 2022. The right-hand side of this diptych is in the Vatican collections (inv. 64658, fig.a). The other scenes depicted complete the Passion episodes depicted on the first panel, including the Resurrection, Noli me Tangere, the Adoration of the Magi and the Presentation of Jesus in the Temple. The Vatican folio, acquired before 1759, is one of the rare Gothic ivories known before the 19th century. The entry in the Courtauld Institute's Gothic Ivories database refers to the numerous publications it has been the subject of. The identification of this left-hand panel from a Portuguese collection as belonging to a diptych, the other panel of which is kept in the Vatican, is therefore a discovery. It leads us to believe that the two leaves of this large diptych, dismembered before the middle of the 18th century, seem to have been dispersed very early in Southern Europe. The style belongs to the Parisian workshops of the second half of the 14th century. It can be compared with another diptych in the Victoria and Albert Museum, probably produced by the same workshop (inv.290-1867, fig.b). The Passion scenes on this diptych are arranged in three superimposed registers. The Flagellation and Crucifixion depicted here are also very similar.