拍品專文
The altarpiece offered here is directly comparable to another example cited by Rohde as being in Schloss Weissenstein in Pommersfelden that is dated to the mid 17th century (A. Rohde, Bernstein ein Deutscher Werkstoff - Seine künstlerische Verarbeitung vom Mittelalter bis zum 18. Jahrhundert, Berlin, 1937, no. 214, plate 86). Of identical form and proportions to the Pommiersfelden altarpiece, the present lot only varies in the fact that the two figures of the Virgin and St. John are lacking from either side of the cross and in the arrangement of elaborately carved inlaid ivory panels.
Meticulously carved and from the rarest materials of the time, objects such as the present crucifix were typical elements of the Kunstkammer, literally translated as 'art room'. Popular from the 16th to the 18th centuries, kunstkammers often took the form of a cabinet of curiosities filled with extraordinary jewel-like artworks that were owned by aristocrats and wealthy burghers of the time. The pre-requisites of such Kunstkammer objects was that they were highly worked and made of 'mysterious' substances like ivory, horn, coconut shells, ostrich eggs and above all amber - which was thought to have the ability to indicate if a food or drink was contaminated by poison.
Meticulously carved and from the rarest materials of the time, objects such as the present crucifix were typical elements of the Kunstkammer, literally translated as 'art room'. Popular from the 16th to the 18th centuries, kunstkammers often took the form of a cabinet of curiosities filled with extraordinary jewel-like artworks that were owned by aristocrats and wealthy burghers of the time. The pre-requisites of such Kunstkammer objects was that they were highly worked and made of 'mysterious' substances like ivory, horn, coconut shells, ostrich eggs and above all amber - which was thought to have the ability to indicate if a food or drink was contaminated by poison.