This is one of the finest surviving medieval images in ivory of the crucified Christ. It is extraordinary in its monumental character and the sensitive rendering of the human body. Stylistically, it accords well with works produced in Paris around 1300, during the reign of King Philip the Fair (r. 1285–1314), but the use of walrus ivory suggests that the sculpture was carved by a Parisian artist (or one who had trained in the French capital) active in England, Scandinavia, or Cologne, where walrus ivory was more readily available than costly elephant tusks.
Private Collection, Argentina (ca. 1964-2004) ; [ Arte y Antiguedates, Buenos Aires (2004)] ; [ Brimo de Laroussilhe, Paris (2004–05)]
"Front Matter." The Burlington Magazine 146, no. 1218 (September 2004). p. IV, Illustrated in advertisement for Paris Biennale.
The Metropolitan Museum of Art. "Recent Acquisitions: A Selection, 2005-2006." The Metropolitan Museum of Art Bulletin, n.s., 64, no. 2 (Fall 2006). p. 26.
Barnet, Peter. "Recent Acquisitions (1999-2008) of Medieval Art at the Metropolitan Museum of Art and the Cloisters, New York: Supplement." The Burlington Magazine 150, no. 1268 (November 2008). p. 798, fig. XVII.
Little, Charles T. "Kölner Elfenbeinschnitzereien der Gotik: viele offene Fragen." In Glanz und Größe des Mittelatters: Kölner Meisterwerke aus den großen Sammlungen der Welt, edited by Dagmar Täube, and Miriam Verena Fleck. München: Hirmer Verlag, 2011. p. 88, fig. 9.
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. 82.
Williamson, Paul, and Glyn Davies. Medieval Ivory Carvings, 1200–1550. Vol. 1. London: Victoria and Albert Museum, 2014. p. 91, fig. 1.