French Gothic Ivories

Name: French Gothic Ivories
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ISBN: 9781009018876

Material Theologies and the Sculptor’s Craft

Sarah M. Guérin (University of Pennsylvania)

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English

Cambridge University Press
19 February 2026

History of Art & Design Styles; Sculpture

This volume is the first to consider the golden century of Gothic ivory sculpture (1230-1330) in its material, theological, and artistic contexts. Providing a range of new sources and interpretations, Sarah Guérin charts the progressive development and deepening of material resonances expressed in these small-scale carvings. Guérin traces the journey of ivory tusks, from the intercontinental trade routes that delivered ivory tusks to northern Europe, to the workbenches of specialist artisans in medieval Paris, and, ultimately, the altars and private chapels in which these objects were venerated. She also studies the rich social lives and uses of a diverse range of art works fashioned from ivory, including standalone statuettes, diptychs, tabernacles, and altarpieces. Offering new insights into the resonances that ivory sculpture held for their makers and viewers, Guérin's study contributes to our understanding of the history of materials, craft, and later medieval devotional practices.

By: Sarah M. Guérin (University of Pennsylvania)
Imprint: Cambridge University Press
Country of Publication: United Kingdom
Dimensions: Height: 279mm, Width: 216mm, Spine: 18mm
Weight: 777g
ISBN: 9781009018876
ISBN 10: 1009018876
Pages: 336
Publication Date: 19 February 2026
Audience: College/higher education , Further / Higher Education
Format: Paperback
Publisher's Status: Active

Sarah M. Guérin is assistant professor of the history of art at the University of Pennsylvania.

Reviews for French Gothic Ivories: Material Theologies and the Sculptor’s Craft

'In addition to the importance of the material and the biography of the objects, including the craftsmanship, the results regarding the response of the ivories to the artists and buyers of the time and the changing devotional practices are of great interest. Guérin's work provides a scientific as well as methodological foundation upon which future ivory research must build.' Manuela Studer-Karlen, Sehepunkte (translated from German) 'Guérin should be commended for her sensitivity to methods of making across such a large and far-flung corpus. She beautifully conveys how compositions emerge from carved tusks, a difficult conceptual task more often achieved in studies of wood and stone sculpture.… [the book's] evidence, methods, and prose inspire us to apply its lessons to underexplored scholarly territories. The future of ivory studies is bright indeed.' Nicole Pulichene, Speculum: A Journal of Medieval Studies