Women on the Scandinavian island of Gotland wore box brooches to secure their shawls at the collarbone; the brooches doubled as a container to hold small objects. This example is decorated with tiny beasts, which inhabit the interlace patterns on the top and sides. Viking art generally eschews figural decoration in favor of lively patterns based on stylized animals.
Private Collection(sale, Christie, Manson & Woods, London, 1980); Rainer Zietz Limited, London (sold 1982)
The Metropolitan Museum of Art. Notable Acquisitions, 1982-1983 (Metropolitan Museum of Art) (1983). pp. 16-17.
Thunmark-Nylén, Lena. "Viking Age Box Brooches: Technical Stratigraphy and Workshop Grouping." PhD diss., Institutionen for Arkeologi Distribution, 1983.
Parker, Elizabeth C. "Recent Major Acquisitions of Medieval Art by American Museums." Gesta 23, no. 1 (1984). p. 69, fig. 2.
Brown, Katharine R. Migration Art, A.D. 300-800. New York: The Metropolitan Museum of Art, 1995. no. 70, pp. 47-48.
Wixom, William D., ed. Mirror of the Medieval World. New York: The Metropolitan Museum of Art, 1999. no. 66 B, pp. 50–51.
Brown, Katharine R., Dafydd Kidd, and Charles T. Little, ed. From Attila to Charlemagne: Arts of the Early Medieval Period in the Metropolitan Museum of Art. New York and New Haven: The Metropolitan Museum of Art, 2000. p. 319, 358, fig. 25.13.