ADOLPHE BRODBEK

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The third restoration probably shows a work by Adolphe Brodbek, due to the materials used (ivory and mother-of-pearl, blue glass possibly Bristol glass), the background and the rectangular shape which is found in many of Brodbek's works.

The first picture shows the blue background with the mother-of-pearl pane arranged in the lower part and the arrangement of trees and bushes still fixed on the glass pane. The piece-to-piece construction can be clearly seen on a fragment. The Hessian modular principle was therefore also used by Adolphe Brodbek, if this work is attributed to Brodbek.

Comparable pictures of fragments can be found in the book by Paul Bissegger (2007) D'Ivoire et de mabre, Alexandre et Henri Perregeaux or in the Museum Beaux Arts in Lausanne. (Fig. 3.3.8.)

The blue glass was carefully cleaned and the glued-on parts were recorded in pictures for restoration. Figure 3.3. and 3.4. shows the cleaned glass with the beginning construction of the relief from the rear view. Figure 3.5. shows how the restoration was built up. In contrast to the frigate restoration by G. Stephany, a completely different construction principle was used for this picture. A. Brodbek built up the micro-image starting with the background of the blue glass from the depth to the front and thus created the spatial effect. From this it can be concluded that different motifs of the piece to piece method required different construction techniques.

The illustrations show the individual construction steps without embedding in the corresponding frame. The ivory fragments were freed from the dirt of the last 200 years in a special cleaning process.