De la Kunstkammer au musée: les ivoires portugais-africains de l’époque des grandes découvertes et leur étude
- Submitting institution
-
University of Cambridge
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 12126
- Type
- C - Chapter in book
- DOI
-
-
- Book title
- Connoisseurship, l'oeil, la raison et l'instrument
- Publisher
- Ecole du Louvre
- ISBN
- 9782904187384
- Open access status
- -
- Month of publication
- August
- Year of publication
- 2014
- URL
-
-
- Supplementary information
-
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- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
0
- Research group(s)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- Yes
- Additional information
- -
- Author contribution statement
- -
- Non-English
- Yes
- English abstract
- This article studies Luso-African ivories of the sixteenth and early seventeenth centuries, putting the works into their historical and cultural context in this age of globalism. To those from Sierra Leone (1500-1540), for which I had identified the unique source for European motives, a book of hours published by Thielman Kerver in Paris between 1509 and 1511, I added a salt cellar acquired since by the Musée du Quai Branly. Next twelve African oliphants are studied, concluding that they probably came from a sculptors workshop from Zimbabwe (Khami), working in an East African Swahili coastal town (Sofala?) for Portuguese traders.
