Carving, Recarving, and Forgery: Working Ivory in the Tenth and Twentieth Centuries
Anne Cutler
An understanding of the means by which a carved ivory statuette, box, or plaque comes into being is normally not considered integral to its aesthetic appreciation comprehension intellectual content. Yet for productions many cultures such larger knowledge can be shown central importance. If aim our studies fullest possible awareness an object’s achievement and effect, then both nature material ways in it was worked are essential parts equipment that retrospectively needs brought bear on it. Such information only elucidate origins history, including occasional reworking, but also instrumental identification modern forgeries.
West 86th: A Journal of Decorative Arts, Design History, and Material Culture