A small 12th-century ivory carving is currently the subject of an acquisition battle between two art world giants, The Metropolitan Museum of Art in New York and London’s Victoria and Albert Museum (V&A). Both museums are vying for ownership of the exquisite sculpture, which has been on loan to the V&A since 1982.  

“It is the most important English Romanesque sculpture remaining in private hands,” reflected Paul Williamson, former Keeper of the Sculpture, Metalwork, Ceramics and Glass department at the V&A.  

A few months ago, Sotheby’s agreed to privately sell the sculpture to the Met for just over £2 million, subject to a UK export licence. But the UK arts and heritage secretary, Stephen Parkinson, quickly placed a temporary export bar on the carving to allow time for a UK buyer to acquire it for the nation. This means the V&A now has the opportunity to raise enough funds to match the Met’s offer.  

“As well as being an object of great reverence and accomplishment, this exquisite 12th-century carving is significant to our understanding of ivories in the early mediaeval period,” explained Parkinson. “I hope that a UK buyer will come forward so that this work can be saved for the nation and studied and admired by generations to come.” 

The decision to defer the export licence was made on the basis that the carving met the first, second and third Waverley Criteria for its outstanding connection with British history and national life, aesthetic importance, and significance for the study of early mediaeval ivories.  

Dating from around 1190-1200, the sought-after piece was carved in York from an unusually large piece of walrus tusk measuring 18cm high. It sensitively depicts the Deposition scene, showing Joseph of Arimathea lifting Christ’s body down from the cross. Sandy Heslop, a Medieval Art specialist at the University of East Anglia, believes the carving is “the first expression of tenderness in a work of art”. 

The remarkable ivory was originally part of a bigger ensemble of the Passion of Jesus that was probably part of an impressive church altarpiece. It closely relates to another fragment from the group that portrays Judas at the Last Supper, which was donated to the V&A in 1949.  

London-based antiquarian collectors and dealers John (1900-1976) and Gertrude Hunt acquired the carving at some point after they married in 1933. Besides this, very little is known about the artwork’s provenance, although it has probably always remained in the UK. In 1982, Gertrude Hunt offered the Deposition carving on long-term loan to the V&A, where it remained until late 2022.  

Potential UK buyers, including the V&A, have until 2^nd February 2024 to equal the Met’s £2 million offer. There is a possibility for the deadline to be extended by four months if the potential buyer can demonstrate that there has been a serious attempt to raise the funds.