Question: Bone carving was used in the casket now on display in what institution?

full_context: Document 1: Franks Casket: The Franks Casket (or the Auzon Casket) is a small Anglo-Saxon whale's bone (not "whalebone" in the sense of baleen) chest from the early 8th century, now in the British Museum. The casket is densely decorated with knife-cut narrative scenes in flat two-dimensional low-relief and with inscriptions mostly in Anglo-Saxon runes. Generally reckoned to be of Northumbrian origin, it is of unique importance for the insight it gives into early Anglo-Saxon art and culture. Both identifying the images and interpreting the runic inscriptions has generated a considerable amount of scholarship.
Document 2: Long-nosed god maskette: Long-nosed god maskettes are artifacts made from bone, copper and marine shells (Busycon) associated with the Mississippian culture (800 to 1600 CE) and found in archaeological sites in the American Midwest and Southeast. They are small shield-shaped faces with squared-off foreheads, circular eyes, and large noses of various lengths. They are often shown on Southeastern Ceremonial Complex representations of falcon impersonators as ear ornaments. Long and short nosed versions of the masks have been found in ten different states, with the majority found at sites in Illinois. Many archaeologists now associate them with the Ho-Chunk (Winnebago) stories of the mythological being Red Horn.
Document 3: Bone carving: Bone carving is the act of creating art forms by carving into animal bones and often includes the carving of antlers and horns. It can result in the ornamentation of a bone, or the creation of a figure. It has been practiced by a variety of world cultures, sometimes as a cheaper, and recently a legal, substitute for ivory carving. It was important in prehistoric art, with notable figures like the "Swimming Reindeer" (antler), and many of the Venus figurines. The Anglo-Saxon Franks Casket is a bone casket imitating earlier ivory ones.
Document 4: Chip carving: Chip carving or chip-carving, "kerbschnitt" in German, is a style of carving in which knives or chisels are used to remove small chips of the material from a flat surface in a single piece. The style became important in Migration Period metalwork, mainly Animal style jewellery, where the faceted surfaces created caught the light to give a glinting appearance. This was very probably a transfer to metalworking of a technique already used in woodcarving, but no wooden examples have survived. Famous Anglo-Saxon examples include the jewellery from Sutton Hoo and the Tassilo Chalice, though the style originated in mainland Europe. In later British and Irish metalwork, the same style was imitated using casting, which is often called imitation chip-carving, or sometimes just chip carving (authors are not always careful to distinguish the two), a term also sometimes applied to pottery decorated in a similar way.
Document 5: Ruthwell Cross: The Ruthwell Cross (] ) is a stone Anglo-Saxon cross probably dating from the 8th century, when the village of Ruthwell, now in Scotland, was part of the Anglo-Saxon kingdom of Northumbria.
Document 6: Nowell Codex: The Nowell Codex is the second of two manuscripts found in the bound volume Cotton Vitellius A.xv, one of the four major Anglo-Saxon poetic manuscripts. It is most famous as the manuscript containing the unique copy of the epic poem "Beowulf". In addition to this, it contains first a fragment of "The Life of Saint Christopher", then the more complete texts "Wonders of the East" and "Letters of Alexander to Aristotle," and, after "Beowulf", a poetic translation of "Judith". Due to the fame of "Beowulf", the Nowell codex is also sometimes known simply as the Beowulf manuscript. The manuscript is located within the British Library with the rest of the Cotton collection.
Document 7: Anglo-Saxon runes: Anglo-Saxon runes are runes used by the early Anglo-Saxons as an alphabet in their writing. The characters are known collectively as the futhorc (or "fuþorc"), from the Old English sound values of the first six runes. The futhorc was a development from the 24-character Elder Futhark. Since the futhorc runes are thought to have first been used in Frisia before the Anglo-Saxon settlement of Britain, they have also been called Anglo-Frisian runes. They were likely used from the 5th century onward, recording Old English and Old Frisian.
Document 8: Rosemarkie sculpture fragments: The Rosemarkie sculpture fragments are the Pictish slabs and stone fragments other than the main Rosemarkie Stone which have been discovered in Rosemarkie, on the Black Isle of Easter Ross. There are fourteen in all. Perhaps the most widely known is the so-called Daniel Stone. The latter is so named because of the tendency among scholars and enthusiasts of Pictish art to give every Pictish stone a Christian interpretation. In this case, the depiction of a man's head at the jaws of a wolf-like beast is supposed to depict the Old Testament story of Daniel in the Lion's Den. The stones are all of likely Christian origin, and share a similar style with the art of Iona. Some of them may have been of funerary purpose, as coffin lids, while others may have formed part of a larger stone. These stones are usually displayed in the Groam House Museum of Rosemarkie.
Document 9: Caistor-by-Norwich astragalus: The Caistor-by-Norwich astralagus is a roe deer astragalus found in an urn at Caistor St. Edmund, Norfolk, England. The astragalus is inscribed with a 5th-century Elder Futhark inscription, reading raïhan "roe". The inscription is the earliest found in England, and predates the evolution of the specifically Anglo-Frisian Futhorc. As the urn was found in a cemetery that indicated some Scandinavian influence, it has been suggested that the astragalus may be an import, perhaps brought from Denmark in the earliest phase of the Anglo-Saxon settlement of Britain. The inscription is an important testimony for the Eihwaz rune and the treatment of Proto-Germanic "*ai". The "h" rune has the Nordic single-bar shape , not the Continental double-bar which was later adopted in the Anglo-Frisian runes.
Document 10: Whakairo: Toi whakairo (art carving) or just whakairo (carving) is a Māori traditional art of carving in wood, stone or bone. Wood was formed into houses, fencepoles, containers, taiaha and tool handles. Stone, preferably the very hard pounamu (greenstone), was the chief material for tools of many kinds. Bone was used for fish hooks, needles etc. Following the introduction of metal tools there was a substantial increase in decorative ornamentation, particularly in wood and bone carving.
Document 11: Scrimshaw: Scrimshaw is the name given to scrollwork, engravings, and carvings done in bone or ivory. Typically it refers to the handiwork created by whalers made from the byproducts from harvesting them from marine mammals. It is most commonly made out of the bones and teeth of sperm whales, the baleen of other whales, and the tusks of walruses. It takes the form of elaborate engravings in the form of pictures and lettering on the surface of the bone or tooth, with the engraving highlighted using a pigment, or, less often, small sculptures made from the same material. However the latter really fall into the categories of ivory carving, for all carved teeth and tusks, or bone carving. The making of scrimshaw began on whaling ships between 1745 and 1759 on the Pacific Ocean, and survived until the ban on commercial whaling. The practice survives as a hobby and as a trade for commercial artisans. A maker of scrimshaw is known as a "scrimshander". The word first appeared in print in the early 19th century, but the etymology is uncertain.
Document 12: Leaf carving: Leaf Carving is an artwork involving the delicate trimming of leaves to develop a picture or landscape. The process of carving is performed by artists using tools to carefully cut the surface without cutting or removing the veins. The veins add detail into the subject matter of the carving. Leaf carving originated out of China and gained popularity in 1994 by artist Huag Tai Sheng after he got the Guinness Book of World Records to recognize his work. The art may related to Chinese paper cutting. The material or most common leaf used in leaf carving is that of the Chinar tree. The Chinar tree is native to India, Pakistan and China. Chinar leaves have a close resemblance to maple leaves.
Document 13: Yarmouth Runic Stone: The Yarmouth Runic Stone, also known as the Fletcher Stone, is a slab of quartzite that first came to the attention of the public in the early 19th Century. The stone appears to have an inscription carved into it, which some investigators, notably Henry Phillips, Jr., have interpreted as Norse runes. This has led to speculation that the Yarmouth, Nova Scotia area, in Canada, was visited by Viking explorers sometime around 1000 C.E. Many other theories have been put forward, including the possibility of a hoax or the inscription being a product of natural forces. The Stone is currently on display at the Yarmouth County Museum.
Document 14: Bewcastle Cross: The Bewcastle Cross is an Anglo-Saxon cross which is still in its original position within the churchyard of St Cuthbert's church at Bewcastle, in the English county of Cumbria. The cross, which probably dates from the 7th or early 8th century, features reliefs and inscriptions in the runic alphabet. The head of the cross is missing but the remains are 14.5 feet (4.4 metres) high, and almost square in section 22 x 21 1/4 inches (56 x 54 cm) at the base. The crosses of Bewcastle and Ruthwell have been described by the scholar Nikolaus Pevsner as "the greatest achievement of their date in the whole of Europe".
Document 15: Kholmogory bone carving: Kholmogory bone carving (Russian: Холмогорская резная кость ) is a traditional handicraft practised in the villages of Kholmogorsky District, Arkhangelsk Oblast, in the north of Russia.
ground_truth: British Museum