Galvanoplastische reproductie van de "Kirchenväterschale" uit het Lüneburger Ratssilber c. 1875 - 1880

Editor: This intriguing object is a reproduction made by Fa. Vollgold & Sohn around 1875-1880, described as a "galvanoplastische reproductie" – essentially a copy - of a medieval silver bowl. It seems to blend silver, metal, and perhaps even ceramic elements. It strikes me as austere yet ornate. What's your take on this piece? Curator: I see this object as more than a simple copy. It exists at the intersection of art, craft, and social commentary. The very act of reproduction in the late 19th century was loaded. It speaks to anxieties surrounding authenticity and value, anxieties which echo even more loudly today. Editor: Anxieties? In what way? Curator: Think about the societal structures at the time: rapid industrialization, the rise of capitalism, and the art market. Creating a copy of something that was previously unique throws questions about authorship and worth into sharp relief. It almost democratizes the artwork while simultaneously robbing it of its sacred value. It's unsettling, isn't it? Editor: That’s a compelling point. I hadn’t considered the broader implications of reproduction in that era. I guess I was just seeing it at face value, which makes the real object feel exclusionary. Curator: Exactly. And consider the figures incorporated into the stand – who do they represent? What stories do they tell, and whose stories are excluded? To fully appreciate it, we need to consider what's absent as much as what's present. What voices weren't included? Editor: So much to consider in what I thought was just a pretty bowl! Thanks for making me consider the context. Curator: And thank you for bringing fresh eyes to this complex object. Art always demands questioning.