Official ivory carver to Prince Karl Eusebius of Liechtenstein in Vienna, the German artist Adam Lenckhart (1610–1661) is thought to have spent his early career (ca. 1632–36/37) in Italy, where he was influenced by the work of Renaissance artists and the sculpture of classical antiquity. These influences are apparent in his works illustrated here, as are the carving traditions of his homeland—the meticulous, almost obsessive attention to naturalistic detail, facilitated by ivory's distinctive grain.
The fine perspectival gradation of the Lamentation relief, translucently thin in areas, creates a painterly effect of distant background, while the foreground is filled with vivid detail—the finely carved crown of thorns, the carefully observed leafy ferns, the bent nails removed from holes clearly indicated on the cross. Lenckhart often employed such detail to great expressive effect; here, the precise carving of the strands of hair curtaining the face of the Magdalene draws our gaze to her grief-stricken form. This relief was one of a pair presented to a young nun entering a convent.
[Johanna Hecht, 2008]
Signature: ADAM.LENCK: BILTHV: INVEN ANNO 1632
Inscription: Sacrum hoc Anaglyphum Opus/ Marchionissae Mariae Annae Triumphae Anconitanae,/dùm severiorem Carmelitarum Institutum in Monasterio/Sanctae Theresiae in Quirinali profiteretur ,/Aloysius Valentius Gonzaga Mantuanu(s) Cam. Apti(u) Cle(ri)ay/dono dedit in gratitudinis tesseram ergà/Marchionem Franciscum Triumphum eius Patrem. Idibus Junijs Anni 1763. (Latin writing on back of plaque. Translation: To the Marchesa Maria Anna Trionfi on the occasion of her profession of the austere rule of the Carmelites in the Convent of Santa Theresa in Quirinale, Aloysius Valentius Gonzaga of Mantua commendatory has given this sacred carving as a token of his gratitude to the Marchese Francesco Trionfi, her father. June the 13th, 1763.)
Mary Clark Thompson (until 1923; bequeathed to MMA)