Abstract
Abstract The merchant and art agent Philipp Hainhofer (1578–1647) is best known for his extraordinary art cabinets. Collaborating closely with neighbouring Augsburg artisans, Hainhofer worked to compile, collate, and market these visually and materially astounding collections to a range of elite patrons. His first commission, the Pomeranian Cabinet, was for Duke Philipp of Pomerania-Stettin in 1610, and took around seven years to complete. This article adopts a body-centred approach, arguing that in doing so, new light is shed on the ways period actors enacted their relationships with materials, objects, and other bodies. It uncovers the process through which the body of the art-lover was constructed, convening with those engaged in a shared material community through the lens of health and bodily entanglements. Hainhofer, as a merchant, diplomat, and secret agent, occupied a dubious position. Through the staging of the shared, art-loving body, he was able to create and sustain friendships, while simultaneously raising the status of the merchant through his material identification with these practices.
Published Version
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