Discovering the Secrets of a Rare Twelfth-century Walrus Ivory Carving



January 13, 2025

After a recent fundraising campaign, we were able to save for the nation an intricately detailed walrus ivory carving showing the biblical scene of ‘The Deposition of Christ’. This object is recognised as one of the finest surviving examples of English Romanesque sculpture. Acquired thanks to the generous support of various funding bodies and individual donors, this extraordinary piece, now on display at V&A South Kensington in The William and Eileen Ruddock Gallery (Medieval & Renaissance, Room 8), offers rare insights into the craftsmanship and materials employed in the decades around the year 1200. What makes the Deposition even more remarkable is its survival against the odds. The 16th-century Reformation led to the destruction of many similar objects, making this 800-year-old treasure truly unique.

Following its acquisition, we have launched an exciting research campaign to investigate the Deposition and its relationship to a walrus ivory carving that is likely to have been made in the same workshop, and perhaps once belonged to the same ensemble. This equally rare object entered the V&A’s collection already in 1949 and shows ‘Judas at the Last Supper‘. Using advanced scientific techniques, we are uncovering hidden details that can only be revealed through in-depth analysis.

Judas at the Last Supper and the Deposition of Christ side by side, awaiting inspection.

The V&A Science Lab team has employed cutting-edge tools, such as a Bruker scanning X-ray fluorescence spectrometer (XRF) and a Hirox digital microscope, to examine the surface of the carving. Our focus has been on identifying tool marks and traces of paint residues, which will not only guide conservation efforts but also provide new insights into how the Deposition was created and investigate its connection to its companion piece, ‘Judas at the Last Supper’.

Scientists safely position the objects for in-depth examination.

The scanning XRF equipment allowed us to map the surface of the sculptures without causing any damage, revealing traces of pigments and other materials. The digital microscope provided high-quality images that helped us identify tool marks and small details, offering insights into the carving techniques used. Early observations show intricate carving technique and suggest possible remains of original surface treatments and decoration. While these findings are still preliminary, they promise to help us better understand the skill and intentions of the original makers in the future.

The distribution of calcium in Judas, and of copper and lead in the Deposition, obtained with XRF scanning.

This research not only supports the conservation of the Deposition but also deepens our understanding of Romanesque ivories and their cultural context. We are working closely with conservation and curatorial colleagues, including curator of Medieval Art and Design Michaela Zöschg, to ensure a comprehensive interpretation of the results. The Deposition represents a fascinating intersection of art, history, and science. As our study progresses, we look forward to uncovering more about the object’s history and sharing these discoveries with the public and the wider heritage community.

Detail of the Deposition observed with a Hirox digital microscope.

The acquisition of the Deposition was made possible by the National Heritage Memorial Fund; Art Fund; The Headley Trust; the V&A Americas Foundation; legacy gifts from Lt Cdr Paul Fletcher, William Roper, Suzanne Pinkerton, and Gillian Taylor; Malcolm and Rosalind Gammie; Lady Gibbs; Tioc Foundation; The William Brake Foundation; and many other generous donors.

Art Fund’s grant was supported by the Rought Fund, The Leche Trust, the David and Emma Verey Charitable Trust, and a group of individuals.

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Comments

I have always loved the ivory of Christ and Joseph of Arimathea. Such a beautiful expression of grief on Joseph’s face and the loving detail of Jesus’ toes!
I’m so glad it’s being studied with such care
and that it’s going to remain with the V&A.

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