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Standing Fox as Hunter (Tobacco Jar)
Dated 1870
Brienz, Switzerland
Walnut

This anthropomorphic figure of a fox dressed as a hunter was conceived as a tobacco jar, with the head forming a removable lid. The work integrates utilitarian function within a fully developed sculptural composition, characteristic of Black Forest carving produced in Brienz during the later nineteenth century.

The fox stands upright on a circular base, clothed in a short cape and rendered with careful attention to posture and expression. The fur is articulated through dense, directional tool marks that convey texture and volume, while the garments are differentiated through more restrained modeling. The facial features are sharply defined, lending the figure an individualized and alert presence.

Anthropomorphic animal subjects of this type were informed in part by the literary tradition of Reynard the Fox, whose widely circulated fables contributed to the popularity of animal figures endowed with human attributes. Within the Brienz carving industry, such narrative objects were produced for both domestic use and export.

Dated 1870, the work reflects the technical refinement and imaginative scope associated with Swiss Black Forest carving in the second half of the nineteenth century.

Two Wild Boar
Dated 1870
Brienz, Switzerland
Walnut

This sculptural group depicts two wild boar startled into motion. The lower animal lunges forward with forelegs extended and head thrust low, while the second boar surges across its back, creating a compact and animated composition. The figures are arranged along a pronounced diagonal, emphasizing forward movement and urgency.

The carving demonstrates close observation of animal form. The bristled coats are articulated through tightly worked, directional tool marks that suggest coarse hair and shifting musculature beneath. Facial features—including tusks, snout, and alert eyes—are sharply defined, contributing to the heightened expression of alarm. Variations in depth and surface treatment produce strong contrasts of light and shadow across the figures.

The animals stand on a carved base indicating forest undergrowth and ground cover, situating the scene within a naturalistic setting. The walnut retains a warm patina that accentuates the relief and surface detail.

Dated 1870, the sculpture corresponds to the period in which Swiss Black Forest carving achieved wide recognition for its naturalistic animal subjects and technical refinement.

Two Bears Fighting
Brienz, Switzerland
Late 19th century
Walnut

This sculpture represents two bears engaged in combat, carved fully in the round from walnut and mounted on a circular base. One animal rears with jaws open, while the other braces forward, forelimbs raised. The composition conveys physical tension through the interlocking forms and diagonal movement of the figures.

The carving is notable for its detailed surface treatment. The fur is rendered with dense, closely worked incision, with elongated, downward strokes along the undersides suggesting wet, clinging hair. The open mouth of the upper bear reveals articulated teeth and tongue, demonstrating careful attention to anatomical structure.

The base is carved to resemble a fractured ice floe, its angular planes and fissures contrasting with the textured modeling of the animals. The walnut retains a warm, even patina that accentuates the depth of carving.

Animal groups of this type were produced in Brienz in the later nineteenth century, when the region was internationally recognized for naturalistic wood sculpture associated with the Black Forest tradition.

Antler-Mounted Jagdschrank (Hunting Cabinet)
Black Forest region or Brienz, Switzerland
Late 19th century
Oak, carved in high relief, with applied stag horn and antler mounts

This hunting cabinet is a representative example of late nineteenth-century Black Forest carving, a regional tradition associated with Brienz and the Alpine regions of southern Germany and Switzerland. Executed in oak and enriched with mounted stag horn and antlers, the cabinet reflects the period’s sustained interest in hunting culture and naturalistic ornament.

The upper case centers on a deeply carved high-relief panel depicting a stag, hind, and fawn within a wooded landscape. The composition is constructed through layered planes of foliage and undergrowth, creating a pronounced sense of depth. The animals are rendered with close attention to anatomical detail and surface texture, characteristic of the naturalism cultivated in Black Forest workshops.

The architectural framework incorporates applied antlers as integral decorative elements. A carved hound’s head surmounts the arched crest, reinforcing the hunting iconography. The lower case continues the program with carved panel doors featuring woodland and sporting motifs, maintaining formal and thematic continuity.

Cabinets of this type functioned both as storage for firearms and as display objects within hunting lodges and domestic interiors. The present example demonstrates the technical precision and sculptural ambition that define Black Forest Jagdmöbel at the end of the nineteenth century.