Ivory relief with Baltic amber frame, 17th and 18th centuries

consisting of a Baltic amber frame encasing a central panel carved in elephant ivory (Elephas maximus Linnaeus, 1758 or Loxodonta africana Blumenbach, 1797), enriched by four additional ivory carvings placed at the cardinal points.
The central panel, carved in ivory, is the focal point of the case and depicts the Annunciation, featuring the Virgin Mary and the Archangel Gabriel, accompanied by the presence of the Holy Spirit represented in the form of a dove.
The Archangel Gabriel is portrayed in motion, with a hand gesture that seems to indicate the divine origin of the message. His finely carved wings evoke angelic symbolism of protection and purity.
The Virgin Mary is shown kneeling, in an attitude of humility and prayer. Her expression is solemn and contemplative, highlighting the moment of profound spiritual communion.
The Holy Spirit, represented as a dove, hovers amidst rays of divine light that connect the heavens to the earthly scene.
Naturalistic elements, such as the drapery of the garments, the clouds, and the ray of divine light, add depth and dynamism to the composition.
The lectern, carved with floral motifs, and the tiled floor showcase great attention to detail.
The frame, made of natural Baltic amber, is characterized by warm tones ranging from golden yellow to reddish-brown. It features a meticulous assembly of geometric and symbolic decorations, such as the hearts placed at the corners, which may carry religious or symbolic significance.
The amber used for the frame is of Baltic origin, the most prized and valued variety since antiquity. This fossil resin is distinguished by its luster and shades, which range from honey yellow to reddish-brown. The craftsmanship of amber in the 17th and 18th centuries was a highly refined art, typical of the workshops of Danzig (present-day Gdańsk, Poland), Königsberg (today Kaliningrad, Russia), and other coastal cities of the Baltic Sea.

The artifact can be dated to the 17th–18th century, a time when amber and ivory were prized materials in European courts for the creation of devotional and decorative objects. Its probable origin is to be identified in the Baltic or Central European regions (such as Danzig or Königsberg), areas renowned for their amber craftsmanship, while the ivory carving may be attributed to an Italian or German school, both known for their artistic finesse.
The combination of amber and ivory reflects the taste for luxury and rarity, distinctive elements of noble or ecclesiastical commissions.

Later-period case.