Selection of Fine Kunstkammer Artificialia

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Selection of Fine Kunstkammer Artificialia
Selection of Fine Kunstkammer Artificialia
Selection of Fine Kunstkammer Artificialia
Selection of Fine Kunstkammer Artificialia
Selection of Fine Kunstkammer Artificialia
Selection of Fine Kunstkammer Artificialia
Selection of Fine Kunstkammer Artificialia
Selection of Fine Kunstkammer Artificialia
Selection of Fine Kunstkammer Artificialia
Selection of Fine Kunstkammer Artificialia
Selection of Fine Kunstkammer Artificialia
Selection of Fine Kunstkammer Artificialia
Selection of Fine Kunstkammer Artificialia
Selection of Fine Kunstkammer Artificialia
Selection of Fine Kunstkammer Artificialia
Selection of Fine Kunstkammer Artificialia
Selection of Fine Kunstkammer Artificialia
Selection of Fine Kunstkammer Artificialia
Selection of Fine Kunstkammer Artificialia
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  • Charger l'image dans la galerie, Selection of Fine Kunstkammer Artificialia
  • Charger l'image dans la galerie, Selection of Fine Kunstkammer Artificialia
  • Charger l'image dans la galerie, Selection of Fine Kunstkammer Artificialia
  • Charger l'image dans la galerie, Selection of Fine Kunstkammer Artificialia
  • Charger l'image dans la galerie, Selection of Fine Kunstkammer Artificialia
  • Charger l'image dans la galerie, Selection of Fine Kunstkammer Artificialia
  • Charger l'image dans la galerie, Selection of Fine Kunstkammer Artificialia
  • Charger l'image dans la galerie, Selection of Fine Kunstkammer Artificialia
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Taxes incluses.

17th C, Flemish School, finely Carved Ivory Jesus Christ, 14x11x2 cm.
The opening of new sea routes along the coasts of East and West Africa in the 17th century gave an incentive to ivory carving in the Netherlands and Central Europe. The creamy white African ivory had the great advantage of being easily workable. It could
be chiseled without splintering too much. This allowed the carver to work out his objects down to the finest details. The shimmering appearance of the polished ivory made it popular with princes and wealthy citizens. They liked to display small ivory objects in their “Kunstkammer”.
Church authorities bought numerous ivory carvings of religious nature for their treasuries. Devotional subjects such as the Passion or suffering of Christ were
highly sought after. This crucified Christ who originally may have been nailed to a wooden cross, has very elegant lines. The rotation of the hip, which is emphasized by the folds of the perizonium, provides a great sensuality. The visibility of the ribs indicates, in a sense, the suffering of a serenely deceased Christ.
Bulu People, Cameroon, Ceremonial Monkey Figure on Snail shell from old German collection, 14.5x8x15 cm.
The Bulu are a Southern Cameroon people, living in the tropical forest. Among others, they are known for the statuary they made for worshiping their ancestors. These small wooden sculptures represent chimpanzees, gorillas, lizards, turtles, spiders, panthers and owls.
Some of the Bulu figures were involved in ritual practices, such as forms of witchcraft. Ape-like Bulu statues seems to have been talismans, who had to be kept hidden. In general monkeys were special to the Bulu. They encouraged the pregnant women of their community to eat monkey meat and hoped that this would transmit the
valuable monkey qualities to the unborn child.
19th C, Papier-Mâché Fetal Skull, probably from Auzoux workshop, 9x6x13 cm.
The Fetal Skull is unsigned, but it could well be a non-commercialised prototype by Dr. Auzoux. The quality and accuracy of this skull as well as the subtle and delicate details make this life-sized example very special. It is an extremely rare example with an unpainted finish and amazing patina. I'm surprised this delicate and important object survived all these years.
Medical student Louis Auzoux (1797-1880) was frustrated with the shortage of human corpses available for studying anatomy. Using his own secret papier-mâché mixture, he developed 'dissectible' models, which could be used again and again. Later, he also created models of animals and plants. Introducing papier-mâché as a modelling material was a radical change from earlier modelling techniques.
In previous centuries, anatomists and artists made their anatomical models using wax. While wax models could reproduce anatomical details very accurately, the material was very expensive and too fragile to be handled frequently because the wax would lose its shape. Papier-mâché, on the other hand, was sturdy enough to produce detachable models that could be used again and again, at less than a tenth of the price of similar wax models.