British Museum blog

London, a world city in 20 objects: ivory relief of Louis XIV

Ivory relief of Louis XIV
Aileen Dawson, British Museum

The art of ivory carving was practised in Europe above all in the town of Dieppe from the seventeenth century, often using elephant ivory from Africa. The shape of this delicately carved relief on a black velvet support conforms to a tusk. The artist responsible, whose signature ‘LE MARCHAND FECIT’ (‘Le Marchand made [it]’) appears on the lower part, was born in Dieppe and was the son of a painter. A Protestant, he left France to escape religious persecution and was in Edinburgh by 1696. Around 1700 he went to London where he carved portraits of many famous men, including Sir Isaac Newton and where a thriving French Protestant community settled around Shoreditch and Spitalfields.

Ivory relief of Louis XIV

Ivory relief of Louis XIV

The relief, measuring 14cm in height, depicts King Louis XIV of France (1638-1715), often known as the ‘Sun King’, and celebrates his military exploits. He stands on a pedestal inscribed in Latin ‘To the Victory of Louis the Great’ with chained slaves at his feet and a series of flags to either side of him. The figures are framed by a laurel wreath. During his long reign Louis XIV fought many battles, vastly increasing the power and prestige of France and centralising its government. The magnificent château at Versailles was his creation and served the double purpose of demonstrating his wealth and taming the aristocracy, which was obliged to reside there.

David Le Marchand (1674-1726) is one of many artists who have sought refuge in Britain for reasons of religious persecution. It is not quite clear why he went to Edinburgh, and it seems surprising that he made this representation of the king whose religious policy led to his exile. One theory, which cannot be proved, is that the piece may have been done for a Scottish patron living in exile at Saint-Germain-en-Laye near Paris at the Stuart court of the ‘Old Pretender’, James Francis Edward, or his father, James II, under the protection of the Catholic King Louis XIV. There is no doubt that Le Marchand had several Scottish clients, nor that his most successful years were spent working in London where he met and portrayed the leading figures of the age: Samuel Pepys, Sir Christopher Wren, and various members of the burgeoning Huguenot (French Protestant) community in London.

This was first published in the London Evening Standard on 8 November 2012.

The carving was purchased for the Museum in 2009 with the help of the Art Fund and the British Museum Friends and is on display in Room 46: Europe 1400-1800

If you would like to leave a comment click on the title

Filed under: Collection, London: a world city in 20 objects, ,

One Response - Comments are closed.

  1. tankonyves says:

    An everlasting metaphor of an artist in exile (like Ovid in Tomi) longing for his homeland, and, grotesquely, paying tribute to his persecutor.


Enter your email address to follow this blog and receive notifications of new posts by email.

Join 14,501 other followers


Follow @britishmuseum on Twitter

British Museum on Instagram

#todayimet goddess of love, Aphrodite. In this statue the voluptuous Aphrodite crouches down at her bath and turns her head sharply to her right, as if surprised by her audience. This Roman copy from the 2nd century AD is based on an original sculpture from Hellenistic Greece. This statue is lent to the British Museum by Her Majesty the Queen.
You can fall for the goddess of love in Room 23, one of our Greek and Roman sculpture galleries.
We’re celebrating @instagram's 5th birthday by sharing portraits of some of the characters you can find in the Museum #WWIM12 For @instagram's 5th birthday we’re sharing portraits of some of the characters you can find in the British Museum.
#todayimet this Ming Dynasty figure, who helped judge people in the underworld! The belief in Hell entered China with Buddhism during the early 1st millennium AD. This figure of a judge’s assistant is holding records of evil deeds under his left arm. Meet this fearsome figure (if you dare!) in our Asia gallery (Room 33) #WWIM12 We’re celebrating @instagram's 5th birthday by sharing portraits of some of the characters you can find in the Museum.
#todayimet Ramesses II, who ruled Egypt for 67 years over 3,000 years ago. This colossal statue is one of the largest pieces of Egyptian sculpture in the British Museum. Like all Egyptian statues, it was originally painted. Traces of pigment remain: black for the eye pupils, red for the skin, and blue and yellow for the stripes on the headcloth.
Meet the pharaoh for yourself in our Egyptian Sculpture Gallery (Room 4) #WWIM12 Our #Celts exhibition opens today! It brings together the incredible Iron Age, Roman and early medieval collections of the British Museum and @nationalmuseumsscotland.
Roman control of southern Britain broke down around AD 410. New leaders established Anglo-Saxon kingdoms in England, and Roman towns and cities were largely abandoned. Neighbouring communities in Scotland, Ireland and Wales continued to develop their own unique identities. Monasteries in these areas stood out as European centres of art, learning and literacy, perpetuating and reinventing local traditions. Communities here spoke languages that we now call Celtic, and practiced a distinctive form of Christianity.
Striking stone crosses, such as this one found in Monifieth, Scotland, combined ancient Celtic curves with Anglo-Saxon knotwork and interlace designs to express these distinctive Celtic identities in Scotland, Ireland and Wales. This sculpture may have been a personal memorial or grave-slab.
Slab of grey sandstone with a cross on one side. From Monifieth, Angus, Scotland, c. AD 800–900. National Museums Scotland.
Find out more about #Celtic art and history and book tickets at Our #Celts exhibition opens today! It brings together stunning objects from the British and Irish Isles as well spectacular loans from across Europe.
This magnificent cauldron is one of the most important and intriguing finds from ancient Europe. It reveals connections between communities thousands of miles apart. Although it depicts objects used in central and western Europe,
it was found in a bog near Gundestrup in Denmark, beyond the northern edge of the Celtic regions. The style of the designs suggests that it was made further east, in Bulgaria or Romania. The strange animals and cross-legged pose of
the antlered figure hint at even wider influences, from as far afield as Asia. The scenes on the panels give a glimpse into a world of ancient myths, and the stories of gods and heroes whose names are now lost.
The Gundestrup cauldron was probably reserved for important rituals. It is likely that most people would have viewed it from a distance, seeing only the forbidding faces of gods and goddesses on the outer panels. The fantastical scenes on the inside would have been revealed to those allowed to experience the cauldron close up.
Gundestrup cauldron. Iron Age, c. 100 BC–AD 1. Found in Gundestrup, northern Jutland, Denmark. @nationalmuseet, #Denmark.
Find out more about #Celtic art and history and book tickets at Our major new #Celts exhibition is now open! Come on a 2,500-year journey tracing what it means to be Celtic...
The peoples first referred to as Celts lived across much of Europe north of the Alps, in villages or fortified hilltop settlements. Although not a single distinct group, they were interconnected, sharing cultural ideas across the continent. The objects they made for feasting, religious ceremonies, adornment and warfare were both stunning works of art and powerful ways to convey shared values and beliefs. Their unique abstract style set them apart from the classical world, but their technological accomplishments stand on par with the finest achievements of the ancient Greeks and Romans.
2,000 years ago valuable objects like this were cast into rivers. This magnificent shield was found in the River Thames at Battersea Bridge. It was not made for serious warfare as it is too short to provide sensible protection. Instead, it was probably made for flamboyant display. The highly polished bronze and glinting red glass would have made for a great spectacle.
The Battersea shield. Iron Age, c. 350–50 BC. Found in the River Thames, London, England.
Find out more about #Celtic art and history and book tickets at

Get every new post delivered to your Inbox.

Join 14,501 other followers

%d bloggers like this: