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‘Late Baroque Giltwood Glory (Strahlenkranz)’, c. 1750–1780. Alpine Central European carved and water-gilded wood altar fragment, featuring stylized bulbous clouds radiating deep-faceted and jagged rays, with traces of reddish bole visible beneath the worn gold leaf. Featured in Vanitas In Use II at Innenkreis. Late Baroque Giltwood Glory (Strahlenkranz), c. 1750–1780. South Germany / Austria (Alpine). 70 cm diameter. Carved wood, water-gilded over red bole, featuring stylized clouds surrounded by dramatic, jagged rays. Featured in Vanitas In Use II at Innenkreis.
Detail view of ‘Late Baroque Giltwood Glory (Strahlenkranz)’, c. 1750–1780. Alpine Central European carved and water-gilded wood altar fragment, featuring stylized bulbous clouds radiating deep-faceted and jagged rays, with traces of reddish bole visible beneath the worn gold leaf. Featured in Vanitas In Use II at Innenkreis. Late Baroque Giltwood Glory (Strahlenkranz), c. 1750–1780. South Germany / Austria (Alpine). 70 cm diameter. Carved wood, water-gilded over red bole, featuring stylized clouds surrounded by dramatic, jagged rays. Featured in Vanitas In Use II at Innenkreis.
Installation view of Vanitas in Use II at Innenkreis, featuring Face by Pettersen Hein, Charlotte Moreno Kølkjær’s Black Oyster Vase, Sbaenk in walnut by Anne Jaedicke, Enfold chair by Lærke Ryom and a late Baroque Giltwood Glory (Strahlenkranz). Installation view of Vanitas in Use II at Innenkreis, featuring Face by Pettersen Hein, Charlotte Moreno Kølkjær’s Black Oyster Vase, Sbaenk in walnut by Anne Jaedicke, Enfold chair by Lærke Ryom and a late Baroque Giltwood Glory (Strahlenkranz). Photo by Robert Damisch.
Installation view of Vanitas in Use II at Innenkreis, featuring The Sixth Labour of Hercules, a large green glass centrepiece by Indio Möglich, All-inclusive Bird Resort by Pettersen Hein, Portal Mirror by Charlotte Moreno Kølkjær, Triptychs by Et arrangement, Enfold chair by Lærke Ryom and a late Baroque Giltwood Glory (Strahlenkranz). Installation view of Vanitas in Use II at Innenkreis, featuring The Sixth Labour of Hercules, a large green glass centrepiece by Indio Möglich, All-inclusive Bird Resort by Pettersen Hein, Portal Mirror by Charlotte Moreno Kølkjær, Triptychs by Et arrangement, Enfold chair by Lærke Ryom and a late Baroque Giltwood Glory (Strahlenkranz). Photo by Robert Damisch.
Installation view at Innenkreis showing a bright white gallery with a large arched window, sculptural ceramic works, a dark lounge chair, a gilt sunburst wall piece, a black triptych, and Lasse Sylvest Lilleør’s glossy black segmented sculpture extending across the foreground. Installation view of Vanitas in Use II and Extrude, Bridge, Fill by Lasse Sylvest Lilleør at Innenkreis, featuring All-inclusive Bird Resort by Pettersen Hein, Oyster Vase by Charlotte Moreno Kølkjær, Triptychs by Et arrangement, Enfold chair by Lærke Ryom, a late Baroque Giltwood Glory (Strahlenkranz) and Dazing Devil by Lasse Sylvest Lilleør. Photo by Robert Damisch.
‘Late Baroque Giltwood Glory (Strahlenkranz)’, c. 1750–1780. Alpine Central European carved and water-gilded wood altar fragment, featuring stylized bulbous clouds radiating deep-faceted and jagged rays, with traces of reddish bole visible beneath the worn gold leaf. Featured in Vanitas In Use II at Innenkreis. Late Baroque Giltwood Glory (Strahlenkranz), c. 1750–1780. South Germany / Austria (Alpine). 70 cm diameter. Carved wood, water-gilded over red bole, featuring stylized clouds surrounded by dramatic, jagged rays. Featured in Vanitas In Use II at Innenkreis.
‘Late Baroque Giltwood Glory (Strahlenkranz)’, c. 1750–1780. Reverse view of a carved-wood altar fragment showing the radial construction of the irregular, jagged rays, with the un-gilded wood and central mounting visible. Featured in Vanitas In Use II at Innenkreis. Late Baroque Giltwood Glory (Strahlenkranz), c. 1750–1780. South Germany / Austria (Alpine). 70 cm diameter. Carved wood, water-gilded over red bole, featuring stylized clouds surrounded by dramatic, jagged rays. Featured in Vanitas In Use II at Innenkreis.

Not Attributed

Late Baroque Giltwood Glory (Strahlenkranz), Circa 1750–1780
Carved wood, water-gilded over red bole
Diameter 70 cm
Diameter 27 1/2 in
Copyright The Artist
Enquire
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Further images

  • (View a larger image of thumbnail 1 ) ‘Late Baroque Giltwood Glory (Strahlenkranz)’, c. 1750–1780. Alpine Central European carved and water-gilded wood altar fragment, featuring stylized bulbous clouds radiating deep-faceted and jagged rays, with traces of reddish bole visible beneath the worn gold leaf. Featured in Vanitas In Use II at Innenkreis.
  • (View a larger image of thumbnail 2 ) Detail view of ‘Late Baroque Giltwood Glory (Strahlenkranz)’, c. 1750–1780. Alpine Central European carved and water-gilded wood altar fragment, featuring stylized bulbous clouds radiating deep-faceted and jagged rays, with traces of reddish bole visible beneath the worn gold leaf. Featured in Vanitas In Use II at Innenkreis.
  • (View a larger image of thumbnail 3 ) Installation view of Vanitas in Use II at Innenkreis, featuring Face by Pettersen Hein, Charlotte Moreno Kølkjær’s Black Oyster Vase, Sbaenk in walnut by Anne Jaedicke, Enfold chair by Lærke Ryom and a late Baroque Giltwood Glory (Strahlenkranz).
  • (View a larger image of thumbnail 4 ) Installation view of Vanitas in Use II at Innenkreis, featuring The Sixth Labour of Hercules, a large green glass centrepiece by Indio Möglich, All-inclusive Bird Resort by Pettersen Hein, Portal Mirror by Charlotte Moreno Kølkjær, Triptychs by Et arrangement, Enfold chair by Lærke Ryom and a late Baroque Giltwood Glory (Strahlenkranz).
  • (View a larger image of thumbnail 5 ) Installation view at Innenkreis showing a bright white gallery with a large arched window, sculptural ceramic works, a dark lounge chair, a gilt sunburst wall piece, a black triptych, and Lasse Sylvest Lilleør’s glossy black segmented sculpture extending across the foreground.
  • (View a larger image of thumbnail 6 ) ‘Late Baroque Giltwood Glory (Strahlenkranz)’, c. 1750–1780. Alpine Central European carved and water-gilded wood altar fragment, featuring stylized bulbous clouds radiating deep-faceted and jagged rays, with traces of reddish bole visible beneath the worn gold leaf. Featured in Vanitas In Use II at Innenkreis.
  • (View a larger image of thumbnail 7 ) ‘Late Baroque Giltwood Glory (Strahlenkranz)’, c. 1750–1780. Reverse view of a carved-wood altar fragment showing the radial construction of the irregular, jagged rays, with the un-gilded wood and central mounting visible. Featured in Vanitas In Use II at Innenkreis.
A dramatic architectural altar fragment carved in the round, featuring a central cluster of stylized, bulbous clouds (Wolken) emitting an array of alternating deep-faceted and splintered jagged rays. This hyper-dramatic, aggressive "shattered" ray pattern is a classic regional trait designed to dynamically capture candlelight from church altars. The distinct reddish tone peeking through the worn gold leaf is red bole (a fine clay mixture applied under water-gilding). The specific deep orange-red tint used here is typical of 18th-century Central European gilding practices.
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