France, probablement Paris, vers 1320-1330

Collection du sculpteur Marc Antocolsky, Paris
sa vente à Paris, Drouot, le 10-12 juin 1901, no. 65, reproduit

Exposition d'Objets d'Art du Moyen Age et de la Renaissance, Hôtel de Sagan, Paris, 1913.

Exposition d'objets d'art du Moyen Age et de la Renaissance organisée par la marquise de Ganay,chez Jacques Seligmann, 23 rue Constantine, cat. exp. Hôtel de Sagan, Paris, 1913, no.113.

Overall condition good with minor wear and surface dirt. Traces of original polychromy around the neckline of the Virgin's robe. Fine hairline fissures in the grain of the ivory as visible in the catalogue photograph. Chip and loss to vertical border of Virgin's mantle below her knee. Tje child's head is carved separately. Gilt copper crown with cabochon stones as well as the gilt bronze socle replaced at a later date. Earlier attachment holes for original crown visible when gilt copper crown removed.
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Sculptée en ronde bosse, la Vierge est assise légèrement en biais sur un banc. L' Enfant Jésus se tient debout sur ses genoux, et s'appuie de sa main droite sur la poitrine de sa mère qui lui tend une colombe, symbole du salut de l'âme. La Vierge est coiffée d'un voile court, plus long à l'arrière, retombant en plis ondulés sur ses épaules et son dos, retenu sur sa tête par la couronne en cuivre doré. Sa robe à manches longues présente des traces de polychromie autour du col. Le modelé très soigné du drapé ainsi que le traitement des visages, avec la bouche fine, les yeux en amande et ses cheveux sortant du voile sont tous des caractéristiques des ivoires issus d'ateliers parisiens du début du XIVe siècle.

La Vierge de la collection Dormeuil peut être rapprochée d'un petit groupe d'ivoires, étudié par Little et Stratford en 1979, et plus récemment par Williamson dans son étude des ivoires de la collection Thyssen Bornemisza en 1987. Ce groupe d'ivoires comprend la Vierge de la Walters Art Gallery de Baltimore, celles du British Museum et du Victoria and Albert Museum de Londres, ainsi que celle du trésor de la collégiale de Villeneuve-lès-Avignon ( Williamson). L'ivoire de la collection Dormeuil présente des analogies proches avec celui du Victoria and Albert Museum, notamment dans le traitement du drapé de la robe, avec sa longue ceinture recourbée à l'avant, et le geste de la main de l'enfant. Par ailleurs, comme le remarque P.Williamson, la Vierge de la collection Thyssen est sculptée en ronde bosse légèrement aplatie.

REFERENCES BIBLIOGRAPHIQUES
C. Little, "Ivoires et art gothique" dans Revue de l'art , XLVI, (1979), p. 63-5.
Les fastes du Gothique: le siècle de Charles V, cat. exp. Grand Palais, Paris, 1981, no.130.
P. Williamson, The Thyssen-Bornemisza Collection, Medieval Sculpture and Works of Art, London, 1987, pp.118-122.

FRENCH, PROBABLY PARIS, CIRCA 1320-30
AN IVORY GROUP OF THE VIRGIN AND CHILD
on later gilt copper hexagonal base

The Virgin is carved in the round with the Christ Child standing on her lap. In her right hand she holds a bird, symbolising the salvation of souls, which she extends towards the Child.  The gilt copper crown rests upon a circlet which holds in place her short veil which falls in soft folds to her shoulders. Traces of an original decorative neckline can be seen on the edge of her tunic. The small mouth, almond-shaped eyes and the treatment to the drapery all point to a French, probably Paris workshop of the early 14th century.

The present Virgin can be linked to the small group of ivory Virgins discussed by Little and Stratford in 1979 and more recently by Williamson in 1987 concerning the Virgin and Child in the Thyssen-Bornemisza Collection. Similar groups are located in the Walters Art Gallery Baltimore, the British Museum, the Victoria and Albert Museum, London and the Collegiale Treasury at Villeneuve-les-Avignon all illustrated by Williamson. The present Virgin can be most closely compared with that in the Victoria and Albert Museum (inv.no.4685-1858); note the treatment of the drapery and the placement of the belt with extending strap, as well as the placing of the Child's hand on His mother's breast. Williamson notes the shallowness of the Thyssen figure, a characteristic which is certainly present in the Dormeuil Virgin.