G. Stephany and J. Dresch

 

 

The structure of the micro-images provides an insight into the individual work steps at the time, the sequence of work steps, the materials used and the fragility and fineness of the individual carving fragments. These findings allow us to reflect on the production processes and techniques, but also on the involvement of different artisans up to the finished work of art.

Example No. 1 shows one of currently 26 known and manufactured examples of outgoing frigates by G. Stephany in various sizes worldwide. This is the state of the database as of 29.10.2022. This motif of a three-master could not be realised by any other carver as masterfully as by G. Stephany. It consists of individually made ivory pieces (one by one piece) method, which was masterfully joined together, not visibly glued. The relief was fixed onto Bristol glass and set into the frame. Gossamer strips of mother-of-pearl, also set and glued together, where used to represent the sea. All the motifs show the frigates exclusively sailing. Presumably, each individual ship is a copy of an actually existing ship of the Royal Navy, as none of them exactly resembles the other and could also presumably be assigned to it. So far, there has been neither enough visual material nor time to do this.

For the restoration, the correct opening sequence is of eminent importance. In the comparative example, individual sails and ropes had come loose. Presumably G. Stephany had worked on the frigate from the front to the back, at least the restoration could only be carried out in this way. Such a restoration puts extreme mental and physical pressure on the restorer. We can only begin to imagine the virtuosity and sensitivity as well as the physical effort that must have been required of the micro-carver to be able to carry out the individual steps of assembling the parts. The use of the glue of the time also plays a decisive role in being able to restore the work of art at all. It can be assumed that a single micro-painting of this size has over 100 individual parts that have to be glued together in such a way that they look as if they were made from one piece and that one wrong step can destroy the whole work. It is easy to see here that the criterion of size alone can only be one of several decisive criteria as to what constitutes a micro-image and what is called a micro-image.

At present, according to available documents, no other work by G. Stephany is known to have ever been opened and restored.