The first volume of Adolph Goldschmidts’s monumental corpus on ivory sculptures of the Middle Ages was published in 1914. As a result Goldschmidt suddenly became an avant-gardist and a source of ideas in several respects. The present publication deals with the origins and reception of this magnum opus, as well as with aspects related to its visual and media history.
The critical discussion about the scholarly and historical significance of such corpora for the first third of the 20th century has recently been taken up again. As a basis for discussion this volume focuses on the corresponding networks between Goldschmidt, Richard Hamann, Arthur Kingsley Porter and Aby Warburg.