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.
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.
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