This article discusses the ivory "Vierge ouvrante" in the Walters Art Gallery (acc. no. 71.152), whose authenticity, once seriously questioned, has now been confirmed by radiocarbon dating. Figuring in the debate are three Vierge ouvrantes of the 1830s modeled on the genuine Walters statuette. The Walters Vierge, however, was not discovered and reassembled until 1897. Various explanations of this
... [Show full abstract] conundrum are considered, including the possibility that the provenance of the Walters ivory was in part fabricated.