Bible Box c. 1938

Curator: Here we have a piece entitled "Bible Box" created around 1938 by Alfred Koehn. It’s rendered in pencil and charcoal, giving a remarkable realism to a commonplace object. Editor: My initial thought is: comfort. Something about the warm tones and simple design gives a feeling of quiet domesticity. Curator: The bible box, historically, was far more than a simple container. These were vital for the preservation—sometimes even the concealment—of religious texts, particularly during periods of religious persecution or when access to scriptures was limited. It embodies themes of access, restriction, and cultural capital. Editor: Absolutely, and the inclined top speaks to function, acting almost as a little personal lectern for close study of sacred texts. The visual vocabulary of home worship traditions is quite striking here; it acts almost as a family altar in miniature. You know, that wooden material… reminds me of warmth, stability, maybe longevity...like enduring beliefs, generational connections, Curator: In contrast, considering that Alfred Koehn produced this work in 1938, amid the rising tensions leading to World War II and concurrent socio-political upheavals, it perhaps speaks to a longing for a past stability or simple spirituality against the complex, increasingly secular forces in wider society. Editor: The presence of a single drawer shifts its possible symbolic interpretation, too. Does it represent private knowledge—secrets—a divergence from more publicly available shared beliefs? It raises the potential of both individual faith and intellectual challenge. Curator: And there are many different types of 'Bibles'. Beyond literal interpretations of holy text, there are 'bibles' that become secular cornerstones, containing rules of thought or expression. How might that understanding change our interaction with this piece? Editor: A good question! Regardless, this "Bible Box", seems more than just what it literally portrays. It asks deeper questions about the power and importance of objects as they take on multiple layers of meaning over time. Curator: Yes. It is a fine illustration to reflect on the intimate intersections of the political and the personal. Editor: Indeed, a tangible meditation on belief and the objects that hold them.