WThe Archangel ivory is the largest surviving Byzantine ivory panel, now in the British Museum in London. Dated to the early 6th century, it depicts an archangel holding a sceptre and imperial orb.
WThe Barberini ivory is a Byzantine ivory leaf from an imperial diptych dating from Late Antiquity, now in the Louvre in Paris. It represents the emperor as triumphant victor. It is generally dated from the first half of the 6th century and is attributed to an imperial workshop in Constantinople, while the emperor is usually identified as Justinian, or possibly Anastasius I or Zeno. It is a notable historical document because it is linked to queen Brunhilda of Austrasia. On the back there is a list of names of Frankish kings, all relatives of Brunhilda, indicating the important position of queens within Frankish royal families. Brunhilda ordered the list to be inscribed and offered it to the church as a votive image.
WThe Borradaile Triptych is an ivory Byzantine tryptich carved in Constantinople between 900–1000 AD. It was bequeathed by Charles Borradaile to the British Museum in 1923 and is one of the "Romanos Group" of ivories that are closely connected with the Imperial Court, along with the Harbaville Triptych and Wernher Triptych.
WThe Harbaville Triptych is a Byzantine ivory triptych of the middle of the 10th century with a Deesis and other saints, now in the Louvre. Traces of colouring can still be seen on some figures. It is regarded as the finest, and best-preserved, of the "Romanos group" of ivories from a workshop in Constantinople, probably closely connected with the Imperial Court.
WThe Leo Scepter is a Byzantine ivory work of art, usually and erroneously identified as a scepter tip. Generally accepted to be from the 9th century, the piece is now part of the collection of the Berlin State Museums. It must be added that the date and identification of this ivory, although probable, are not indisputable. Various historians have suggested that the piece, carved with religious iconographies and inscriptions, such as the name of an Emperor Leo, had been made during the reign of Leo VI the Wise, and was probably handled in public ceremonies as a symbol of imperial and religious authority. Kurt Weitzmann on the other hand proposed that this ivory may have been made during the reign of Leo V the Armenian. However, a recent analysis of the content of its inscriptions has shown that the connection with the coronation of Leo V is unjustified.
WThe Romanos Ivory is a carved ivory relief panel from the Byzantine empire measuring 24.6 cm by 15.5 cm and 1.2 cm thick. The panel is currently in the Cabinet des Médailles of Paris. Inscriptions name the figures of the emperor Romanos and his wife Eudokia, who are being blessed by Christ. However, there were two imperial couples by these names and scholars have yet to agree which is shown. It was first believed to represent Romanos IV and therefore dated between 1068 and 1071. Discoveries of other carved relief works in the 20th century led researchers to think that it represents the earlier Romanos II, changing the date of creation to somewhere between 945 and 949.
WThe Salerno Ivories are a collection of over 70 Biblical ivory plaques from around the 11th or 12th century that contain elements of Early Christian, Byzantine, and Islamic art as well as influences from Western Romanesque and Anglo-Saxon art. It is the largest unified set of ivory carvings preserved from the pre-Gothic Middle Ages., and depicts narrative scenes from both the Old and New Testaments. The majority of the plaques are housed in the Diocesan Museum of the Cathedral of Salerno, which is where the group's main namesake comes from. It is supposed the ivories originated in either Salerno and Amalfi, which both contain identified ivory workshops, however neither has been definitively linked to the plaques so the city of origin remains unknown. The panel's origins in a twelfth-century Sicilian or Levantine workshop has also been considered, as well as possible monastic bonds or affiliations to the Norman court. Smaller groups of the plaques and fragments of panels are currently housed in different museum collections in Europe and America, including the Metropolitan Museum of Art in New York, the Louvre in Paris, and the Museum of Fine Arts in Budapest.
WThe Throne of Maximian is a cathedra that was made for Archbishop Maximianus of Ravenna and is now on display at the Archiepiscopal Museum, Ravenna. It is generally agreed that the throne was carved in the Greek East of the Byzantine Empire and shipped to Ravenna, but there has long been scholarly debate over whether it was made in Constantinople or Alexandria.
WThe Trier Adventus Ivory or the Translation of Relics Ivory is an artwork in the Trier Cathedral Treasury in Trier, Germany. The 4th-century relief is a piece of ivory carving from the Byzantine Empire. It was acquired by the Cathedral of Trier in 1844. The work is considered to be an "enigma of Early Byzantine art" and scholars have debated over the ivory's date of manufacture, its original location, and who is depicted. The panel is relatively intact aside from minimal damage to the top right and bottom left corners and some missing figures heads.
WThe Troyes Casket is a carved ivory box of Byzantine origin. It is currently housed in the treasury of the Troyes Cathedral in Troyes, France.
WThe Veroli Casket is a casket, made in Constantinople in the late tenth or early eleventh century, and now in the Victoria and Albert Museum, London. It is thought to have been made for a person close to the Imperial Court of Constantinople, the capital of the Byzantine Empire, and may have been used to hold scent bottles or jewellery. It was later kept in the Cathedral Treasury at Veroli, south east of Rome, until 1861.
WThe Wernher Triptych is an ivory Byzantine triptych carved in Constantinople between 900–1000 AD.