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Cake or Gingerbread Board


+39 (0)371 412684

+39 (0)335 6000699



  • £311
  • €374 Euro
  • $424 US Dollar


Hoarde Vintage Member since 2018
Contact dealer Delivery quote Similar item? Stock request

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A large, carved wooden board depicting a repeated floral motif and small human figures (one quite worn) on one side and the components of a house on the other side. The edges, which are deeply grooved on two sides, contain some apparently random marks, but nothing that can be construed as a signature. Mid-1800s.

The scholar William Woys Weaver notes that “The center of this carving tradition was German-speaking Europe… knowledge of mold carving became part of one's apprenticeship as a baker, so virtually every gingerbread baker also knew how to make his own molds. The array of subjects was enormous: love motifs for weddings, commemorative designs inaugurating a new bridge or sailing ship, war heroes, and a wide array of small figures to be hung on Christmas trees or stood up in windows as ornaments.”

Imprinting dough was possible in two different ways: one could roll it out, position it under the board and exert an even pressure to transfer the designs or one could place a sheet of rolled dough on top of the board and pass a rolling pin over it. The basic technique is clearly similar to that for springerle cookies, but it would have been necessary to chill both the dough and the board (and perhaps grease the latter with a neutral oil) to avoid its sticking or tearing. Once the impression was made the dough could be trimmed to the desired shape.

Length 39 cm - Width 26 cm - Height 3 cm



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Bibliotheca Culinaria began as a specialized publisher providing books to Italy's professional chefs. Our curiosity regarding culinary history led to an interest in material culture and the many tools and objects that relate to agriculture, cooking, and dining.

We've assisted restaurants, pastry shops, and hotels in locating unusual items for their decor and are always delighted to add to a collection of kitchenalia. We welcome the challenge of assembling groups of objects for maximum visual impact. Our stock, largely Italian and French in origin, encompasses a range of materials and eras from Alpine treen to French majolica, from copper pots to Murano glass.

We find objects that display signs of use to be particularly eloquent. Handling them, we are reminded of the lasting impact of simple quotidian gestures and they return us to the particular convivial atmosphere of past times.

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