The Lamentation over the body of the dead Christ is set between mountain peaks. The Virgin embraces Christ as he is being prepared for burial. Similar roughly carved icons have been associated with Venetian imitations of Byzantine art; more recently it has been suggested that they might be mementos of Crusader visits to sites in the Holy Land.
J. Pierpont Morgan, London and New York (until 1917)
Breck, Joseph. "Pre-Gothic Ivories in the Pierpont Morgan Collection." The Metropolitan Museum of Art Bulletin, o.s., 15, no. 1 (January 1920). p. 16.
Breck, Joseph, and Meyric R. Rogers. The Pierpont Morgan Wing: A Handbook. 2nd ed. New York: The Metropolitan Museum of Art, 1929. p. 50.
Keck, Andrew S. "A Group of Italo-Byzantine Ivories." The Art Bulletin 12, no. 2 (June 1930). pp. 150–51, fig. 5.
Goldschmidt, Adolph, and Kurt Weitzmann. Die Byzantinischen Elfenbeinskulpturen des X.-XIII. Jahrhunderts. Vol. 2. Berlin: Bruno Cassirer, 1934. no. 213, pp. 20-21, 76, pl. LXIX, fig. 213.
Maguire, Henry. "Ivories as Pilgrimage Art: A New Frame for the 'Frame Group'." Dumbarton Oaks Papers 63 (2009). p. 138 n. 135.
Williamson, Paul. Medieval Ivory Carvings: Early Christian to Romanesque. London: V & A Publications, 2010. pp. 138–39, fig. 1.