Art/ Collection/ Collection/ Art Object

Plaque with Scenes at Emmaus

Date:
ca. 850–900
Geography:
Made in northern France
Culture:
Carolingian
Medium:
Elephant ivory
Dimensions:
Overall: 4 9/16 x 9 1/4 x 1/4 in. (11.5 x 23.5 x 0.6 cm)
Classification:
Ivories
Credit Line:
The Cloisters Collection, 1970
Accession Number:
1970.324.1
On view at The Met Cloisters in Gallery 14
Among the finest ivory carvings in the Cloisters collection, this plaque depicts Christ’s appearance to two of his disciples after his Resurrection. Christ, who is distinguished by his halo, meets the disciples along the road to the town of Emmaus, near Jerusalem. As described in the Gospel of Luke (24:13–35), although not recognizing Christ, they urge him to stay in town with them. Once within Emmaus, they finally recognize him as he breaks bread for their shared evening meal. Judging from the horizontal format and the recesses along the top edge to accommodate hinges, this plaque once served as the back panel of a small coffret. Originally, the recessed images of birds and flowers in the border were filled with gold foil.
Ernst and Marthe Kofler-Truniger, Lucerne (sold 1970)
Schnitzler, Hermann. "Eine Metzer Emmaustafel." Wallraf-Richartz Jahrbuch 20 (1958). pp. 41–54.

Schnitzler, Hermann, ed. Grosse Kunst des Mittelalters aus Privatbesitz. Cologne: Museum Schnütgen, 1960. no. 9, pp. 13-14, pl. 1.

Philippowich, Eugen von. Elfenbein: ein Handbuch für Sammler und Liebhaber. Braunschweig: Klinkhardt & Biermann, 1961. p. 38, fig. 30, ill. p. 41.

Bloch, Peter. "Sammlung E. und M. Kofler-Truniger, Luzern: Ausstellung im Kunsthaus Zürich vom 7. Juni bis 1. September." Kunstchronik 17 (October 1964). p. 264.

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Elbern, Victor H. "Vier karolingische Elfenbeinkästen: Historische, symbolische und liturgische Elemente in der spätkarolingischen Bildkunst." Zeitschrift des Deutschen Vereins für Kunstwissenschaft 20 (1966). pp. 8, 9, fig. 3a.

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The Metropolitan Museum of Art. "One Hundred First Annual Report of the Trustees for the Fiscal Year July 1, 1970 through June 30, 1971." Annual Report of the Trustees of the Metropolitan Museum of Art 101 (1971). p. 21.

Schiller, Gertrud. Ikonographie der christlichen Kunst. Vol. 3. Gütersloh, Germany: Gütersloher Verlagshaus Gerd Mohn, 1971. pp. 101, 286, fig. 308, ill. p. 431.

Deuchler, Florens. "The Cloisters: ein Museum für mittelalterliche Kunst in New York." Du 32, no. 2 (1972). p. 96.

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Husband, Timothy B., and Charles T. Little. Europe in the Middle Ages. New York: The Metropolitan Museum of Art, 1987. no. 36, pp. 9, 45, (acc. no. misidentified as 1974.266).

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Peter, Michael. "Das karolingische Elfenbeinkästchen im Schatz der Quedlinburger Stiftskirche." Zeitschrift des Deutschen Vereins für Kunstwissenschaft 52/53 (1998/1999). pp. 74–75, 76, 87, fig. 15.

Gaborit-Chopin, Danielle. Ivoires Médiévaux, Ve-XVe siècle. Paris: Musée du Louvre, 2003. p. 155, fig. 40a.

Barnet, Peter, and Nancy Y. Wu. The Cloisters: Medieval Art and Architecture. New York and New Haven: The Metropolitan Museum of Art, 2005. no. 2, pp. 25, 193.

Valdez del Álamo, Elizabeth. "Touch Me, See Me: The Emmaus and Thomas Reliefs in the Cloister of Silos." In Spanish Medieval Art: Recent Studies, edited by Colum P. Hourihane. Tempe: Arizona State University, 2007. p. 41, fig. 25.

Williamson, Paul. Medieval Ivory Carvings: Early Christian to Romanesque. London: V & A Publications, 2010. p. 197.

Barnet, Peter, and Nancy Y. Wu. The Cloisters: Medieval Art and Architecture. 75th Anniversary ed. New York and New Haven: The Metropolitan Museum of Art, 2012. p. 23.



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