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Gothic Ivory Sculpture Content and Context GOTHIC IVORY SCULPTURE CONTENT AND CONTEXT EDITED BY CATHERINE YVARD Gothic Ivory Sculpture: Content and Context Edited by Catherine Yvard With contributions by: Elisabeth Antoine-König Katherine Eve Baker Camille Broucke Jack Hartnell Franz Kirchweger Juliette Levy-Hinstin Christian Nikolaus Opitz Stephen Perkinson Naomi Speakman Michele Tomasi Catherine Yvard Series Editor: Alixe Bovey Managing Editor: Maria Mileeva Courtauld Books Online is published by the Research Forum of The Courtauld Institute of Art Somerset House, Strand, London WC2R 0RN © 2017, The Courtauld Institute of Art, London. ISBN: 978-1-907485-09-1. Courtauld Books Online is a series of scholarly books published by The Courtauld Institute of Art. The series includes research publications that emerge from Courtauld Research Forum events and Courtauld projects involving an array of outstanding scholars from art history and conservation across the world. It is an open-access series, freely available to readers to read online and to download without charge. The series has been developed in the context of research priorities of The Courtauld which emphasise the extension of knowledge in the fields of art history and conservation, and the development of new patterns of explanation. For more information contact [email protected] All chapters of this book are available for download at courtauld.ac.uk/research/courtauld-books-online. Every effort has been made to contact the copyright holders of images reproduced in this publication. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. All rights reserved. Designed by Matthew Cheale Cover Image: Detail of Fig. 10.1, London, The British Museum, Inv. 1888,1217.1. © Trustees of the British Museum. CONTENTS List of Illustrations 5 Notes on Contributors 8 Acknowledgements 10 Preface 11 CATHERINE YVARD I. Production and Uses: Thirteenth to Fourteenth Century 16 A Flagellation Scene Reunited: a Reassessment of Early 17 Fourteenth-Century Ivory Altarpieces and Tabernacula ELISABETH ANTOINE-KÖNIG, JULIETTE LEVY-HINSTIN Made in Cologne: New Perspectives on the Kremsmünster 30 Workshop MICHELE TOMASI Buying, Gifting, Storing: Ivory Virgins in Documentary Sources 46 from Late Medieval Central Europe CHRISTIAN NIKOLAUS OPITZ II. Ivory Carving in Transition: Late Fifteenth to Early 56 Sixteenth Century Translated Images: from Print to Ivory in the Late Fifteenth and 57 Early Sixteenth Century CATHERINE YVARD 'La Chambre aux dentz d'yvoire': an Introduction to the 68 Inventory of Chicart Bailly KATHERINE EVE BAKER Anatomical Impulses in Sixteenth-Century Memento Mori 76 Ivories STEPHEN PERKINSON III. Ivory and the Collector: Nineteenth to Twentieth 93 Century Gothic and Late Medieval Ivories from the Collection of Clemens 94 Wenceslaus Count of Renesse-Breidbach FRANZ KIRCHWEGER 'A Great Harvest': the Acquisition of William Maskell's Ivory 111 Collection by the British Museum NAOMI SPEAKMAN On Paul Thoby, the Musée Dobrée and Medieval Ivories 125 CAMILLE BROUCKE Epilogue: Touching Ivory Online 143 JACK HARTNELL Photograph Credits 159 PART TWO IVORY CARVING IN TRANSITION: LATE FIFTEENTH TO EARLY SIXTEENTH CENTURY CHAPTER 5 'LA CHAMBRE AUX DENTZ D'YVOIRE': AN INTRODUCTION TO THE INVENTORY OF CHICART BAILLY KATHERINE EVE BAKER 5.1 Inventory of Chicart Bailly. Pierrefitte-sur- Seine, Archives nation- ales, Minutier central des notaires de Paris, ET/XIX/111, 16 June 1533, f. 1r. On 16 June 1533, the members of Chicart Bailly’s family gathered together in a house on the rue Saint Denis.1 This large group was not reuniting to mourn the recent loss of their patriarch, but instead to begin the process of making an inventory of Chicart’s es- tate.2 While not mandatory in the Parisian civil code of the period, these catalogues of the KATHERINE EVE BAKER | INVENTORY OF CHICART BAILLY 69 possessions, debts, and financial interests of the deceased were typically generated when inheritances were complicated by multiple marriages and numerous offspring. Such was the case with Chicart, who not only left behind several adult children from a previous mar- riage, but also a widow whose daughter Genevieve had not yet reached majority.3 After a kind of legal reckoning, where all interested parties were listed along with their relation- ship to the deceased, the nearly two-week long process of making the inventory began, as a team of notaries and numerous appraisers moved from room to room recording all the goods found within. Although estate inventories are always valuable documents for those engaged in the task of material history, the inventory of Chicart Bailly is particularly precious for the light it sheds on ivory carving in the capital at the turn of the sixteenth century. As stated at the beginning of the document, ‘feu honorable homme Chicart Bailly’ was a ‘maistre tabletier et bourgeois de Paris’, meaning a member of a guild that was responsible for working with ivory, bone, and precious woods.4 In its most etymologically strict defini- tion, the professional term tabletier would seem to refer to the making of writing tablets (tablettes) or game boards (tablier).5 While the stockroom, boutique, and other storage areas in Chicart’s house did contain objects that match these categories in large quantities, the variety of goods in the possession of the Bailly family—from ivory birdcages to crosses made of bone—makes clear that the designation was not strictly descriptive of practice. Covering both sides of over fifty paper leaves bound with simple twine (fig. 5.1), the document from 1533 primarily records the professional materials of Chicart Bailly, al- though the domestic spaces of the home were also inventoried, including beds, clothes, jewelry, and even tapestries. While not every finished ivory object included in the text was necessarily carved by the deceased and his associates, it is important to note that we are not simply seeing the material reserves of a merchant, of someone who exclusively sold products made by other artisans. Significant quantities of partially completed ivory objects, with their intended function often listed alongside their value, appear in the inven- tory.6 For example, in a small gallery on the first floor with a view on the courtyard, we find: Item, twenty-four livres [i.e. 11.75 kg] of ivory rods, ready to make rosaries. Appraised at nine solz tournois for each livre, worth together at this price 10 livres 16 solz tournois. Item, three livres and a half [i.e. 1.47 kg] of small pieces of ivory used to make combs. Appraised at eight solz tournois for each livre, worth together at this price 28 solz tournois.7 Like other unfinished items in the inventory, these pieces could have been worked with some of the tools scattered throughout the house. For example, in a room described as ‘l’arrière boutique dudit hostel’, we find numerous saws, a three-sided file, two billhooks, KATHERINE EVE BAKER | INVENTORY OF CHICART BAILLY 70 and ‘many other kinds of tools used in the profession of peignier and tabletier’.8 The pres- ence of tools would indicate that carving took place in this space, although this ‘back shop’ seems to have primarily functioned as a kind of stockroom, with large quantities of finished goods being kept alongside half-completed objects in ‘layettes’ or drawers. Other tools with more specialised uses could also be found in the home, such as a lathe to turn ivory rosary beads.9 Whether this tool was still functional, however, remains unclear. Lo- cated in an attic with a view on the rue Saint Denis, the lathe sat alongside ‘a certain quantity’ of old cow bones, and was itself described as ‘tel quel’, a term used to indicate age or wear.10 A second lathe was also found on the top floor of Chicart’s house, in this case a separate attic that faced the courtyard.11 One hypothesis for the placement of both lathes in attic spaces could be the need for excellent lighting, as they were often used as workrooms by artisans such as painters.12 The old bones that neighboured the rosary lathe were not the only raw materials found in Chicart’s house. For example, a room on the third floor below the attic, evocatively named ‘la chambre aux dentz d'yvoire’ in the inventory, was seemingly full to the brim.13 Its content included 1.100 livres (538.45 kg) of ‘boys rouge’, a type of precious wood that frequently appears in combination with ivory and bone in the finished objects, and over 300 bones, described as ‘oz vert’.14 For the ivory, when a calculation is made based on en- tries that include ‘dentz d’yvoire’ priced in large batches, one comes to the staggering total of 4.431 livres of ivory, which translates to a weight of approximately 2.169 kg. Although these batches are differently valued, possibly reflecting quality or type, overall there is a significant lack of detail about the exact nature of the ivory teeth. One entry in this room, however, provides more taxonomic information. Located near the end of Bailly’s list of raw materials, it reads: Item, one ivory tooth, weighing one hundred and 24 livres. Appraised at fifty livres tournois per hundred [livres], worth together at this price 62 livres tour- nois.15 Weighing 60.7 kg, there can be little doubt that this single ‘dent’ was a substantial elephant tusk, as the average historical weight of an African savannah elephant tusk was between 45 and 60 kilograms.16 The inventory also lists two other single ‘dents’ with sig- nificant—though slightly lower—weights, and it is likely that much of the stock was made up of variously sized elephant tusks. Due to the large quantity of raw ivory in his home, one could rightfully ask whether Chicart was himself a middleman, having enough capital to acquire a significant stock- pile that could then be sold to other members of the trade.17 Unfortunately, corroborating documentary evidence has yet to be found.
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