📿 Small treasures from the Kunstkammer in the Residenz palace in München, made from medieval times until the 18th century (mostly 16th- and 17th century). #kunstkammer #wunderkammer #treasures #treasury #wondersarecollectable #residenzmünchen #renaissancejewelry #antiquejewelry #antiquejewelryaddiction
#seidelcastellofinearts #seidelcastellogallery #antiques #satiro #wondersarecollectable #sculpture #piacenza #stefaniabenazzo 📸
(3/3) Stylistically, the Head discussed here is closely related to south German Late Gothic sculpture. The exquisitely carved facial features in particular, which contrast with the somewhat coarser handling of the hair and beard strands are strongly reminiscent of Erasmus Grasser’s style (ca 1450–1518): he worked in Munich from 1472 on and is now regarded as one of the most important Late Gothic sculptors. Grasser is best known by the public at large for the Moresca (Morris) Dancers he carved in 1480 for the Grand Hall in the Old Munich Rathaus, which are now in the Munich Stadtmuseum @muenchnerstadtmuseum. He also carved numerous works of sculpture in wood for furnishing some churches in Munich and environs, which definitely reveal stylistic parallels with the small Head of Saint John the Baptist in a charger discussed here. Small head of John the Baptist in a charger So-called Johannesschüssel Erasmus Grasser South German, probably Munich, ca 1490 Wood, carved, traces of the original polychromy and gilding Diameter 16.5 cm #kunstkammergeorglaue #georglaue #wondersarecollectable #kunstkammer #wunderkammer #cabinetofcuriosities #cabinetdecuriosities #curiosities #renaissance #baroque #antiques #artcollector #collectingart #collector #mirabilia #artificialia #johannesschuessel #headofsaintjohnthebaptist #medievalart
(2/3) This superb Late Gothic sculpture is remarkable not only because the execution is of such high quality and the original polychromy has been retained but also because of its unusual dimensions. Comparable Heads of Saint John the Baptist in a charger dating to ca 1500 do, in fact, exist in public and private collections, but they usually measure about 50 cm in diameter. Large Heads of Saint John in a charger are devotional objects of an apotropaic character that tended to be placed on church altars, carried in processions, and even laid on the heads of devout worshippers to cure them of disease. With a diameter of only 16 cm, the Head of Saint John the Baptist in a charger discussed here is one of only a very few known sculptures of this type on such a small scale. Small head of John the Baptist in a charger So-called Johannesschüssel Erasmus Grasser South German, probably Munich, ca 1490 Wood, carved, traces of the original polychromy and gilding Diameter 16.5 cm #kunstkammergeorglaue #georglaue #wondersarecollectable #kunstkammer #wunderkammer #cabinetofcuriosities #cabinetdecuriosities #curiosities #renaissance #baroque #antiques #artcollector #collectingart #collector #mirabilia #artificialia #johannesschuessel #headofsaintjohnthebaptist #medievalart
(1/3) The head of the decapitated John the Baptist is expressively represented here with closed eyes and half open mouth According to the Bible, Salome was persuaded by her mother, Herodias, who hated John the Baptist, to request the head of the imprisoned Baptist as a reward from King Herod if Salome danced for him. John the Baptist was decapitated and Salome brought the head to her mother in a charger (Mark 6, 17–29). Matching the description, the head of the decapitated John the Baptist is presented in a charger – a type of sculpture usually called in German a ‘Johannesschüssel’ [literally, ‘Saint John charger’]. Small head of John the Baptist in a charger So-called Johannesschüssel Erasmus Grasser South German, probably Munich, ca 1490 Wood, carved, traces of the original polychromy and gilding Diameter 16.5 cm #kunstkammergeorglaue #georglaue #wondersarecollectable #kunstkammer #wunderkammer #cabinetofcuriosities #cabinetdecuriosities #curiosities #renaissance #baroque #antiques #artcollector #collectingart #collector #mirabilia #artificialia #johannesschuessel #headofsaintjohnthebaptist #medievalart
(3/3) A native of Dresden, Heinrich Gottlob Lang (1739–1809) worked in Augsburg from 1764. He is verified as a maker of ring stone cabinets containing some cabochon-cut stones with virtually identical representations of insects in stone relief. A signed example of his work is held by the Maximilianmuseum in Augsburg @museen_augsburg. Also worth mentioning in this connection is a snuffbox by the same artist in 1770 and now in the Naturhistorisches Museum in Vienna @nhmwien. For this extremely elaborate and exquisitely worked gemstone piece Lang designed minute stone elements in the form of insects, flowers, stripes and a putto, which he applied to the wall of the stone box. He recorded the types of stones he worked for the piece in an extensive, illustrated inventory that he signed as ‘Heinrich Gottlob Lang Cutter of precious stones and armorial bearings‘ and dated ‘Augsburg, Ao 1770’. Its exquisite appearance and value as a mineralogical rarity are qualities that are sure to have justified adding this sophisticated snuffbox to the Imperial collections: in 1778 the Empress Maria Theresia donated it to the Minerals Collection, to which she had already caused several other major works by gem cutters in the Imperial collections to be transferred. @tefaf Court ring stone cabinet Made by the Saxon gemstone cutter Heinrich Gottlob Lang (1739-1809) Augsburg, ca 1770 Two rings of fire-gilt silver, 50 carved and polished gemstones, leather case, handwritten booklet Height 8 cm, width 13 cm, 7 cm #kunstkammergeorglaue #georglaue #wondersarecollectable #kunstkammer #wunderkammer #cabinet #cabinetmaking #cabinetofcuriosities #cabinetdecuriosities #oddities #curiosities #renaissance #baroque #antiques #artcollector #collectingart #collector #artificialia #tefaf
(2/3) The handwritten ‘Catallogus’ elevates the ring stone cabinet as an object to scientific-study status since it is presented as a mineralogical collection. Not by chance, the invention of the ring stone cabinet coincides with the era of the Enlightenment, when minerology became established as a scientific discipline within the field of geology. Particularly popular in the latter half of the eighteenth century, mineralogical collections underwent a noticeable upturn at both courts and in patrician circles because they were regarded as status symbols and represented testimonials to their owners’ erudition. Ring stone cabinets like the one discussed here should not, however, be interpreted as purely scientific objects. On the contrary, they are exquisite and expensive luxury objects that did not necessarily target scholars, but rather rich collectors. @tefaf Court ring stone cabinet Made by the Saxon gemstone cutter Heinrich Gottlob Lang (1739-1809) Augsburg, ca 1770 Two rings of fire-gilt silver, 50 carved and polished gemstones, leather case, handwritten booklet Height 8 cm, width 13 cm, 7 cm #kunstkammergeorglaue #georglaue #wondersarecollectable #kunstkammer #wunderkammer #cabinet #cabinetmaking #cabinetofcuriosities #cabinetdecuriosities #oddities #curiosities #renaissance #baroque #antiques #artcollector #collectingart #collector #artificialia #tefaf
(1/3) Its little gold-tooled morocco leather case identifies this ring stone cabinet as a precious ‘lithoteque’ in a format suggesting personal use. Its hybrid character as a scientific collection, on the one hand, and as a fashion accessory intended for use in a flirtatious context on the other is confirmed by the catalogue included with the collection and the fire-gilt silver rings with which the cabochon-cut stones, all fifty of them, can be tried out on the recipient‘s finger. Remarkably, the case along with the complete set of cabochon-cut gemstones, two rings, the original bone implement for removing stones from the box and the catalogue included with them are all intact. This last was drawn up by the gem cutter who was responsible for this artwork: Heinrich Gottlob Lang (1739–1809), who was active in Augsburg in the third quarter of the eighteenth century. Only a few ring stone cabinets of his are extant in public collections and in private hands. @tefaf Court ring stone cabinet Made by the Saxon gemstone cutter Heinrich Gottlob Lang (1739-1809) Augsburg, ca 1770 Two rings of fire-gilt silver, 50 carved and polished gemstones, leather case, handwritten booklet Height 8 cm, width 13 cm, 7 cm #kunstkammergeorglaue #georglaue #wondersarecollectable #kunstkammer #wunderkammer #cabinet #cabinetmaking #cabinetofcuriosities #cabinetdecuriosities #oddities #curiosities #renaissance #baroque #antiques #artcollector #collectingart #collector #artificialia #tefaf
(3/3) The magical and therapeutic powers imputed to the ostrich egg contributed to its popularity: like coral, coconut and rhinoceros horn, the ostrich egg was an apotropaicum, a substance believed to ward off evil that in the early modern age was used as a universal remedy for all sorts of illnesses and as a protection against poisoning. Valentini reported in his Museum Museorum (1714) pulverised ostrich egg shell was ingested as a remedy for kidney disease and antidote to poisoning. To match their healing and protecting properties, the eggs of the large African bird were often mounted as precious vessels. Valentini went on to remark on the value of ostrich eggs as collector’s items: ‘Whole eggs are kept in art and naturalia cabinets as a rarity’. Ostrich eggs can indeed be traced to the most important Renaissance Kunstkammer. Ostrich eggs mounted like the object studied here in the form of a screw-cap flask are, on the other hand, rare. Hence a second ostrich egg flask, which was also made ca 1600, in the Waddeston Bequest at the British Museum @britishmuseum, is worth mentioning in the present connection. @tefaf Ostrich egg screw-cap flask from the Kunstkammer of the Margraves and Grand Dukes of Baden-Baden South German, ca 1600 Ostrich egg, silver fire-gilt Height 20 cm #kunstkammergeorglaue #georglaue #wondersarecollectable #kunstkammer #wunderkammer #cabinet #cabinetmaking #cabinetofcuriosities #cabinetdecuriosities #oddities #curiosities #renaissance #baroque #antiques #artcollector #collectingart #collector #artificialia #tefaf
(2/3) The silver mount of the screw-cap flask is informed by elegant simplicity: the body of the exotic vessel rising above a domed foot-ring consists of the egg of an African ostrich. It is encircled by three ornamental strap braces of sheet metal decorated with cut-card patterns that link the base with the mouth and the screw cap of the flask. Silver canisters with similar screw caps occur in south German silver from the early seventeenth century. Worth a mention are a comparable pair of ostrich-egg écuelles in the Green Vault in Dresden @skd.museum, which came into the possession of Johann Georg I, Elector of Saxony, in 1626 from the estate of Erdmuthe, Duchess of Pomerania (1561–1623), and were also made ca 1600. @tefaf Ostrich egg screw-cap flask from the Kunstkammer of the Margraves and Grand Dukes of Baden-Baden South German, ca 1600 Ostrich egg, silver fire-gilt Height 20 cm #kunstkammergeorglaue #georglaue #wondersarecollectable #kunstkammer #wunderkammer #cabinet #cabinetmaking #cabinetofcuriosities #cabinetdecuriosities #oddities #curiosities #renaissance #baroque #antiques #artcollector #collectingart #collector #artificialia #tefaf
(1/3) The body of this flask is an ostrich egg left in its natural state and mounted in fire-gilt silver in the form of a screw-cap flask that is notable for the rarity and costliness of the materials used and mark it as an exotic treasure worthy of princes. The inventory labels glued on the bottom of the flask reveal that it was, in fact, a princely collector’s item: the numbers 3101 and 73 written in ink refer respectively to the 1883 and 1919 inventories of the Zähringen Museum, in which the artworks comprising the Collections of the Margraves and Grand Dukes of Baden-Baden are entered. The present ostrich egg flask really has been owned by the margraves and grand dukes of Baden-Baden since the seventeenth century. @tefaf Ostrich egg screw-cap flask from the Kunstkammer of the Margraves and Grand Dukes of Baden-Baden South German, ca 1600 Ostrich egg, silver fire-gilt Height 20 cm #kunstkammergeorglaue #georglaue #wondersarecollectable #kunstkammer #wunderkammer #cabinet #cabinetmaking #cabinetofcuriosities #cabinetdecuriosities #oddities #curiosities #renaissance #baroque #antiques #artcollector #collectingart #collector #artificialia #tefaf
(3/3) Is the apothecary cabinet discussed here a utilitarian object masquerading as a luxury article , or a Kunstkammer object made to be displayed in collection rooms? The possibility cannot be eliminated that it was actually used, especially since the empty drawers were labelled with the names of herbs. Still, nearly all princely Kunst- and Wunderkammer have been shown to contain similar apothecary cabinets in the seventeenth century. They had a symbolic significance similar to that of the numerous surgical implements traditionally incorporated in princely collections: they represented the ability of the ruler to care and shape society. @tefaf Court apothecary cabinet Goldsmith: Matthäus II Baur Augsburg, 1681–1685 Veneer: burl poplar, silver fittings; original red silk, gold borders; vessels and utensils: fire-gilt silver, glass, steel Height 24 cm, width 29 cm, depth 22 cm #kunstkammergeorglaue #georglaue #wondersarecollectable #kunstkammer #wunderkammer #cabinet #cabinetmaking #cabinetofcuriosities #cabinetdecuriosities #oddities #curiosities #renaissance #baroque #antiques #artcollector #collectingart #collector #artificialia #tefaf #apothecaryantiques
(2/3) Distinguished through the finest artistic craftsmanship and precious materials, the court apothecary cabinet has been preserved with its complete silver necessaire encompassing no less than 73 pieces: small glass flasks and bottles with screw-caps of fire-gilt silver, cubic wooden boxes as well as silver container and screw box, mother-of-pearl spoon, funnel, mortar, tazza, beaker, spatula, knife, scales, tongue scraper, scissors. Comparable medicine cabinet with their original necessaire are extremely rare. It is therefore worth mentioning the comparable Augsburg medicine cabinet at the Berlin Museum for Applied Arts that was made in Augsburg ca 1600 for Camillo Borghese, who was elected Pope in 1605 under the name Paul V. @tefaf Court apothecary cabinet Goldsmith: Matthäus II Baur Augsburg, 1681–1685 Veneer: burl poplar, silver fittings; original red silk, gold borders; vessels and utensils: fire-gilt silver, glass, steel Height 24 cm, width 29 cm, depth 22 cm #kunstkammergeorglaue #georglaue #wondersarecollectable #kunstkammer #wunderkammer #cabinet #cabinetmaking #cabinetofcuriosities #cabinetdecuriosities #oddities #curiosities #renaissance #baroque #antiques #artcollector #collectingart #collector #artificialia #tefaf #apothecaryantiques
(1/3) Even when closed, this portable apothecary cabinet looks like an exquisite piece of small storage furniture distinguished by superlative craftsmanship and a discernibly choice selection of materials used to make it. The warm, lustrous colour of the poplar veneer and the conspicuously decorative silver mounts and fittings, which are elaborate cut-card work with engraving, are the features that make this box-shaped cabinet look so grand for its size. The lid and the door panels open to reveal the entire apothecary in all its glory. It has remained intact with its full original complement of vessels and implements, the silver items of which were made, according to the master maker’s and town marks, between 1681 and 1685 by the Augsburg master goldsmith Matthäus II Baur (master ca1681–1728). @tefaf Court apothecary cabinet Goldsmith: Matthäus II Baur Augsburg, 1681–1685 Veneer: burl poplar, silver fittings; original red silk, gold borders; vessels and utensils: fire-gilt silver, glass, steel Height 24 cm, width 29 cm, depth 22 cm #kunstkammergeorglaue #georglaue #wondersarecollectable #kunstkammer #wunderkammer #cabinet #cabinetmaking #cabinetofcuriosities #cabinetdecuriosities #oddities #curiosities #baroque #antiques #artcollector #collectingart #collector #artificialia #tefaf #apothecaryantiques
(3/3) Francis van Bossuit was one of the most influential and important ivorists working in Italy and the Low Countries during the latter half of the seventeenth century. His status is attested by the copperplate compendium in a large format (1727) in which the Dutch copperplate engraver Matthijs Pool presented the sculptor’s œuvre in a series of ninety-five plates. In his introduction to this sumptuous publication, Pool outlined Bossuit’s unusual biography: born in Brussels in 1635, the artist went to Antwerp before setting out ca 1655 for Italy, where he ‘spent his youth and the best years of his life’. He lingered in Rome for about twenty-five years. Before 1685 he returned to the Netherlands and settled in Amsterdam, where he worked until his death in 1692. @tefaf Saint Mary Magdalene Francis van Bossuit (1635–1692) Amsterdam, ca 1680 Ivory, modern iron base Height 14.5 cm, width 12 cm, depth 2 cm #kunstkammergeorglaue #georglaue #wondersarecollectable #kunstkammer #wunderkammer #cabinet #cabinetmaking #cabinetofcuriosities #cabinetdecuriosities #oddities #curiosities #renaissance #baroque #antiques #artcollector #collectingart #collector #artificialia #tefaf
(2/3) In addition, Bossuit’s authorship is confirmed by the stylistic affinities of the work with various ivories by the sculptor that are held by the Bayerisches Nationalmuseum in Munich @bayerisches.nationalmuseum, the Musées royaux d’art et d’histoire in Brussels @arthistorymuseumbrussels, the Museo degli Argenti in Florence, the J. Paul Getty Museum in Los Angeles @gettymuseum and the Thomson Collection in the Art Gallery of Ontario, all of which are authenticated as works by Bossuit’s own hand because they are reproduced in the Matthijs Pool copperplate compendium. @tefaf Saint Mary Magdalene Francis van Bossuit (1635–1692) Amsterdam, ca 1680 Ivory, modern iron base Height 14.5 cm, width 12 cm, depth 2 cm #kunstkammergeorglaue #georglaue #wondersarecollectable #kunstkammer #wunderkammer #cabinet #cabinetmaking #cabinetofcuriosities #cabinetdecuriosities #oddities #curiosities #renaissance #baroque #antiques #artcollector #collectingart #collector #artificialia #tefaf
(3/3) The œuvre associated with van der Auwera consists mainly of sculpture in large formats that was intended for architectonic contexts. Nevertheless a few sculptures in smaller formats carved of limewood and boxwood have survived: apart from the Chronos discussed here, a Maria Immaculata in the Bayerisches Nationalmuseum @bayerisches.nationalmuseum in Munich and a pair of kneeling angels in the Museum of Fine Arts Houston @mfahouston are relevant in the present connection. Chronos Johann Wolfgang van der Auwera (1708–1756) Würzburg, ca 1740 Fruitwood with traces of red ochre paint Height 30 cm #kunstkammergeorglaue #georglaue #wondersarecollectable #kunstkammer #wunderkammer #cabinet #cabinetmaking #cabinetofcuriosities #cabinetdecuriosities #oddities #curiosities #renaissance #baroque #antiques #artcollector #collectingart #collector #artificialia #tefaf
(2/3) Johann Wolfgang van der Auwera, who is viewed as the leading early Rococo master in Franconia, was born in Würzburg in 1708 as the son of the Flemish sculptor Jakob van der Auwera. Because of his precocious talent, Friedrich Carl Graf von Schönborn, who was Vice-Chancellor to the Emperor and Prince-Bishop of Würzburg and Bamberg, promote the artist with active sponsorship: at Schönborn’s suggestion and expense, the young sculptor stayed in Vienna from 1730 until 1736. There he came into contact with distinguished German Baroque sculptors, including Lorenzo Mattielli (1687–1748) and Georg Raphael Donner (1693–1741). On his return to Würzburg, Johann Wolfgang van der Auwera not only took over his father’s workshop but was also appointed artistic director responsible for redecorating the interior of the Würzburg Residence. While working on the Residence, van der Auwera managed to decorate and furnish several churches and received numerous commissions from the Schönborns both in Franconia and beyond its borders. Chronos Johann Wolfgang van der Auwera (1708–1756) Würzburg, ca 1740 Fruitwood with traces of red ochre paint Height 30 cm #kunstkammergeorglaue #georglaue #wondersarecollectable #kunstkammer #wunderkammer #cabinet #cabinetmaking #cabinetofcuriosities #cabinetdecuriosities #oddities #curiosities #renaissance #baroque #antiques #artcollector #collectingart #collector #artificialia #tefaf
(1/3) Chronos, the Father of Time, rises above an elegantly curvilinear Rococo base. Here he is represented as he is traditionally, as an old man with wings holding a scythe in his hands, a sandglass at his feet. In dynamic motion, he strides forward, beard waving as he swings his scythe. Conveying full body movement in striking parallels, his remarkably athletic torso is revealed at its best because it is insufficiently covered by a billowing loincloth caught up in the flow to flap around the rear leg. Attribution of this superb boxwood statuette to the Franconian sculptor Johann Wolfgang van der Auwera (1708–1756) is based on comparison with sculptures in both large and small formats by the artist that are held by several museums and ecclesiastical institutions and are in part confirmed as his work by archive records. Chronos Johann Wolfgang van der Auwera (1708–1756) Würzburg, ca 1740 Fruitwood with traces of red ochre paint Height 30 cm #kunstkammergeorglaue #georglaue #wondersarecollectable #kunstkammer #wunderkammer #cabinet #cabinetmaking #cabinetofcuriosities #cabinetdecuriosities #oddities #curiosities #renaissance #baroque #antiques #artcollector #collectingart #collector #artificialia #tefaf
Opening Feb 28, 2024, 6-9 pm Daniel Kruger(jewellery) & Katharina Weishäupl (installation, objects) – kósmos. An exhibition that crosses the borders between drawing, sculpture, jewellery, space installation, free and applied arts. While Katharina Weishäupl is providing a grid by her sculptures of threads and a walldrawing based on fibonacci numbers (disturbances selfevident), she structures and changes space and perspectives on the jewellery objects of Daniel Kruger. Daniel Kruger follows the principles of Giebichenstein and Bauhaus art schools that made the borders between free and functional art disappear by integrating art into life. He presents wearable objects of curiosity and wonders, that bear the macrocosmos of the surrounding world in microcosmo by jewellery art (In cooperation with Biró Gallery) *************** Eröffnung 28. Februar 2024, 18-9 Uhr Daniel Kruger (Schmuck) & Katharina Weishäupl (Installation, Objekte) - kósmos. Eine Ausstellung, die die Grenzen zwischen Zeichnung, Skulptur, Schmuck, Rauminstallation, freier und angewandter Kunst überschreitet. Während Katerina mit ihren Fadenskulpturen und einer auf Fibonacci-Zahlen basierenden Wandzeichnung ein Raster vorgibt, zugleich Störungen integriert, strukturiert und verändert sie mit den Schmuckobjekten von Daniel Krüger Raum und Perspektiven. Daniel folgt den Prinzipien der Kunstschulen Giebichenstein und Bauhaus, die die Grenzen zwischen freier und funktionaler Kunst verschwinden ließen, indem sie die Kunst in das Leben integrierten. Tragbare Objekte der Neugierde und des Staunens, die den Makrokosmos der Welt der Kunst- und Wunderkammern im Mikrokosmos der Schmuckkunst tragen. (In Zusammenarbeit mit Galerie Biró) @katharinaweishaupl @galerie_biro @jewelleryweekmunich #schmuck2024 #contemporaryart #jewelry #artinstallation #artanddesign #artwithoutborders #kunstkammer #worksofart #MJW #MunichJewelleryWeek @schmuckinfopoint #wondersarecollectable #wunderkannmansammeln #kunstwerk #kunstgeschichte @ihm_handwerksmesse @dieneuesammlung
#antiquemarble ✨🤍✨ #marble #veeneredmarble only marble🌸155 cm x 77 cm 🌸 7 cm D. #antiques #consolle ✨160cm x 85cm h 82 cm #barock #barocco #seidelcastellogallery #seidelcastellofinearts #piacenza #hotelparticulier #peperinomarble✨plus #placage #stefaniabenazzo #wondersarecollectable
#oilpaintingsoncanvas #dutch #swizerland school #intriguingportrait 🌿69cm x 83cm with frame🌿 #artistportrait 💙🌿63.5 cm x 54.5 cm🌿💙 #xviiicentury #xixcentury early #antiquepainting #neoclassicism #neoclassicalart #seidelcastellofinearts #seidelcastellogallery #wondersarecollectable #portraitpainting #stefaniabenazzo #piacenza
(3/3) This combined nocturnal, sundial and lunar volvelle is distinguished not only by its prestigious provenance, but also by consummate craftsmanship and its sophisticated conception as a compendium uniting several instruments used for measuring time in the smallest space imaginable. The date numerals ‘1599’ inscribed in a minute cartouche on the lower edge of the sundial and lunar volvelle indicate that this magnificent instrument is a prime piece of Renaissance scientifica. The only other known extant compendia are two virtually identical ones, in the National Maritime Museum in Greenwich @royalmuseumsgreenwich and the Ralf Kern Collection, which are dated 1597 and 1591 respectively, and were evidently made in the same workshop. You can admire this marvellous scientific instrument from the Renaissance at the stand of Kunstkammer Georg Laue @tefaf Maastricht 2024. Combined nocturnal, lunar volvelle and sundial from the collection of the Dukes of Württemberg French, dated 1599 Brass-gilt Diameter ca 5 cm #kunstkammergeorglaue #georglaue #wondersarecollectable #kunstkammer #wunderkammer #cabinet #cabinetmaking #cabinetofcuriosities #cabinetdecuriosities #oddities #curiosities #renaissance #baroque #antiques #artcollector #collectingart #collector #artificialia #scientifica #tefaf
(2/3) In the context of Renaissance collections at princely courts, scientific instruments symbolically refer not only to man’s creative powers but to the ruler’s capability to gauge his surroundings, keep them under control, adapt them, and improve them. Hence, implements for measuring time and space prominently featured in the Kunstkammer of the early modern era. When the 10,000 exhibits in the Dresden Kunstkammer were inventoried for the first time in 1585, the share of mathematical and technical instruments included amounted to 950, among them 300 measuring instruments @skd.museum. A Collection of Renaissance and Baroque Scientific Instruments German and French, 16th-18th centuries Wood, silver, brass, ivory, glass Height 4-18.5 cm @tefaf #kunstkammergeorglaue #georglaue #wondersarecollectable #kunstkammer #wunderkammer #cabinet #cabinetmaking #cabinetofcuriosities #cabinetdecuriosities #oddities #curiosities #renaissance #baroque #antiques #artcollector #collectingart #collector #artificialia #scientifica #tefaf
(1/3) On the occasion of @tefaf Maastricht 2024, Kunstkammer Georg Laue will present a collection of outstanding scientifica from the Renaissance and Baroque period, encompassing various elaborated sundials and other scientific instruments, crafted from precious materials such as silver and ivory. Since the 16th century, scientifica have played an essential part in the formation of Kunstkammer collections, especially at court. Scientific instruments represent one of the most important genres in the Kunstkammer because they were intended to vividly demonstrate that man is a small god: he is able to measure time and space with instruments and machines he has devised himself, and even to induce movement artificially through automata. A Collection of Renaissance and Baroque Scientific Instruments German and French, 16th-18th centuries Wood, silver, brass, ivory, glass Height 4-18.5 cm #kunstkammergeorglaue #georglaue #wondersarecollectable #kunstkammer #wunderkammer #cabinet #cabinetmaking #cabinetofcuriosities #cabinetdecuriosities #oddities #curiosities #renaissance #baroque #antiques #artcollector #collectingart #collector #artificialia #scientifica #tefaf
#salvatoresaponaro (1888-1970) modellatore #gioponti #giòponti #modello5764 🖤h.25.5 cm🖤 #ilpellegrinostanco #richardginori #1930 #blacksculpture #tarragliaastampo #shinemodel #sancristoforo #milano #seidelcastellofinearts #seidelcastellogallery #stefaniabenazzo 📸✨🖤✨ #piacenza #wondersarecollectable #novecento
(3/3) Both as a testimonial to the stone-cutter’s skill and as a minerological curiosity, this magnificent covered tankard was a particularly valuable collector’s item. This is attested by a similar stone tankard in the Darmstadt Schloßmuseum, which is identical in form to the present tankard and was fitted by the Nuremberg goldsmith Johann Leonhard Eyßler (master 1697-1733) with a fire-gilt silver mount. In the early eighteenth century, that superlative vessel was in the collection owned by Ernst Ludwig, Landgrave of Hesse-Darmstadt (r. 1678-1739), and is listed among other treasures in the inventory of his estate as a ‘marble tankard’. Covered tankard with silver ore inclusions Probably Saxon, ca 1720 Ore lode with grey host rock and silver inclusions; mount: silver cast Height 16.5 cm, lower diameter 9 cm #kunstkammergeorglaue #georglaue #wondersarecollectable #kunstkammer #wunderkammer #cabinetofcuriosities #cabinetdecuriosities #oddities #curiosities #renaissance #baroque #antiques #artcollector #collectingart #collector #treasure #vanitas #mementomori #exotica #naturalia #scientifica #mirabilia #artificialia
(2/3) In the late Middle Ages silver was one of Saxony’s most important natural resources and was mined in the Ore Mountains (Erzgebirge). Like the serpentine vessels that were carved in Dresden and Zöblitz from the sixteenth century on, the present stone tankard was probably made in Saxony. This is indicated by the mount with its cylindrical thumbpiece, which, although it bears no silver hallmarks, occurs in almost identical form on some pewter-mounted serpentine tankards dating from ca 1700. Covered tankard with silver ore inclusions Probably Saxon, ca 1720 Ore lode with grey host rock and silver inclusions; mount: silver cast Height 16.5 cm, lower diameter 9 cm #kunstkammergeorglaue #georglaue #wondersarecollectable #kunstkammer #wunderkammer #cabinetofcuriosities #cabinetdecuriosities #oddities #curiosities #renaissance #baroque #antiques #artcollector #collectingart #collector #treasure #vanitas #mementomori #exotica #naturalia #scientifica #mirabilia #artificialia
(1/3) The structure and colour of the stone of which its cylindrical wall was carved give this covered tankard its uniquely magnificent appearance. The black mineral, associated with a matrix of grey host rock, contains inclusions of solid silver. They are the determinants of the monochrome colour scale of this piece, which shades from grey through gleaming silver to black. The austere silver mount harmonises in colour with the stone and its simplicity of design heightens its stately elegance. Covered tankard with silver ore inclusions Probably Saxon, ca 1720 Ore lode with grey host rock and silver inclusions; mount: silver cast Height 16.5 cm, lower diameter 9 cm Published in: • Laue, G.: Tresor. Treasures for European Kunstkammer, Munich 2017, p. 110, pp. 204-205, Cat. No. 14 #kunstkammergeorglaue #georglaue #wondersarecollectable #kunstkammer #wunderkammer #cabinetofcuriosities #cabinetdecuriosities #oddities #curiosities #renaissance #baroque #antiques #artcollector #collectingart #collector #treasure #vanitas #mementomori #exotica #naturalia #scientifica #mirabilia #artificialia
#corniceacassetta #✨62cmx77cm ✨ #marche #statopontificio #magicframe #dorata #antiqueframe #laccaeoro #dipintaatempera #xviicentury early #timeless #wondersarecollectable #m 🪽calligraphy #caravaggism #seidelcastellogallery #seidelcastellofinearts #stefaniabenazzo 📸 #piacenza #👁️🤍👁️🪽✨✨✨
#huntingart #huntingwithoutkilling #wondersarecollectable #animalinellarte #animalsinantiquity #animalsinarts #flemish #portraitoflittlebear on #copper #portraitofboar #oncopper #XVIIcentury #artisthebetterweapons #micromosaic #neoclassicism #kingcavalier #mossagathejewelry #dutch #agatamuschiata #french or Dutch #idaoberstein #seidelcastellogallery #seidelcastellofinearts #stefaniabenazzo 📸 #antiques #wunderkammer #cabinetdecuriosites #porphyry #piacenza
(3/3) Because of the therapeutic properties they were believed to possess and the fascination they held for Europeans as exotic objects, lobster claws were quite often incorporated in the design of Kunstkammer curiosities. The Landesmuseum Württemberg @lmwstuttgart has a lobster claw that was mounted as a powder horn in the late sixteenth century. A drawing in the Biblioteca Estense in Modena proves that lobster claws were also made into musical instruments in the seventeenth century. Lobster-claw flacon South German, ca 1720 Claw of the European Lobster; silver: repoussé, cast and engraved Height 11 cm, width 5 cm, depth 3.5 cm #kunstkammergeorglaue #georglaue #wondersarecollectable #kunstkammer #wunderkammer #cabinetofcuriosities #cabinetdecuriosities #oddities #curiosities #renaissance #baroque #antiques #artcollector #collectingart #collector #treasure #vanitas #mementomori #exotica #naturalia #scientifica #mirabilia #artificialia
(2/3) It is true that the exotic character of this scent flacon has been emphasized, primarily through the choice of a rare natural material. This was undoubtedly supposed to reinforce the efficacy imputed to the aromatic essences contained in the flacon. Since scent flacons or pomanders made of lobstar claws are extremely rare, it is gratifying to note that a virtually identical object is in the Wunderkammer Olbricht at the Folkwang Museum in Essen. Lobster-claw flacon South German, ca 1720 Claw of the European Lobster; silver: repoussé, cast and engraved Height 11 cm, width 5 cm, depth 3.5 cm #kunstkammergeorglaue #georglaue #wondersarecollectable #kunstkammer #wunderkammer #cabinetofcuriosities #cabinetdecuriosities #oddities #curiosities #renaissance #baroque #antiques #artcollector #collectingart #collector #treasure #vanitas #mementomori #exotica #naturalia #scientifica #mirabilia #artificialia
(1/3) The hollow crusher claw of a European Lobster was used as a receptacle for a small sponge that was drenched in a fragrant substance via the upper aperture. The underside of the flacon is fitted with hinges so that it can be opened as a lid to allow the scent to waft out. The engraving that decorates the stopper at the top is a form of strapwork that was particularly popular in the German-speaking regions around 1720. Succumbing to a playful fit of pareidolia, a carver cut a face on the upper molar-like bump to imbue this unusual vial with an anthropomorphic quality. Lobster-claw flacon South German, ca 1720 Claw of the European Lobster; silver: repoussé, cast and engraved Height 11 cm, width 5 cm, depth 3.5 cm #kunstkammergeorglaue #georglaue #wondersarecollectable #kunstkammer #wunderkammer #cabinetofcuriosities #cabinetdecuriosities #oddities #curiosities #renaissance #baroque #antiques #artcollector #collectingart #collector #artificialia #collectorscabinet
We just purchased a large collection of Nautiluss shells! They are simply stunning. Ranging from absolutely huge to very tiny, Most of them will be for sale! Check the stories to see more pictures and prices! . . . . . #nautilus #nautilusshell #shell #seashell #taxidermy #oddity #oddities #curiosity #curiosities #cabinetofcuriousities #curiositycabinet #collectable #collectables #wondersofnature #wondersarecollectable
We just purchased a large collection of Nautiluss shells! They are simply stunning. Ranging from absolutely huge to very tiny, Most of them will be for sale! Check the stories to see more pictures and prices! . . . . . #nautilus #nautilusshell #shell #seashell #taxidermy #oddity #oddities #curiosity #curiosities #cabinetofcuriousities #curiositycabinet #collectable #collectables #wondersofnature #wondersarecollectable
We just purchased a large collection of Nautiluss shells! They are simply stunning. Ranging from absolutely huge to very tiny, Most of them will be for sale! Check the stories to see more pictures and prices! . . . . . #nautilus #nautilusshell #shell #seashell #taxidermy #oddity #oddities #curiosity #curiosities #cabinetofcuriousities #curiositycabinet #collectable #collectables #wondersofnature #wondersarecollectable
(3/3) Wooden wedding spoons of this type are in several public collections although they are considerably simpler in both design and execution, and are often in the form of a spoon with a wooden chain. Wedding Spoon German, dated 1621 Wood, inscribed ‘GOTT ALLEIN DI [sic] EHRE / ANNO . 1621’ [‘TO GOD ALONE THE HONOUR / YEAR . 1621’] Length 15 cm #kunstkammergeorglaue #georglaue #wondersarecollectable #kunstkammer #wunderkammer #cabinetofcuriosities #cabinetdecuriosities #oddities #curiosities #renaissance #baroque #antiques #artcollector #collectingart #collector #treasure #vanitas #mementomori #exotica #naturalia #scientifica #mirabilia #artificialia
(1/3) This particularly elaborately worked spoon is distinguished by its sculptural decoration. The hollow stem, which seems to consist of two long, thin scales, is especially remarkable. These plaquettes are – incidentally, like the rest of the spoon – carved from a piece of solid wood. Whereas pierced-work Renaissance decoration adorns the front of the stem, the underside bears an inscription in relief. The transition from stem to bowl is formed by a double bridging structure that also boasts pierced work and relief decoration. A minuscule griffon is enthroned on the terminal of the stem; the exquisitely carved sculpture of the mythical beast attests to the rare talent of the artisan who created this treasure. Wedding Spoon German, dated 1621 Wood, inscribed ‘GOTT ALLEIN DI [sic] EHRE / ANNO . 1621’ [‘TO GOD ALONE THE HONOUR / YEAR . 1621’] Length 15 cm #kunstkammergeorglaue #georglaue #wondersarecollectable #kunstkammer #wunderkammer #cabinetofcuriosities #cabinetdecuriosities #oddities #curiosities #renaissance #baroque #antiques #artcollector #collectingart #collector #treasure #vanitas #mementomori #exotica #naturalia #scientifica #mirabilia #artificialia
(3/3) The most important collections of turned art works in ivory are still today held by museums of princely origin: the precious cups, tankards, contrefait spheres and other exquisite turned objects that once belonged to the Medici collections and the Royal Danish and Electoral Saxon Kunstkammer can today be admired in the Tesoro dei Granduchi in Florence, the Royal Treasury at Rosenborg Palace @rosenborgcastle in Copenhagen and the Green Vault in Dresden @skd.museum. A turned tankard in the Nationalmuseet in Copenhagen @nationalmuseet is noteworthy in connection with the present tankard because it possesses a virtually identical handle with a thumb-piece of the same design: this object originally came from the Royal Danish Kunstkammer, where it had been entered in the inventory by 1674. Court turned tankard South German, ca 1620 Turned ivory Height 17 cm #kunstkammergeorglaue #georglaue #wondersarecollectable #kunstkammer #wunderkammer #cabinetofcuriosities #cabinetdecuriosities #oddities #curiosities #renaissance #baroque #antiques #artcollector #collectingart #collector #artificialia #ivoryart
(2/3) The present ivory tankard, its wall executed in wicker-work patterns, testifies eloquently to the mastery attained by skilled turners in the first half of the seventeenth century. The high status accorded to turned art objects of this kind rests on the symbolic significance of turning as an élite craft. By the sixteenth century, turning had come to be regarded as an essential part of the curriculum taught to princes because practising this extremely complex craft evoked the ability of a ruler to rule a state properly. Just as a prince ennobled the raw material on the lathe by turning it into an art work, so he was capable of raising society to an order on a more lofty plane. Characteristically, the inventory of the Dresden Kunstkammer drawn up in 1587 indicates that the ivory cups turned by the Elector Augustus himself were displayed there along with the lathe on which he had made them. Court turned tankard South German, ca 1620 Turned ivory Height 17 cm #kunstkammergeorglaue #georglaue #wondersarecollectable #kunstkammer #wunderkammer #cabinetofcuriosities #cabinetdecuriosities #oddities #curiosities #renaissance #baroque #antiques #artcollector #collectingart #collector #artificialia #ivoryart
(1/3) From the Renaissance on ivory was traded in Europe at literally worth its weight in gold as exotic treasure. Like coral and rhinoceros horn, it was regarded as an apotropaic substance that was usually sold by apothecaries in powdered form. Still the hard, light-coloured material was chiefly made use of in the arts: due to its unusual density, ivory was worked not only by sculptors but also by turners into breathtaking works of art, in which, as Philipp Hainhofer aptly wrote: ‘art and Nature play with one another’. On lathes, which had been perfected by 1570, highly complex, sophisticated configurations were created that indeed exemplify the interplay of nature and art: they attested to the artist’s ability to perfect natural raw materials with artistry, thus surpassing nature. Court turned tankard South German, ca 1620 Turned ivory Height 17 cm #kunstkammergeorglaue #georglaue #wondersarecollectable #kunstkammer #wunderkammer #cabinetofcuriosities #cabinetdecuriosities #oddities #curiosities #renaissance #baroque #antiques #artcollector #collectingart #collector #artificialia #ivoryart
#amazingsculpture #antiquesculpture #corpuschristi #marblesculpture #italiansculpture #christ from #sicily #alabaster Christ 27cm h x 23.5 cm W ❗️❗️❗️ #eighteenthcentury #cristo in #alabastro #jesuscristh #cristovivo #wondersarecollectable #antiques #corpus #crucifix #religiousantiques #wunderkammer #cataniaalabaster #jesus #patina #seidelcastellogallery #seidelcastellofinearts #piacenza #stefaniabenazzo 📸
#zeffirinocarestia (1849-1908) #sculptor #timeless #purebeauty #fanciullo #marblebust #piacenza #✨✨✨🤍🪽💫 #wondersarecollectable #seidelcastellofinearts #seidelcastellogallery #seidelcastello 🎩 #antiques #interiorstyling
3/3) Whereas similar miniature armchairs for Christ Child figures are held by a few private and public collections, including the Museum Angewandte Kunst @museumangewandtekunst in Frankfurt am Main and the Bayerisches Nationalmuseum @bayerisches.nationalmuseum in Munich, what makes the present object so special is the imaginatively eclectic idiom that identifies it as a highly distinctive work by a south German carpenter active in the late seventeenth century. Armchair en miniature for a Christ Child figure South German, 17th century Wood with traces of gilding; cloth; nails Height 25 cm, width 14.5 cm, depth 13 cm #kunstkammergeorglaue #georglaue #wondersarecollectable #kunstkammer #wunderkammer #cabinet #cabinetmaking #cabinetofcuriosities #cabinetdecuriosities #oddities #curiosities #renaissance #baroque #antiques #artcollector #collectingart #collector #artificialia
(2/3) Explaining away the unusual miniaturised format of this piece of furniture by interpreting it as a carpenter’s model would be inadvisable. On the contrary, the armchair was part of a sculptural group: a Christ Child originally sat in it. The Christ Child in a chair is a type that also comes from Spain and Italy; however, comparable armchairs in small formats are also known from the southern, Catholic, principalities of the Holy Roman Empire of the German Nation. In fact, this particular small armchair can be traced to south Germany or Austria on the basis of its auricular decoration. The carpenter and joiner who made the chair would have had access to a vast body of copperplates to inspire his strapwork and grotesque decoration, including Neues Zierrathen Buch […] so von Mahlern, Bildhauern, Goldschmieden, Schreinern […] nützlich können angewendet werden [New Decoration Book [...] which can be usefully applied by Painters, Sculptors, Goldsmiths, Carpenters] which was published by Simon Cammermayer of Wemding, a Bavarian carpenter and joiner, in Nuremberg between 1666 and 1678. Armchair en miniature for a Christ Child figure South German, 17th century Wood with traces of gilding; cloth; nails Height 25 cm, width 14.5 cm, depth 13 cm #kunstkammergeorglaue #georglaue #wondersarecollectable #kunstkammer #wunderkammer #cabinet #cabinetmaking #cabinetofcuriosities #cabinetdecuriosities #oddities #curiosities #renaissance #baroque #antiques #artcollector #collectingart #collector #artificialia
(1/3) This armchair in a small format stands on legs that are square in cross section but in elevation resemble free-standing vertical ripple moulding and are linked by four curvilinear stretchers. The stretchers in turn are carved in the auricular style in the same way as the sumptuously ornate backrest of the chair, which is designed as a sculptural configuration of pierced strapwork with a grotesque. The slightly sloping armrests are decorated only with acanthus leaf bracket supports at the back and terminate in Spanish scrolls whereas the seat is upholstered with silk damask. Typologically speaking, the miniature armchair derives from a sort of seat furniture that was made mainly in Spain and Italy in the seventeenth century. The sculptural design of the stretchers and the backrest, on the other hand, suggests that this piece of small furniture was made in northern Europe in the latter half of the seventeenth century while the auricular style was at its height and exerting an enormous stylistic influence on the furniture made by cabinet-makers in the Low Countries, England and the German principalities. Armchair en miniature for a Christ Child figure South German, 17th century Wood with traces of gilding; cloth; nails Height 25 cm, width 14.5 cm, depth 13 cm #kunstkammergeorglaue #georglaue #wondersarecollectable #kunstkammer #wunderkammer #cabinet #cabinetmaking #cabinetofcuriosities #cabinetdecuriosities #oddities #curiosities #renaissance #baroque #antiques #artcollector #collectingart #collector #artificialia
#seidelcastellogallery #seidelcastellofinearts #animalsinarts #oilpainting 51cm x 66cm #antique #masterpainter #wondersarecollectable #dog 💘 #abiscuitformydog #redshoes ❗️❗️❗️ #animalinellarte #settecento #eighteenthcentury #1750s #piacenza #whereflowershavenoend #stefaniabenazzo 📸
(3/3) The present Resting Dromedary may have been made, like the bull statuette from Amsterdam, in connection with the magnificent bronze fountains that Hans Riesinger designed for princely patrons in the last third of the sixteenth century. However, the Dromedary is more likely to have been part of a clock, especially since the animal’s mouth, unlike the figures made for fountains, reveals no trace of drilling. Like fountains, clocks were artworks for princes. Made for a rich clientele of such high social status, table timepieces were accordingly furnished with choice pieces of superlatively executed sculpture like the Dromedary. Dromedary South German, probably Augsburg, ca 1580 Bronze, cast, engraved, chased and fire-gilt Height 11 cm, length 12 cm #kunstkammergeorglaue #georglaue #wondersarecollectable #kunstkammer #wunderkammer #cabinetofcuriosities #cabinetdecuriosities #oddities #curiosities #renaissance #baroque #antiques #artcollector #collectingart #collector #artificialia #collectorscabinet #clock #automaticclock #automatenuhr #feinmechanik #antikeuhren #clockcollector #clockcollection #historicclock #historicclocks #spielwerk #wissenschaftlicheinstrumente
(2/3) The consummate quality of the craftsmanship which makes this bronze sculpture so remarkable, including the characteristic rendering of the dromedary’s hide with stipple engraving in conjunction with engraved lines, is in fact typical of the work produced by south German bronze founders and redsmiths in the Renaissance. The Augsburg and Nuremberg artisans who worked in bronze were celebrated in the sixteenth century for producing fine sculpture in large formats. However, they also made freestanding sculpture in small formats as collector’s items. Among these pieces is an exquisite bronze sculpture of a resting stag in the Dresden Green Vault @skd.museum, which reveals clear affinities with the Dromedary discussed here in terms of form, style and execution. The stag sculpture was acquired by Christian I, Elector of Saxony, in 1589 along with an equally fine statuette of a unicorn by the Augsburg bronze founder and sculptor Hans Reisinger (ca 1535–1604). Reisinger had acquired the right to live and work in Augsburg in 1554. By the 1560s and 1570s he was receiving commissions from the Wittelsbachs and Fuggers. Later he also worked for the courts of territorial princes in Stuttgart, Kassel and Neuburg. He earned his reputation with elaborate fountains, which he often decorated with small animal sculptures, such as a bull statuette now in the Rijksmuseum @rijksmuseum in Amsterdam. Dromedary South German, probably Augsburg, ca 1580 Bronze, cast, engraved, chased and fire-gilt Height 11 cm, length 12 cm #kunstkammergeorglaue #georglaue #wondersarecollectable #kunstkammer #wunderkammer #cabinetofcuriosities #cabinetdecuriosities #oddities #curiosities #renaissance #baroque #antiques #artcollector #collectingart #collector #artificialia #collectorscabinet #clock #automaticclock #automatenuhr #feinmechanik #antikeuhren #clockcollector #clockcollection #historicclock #historicclocks #spielwerk #wissenschaftlicheinstrumente
(1/3) This unusual and extremely fine bronze sculpture is distinguished by vivid naturalism as well as minutely detailed surface texturing, with the hairs of the animal’s hide suggested by fine stippling and line engraving, as well as gilding that enhances the magnificent appearance of the dromedary sculpture. The addition to the tip of the hump, which is probably of later date, indicates the original function of this sophisticated small sculpture was probably to form the base of a Renaissance mirror clock. The dromedary was, in fact, as a rare, exotic animal, highly popular when it came to designing figure and mirror clocks, especially in Augsburg, where clockmakers specialised in producing magnificently showy automaton clocks with exotic motifs in the late sixteenth century. Dromedary South German, probably Augsburg, ca 1580 Bronze, cast, engraved, chased and fire-gilt Height 11 cm, length 12 cm #kunstkammergeorglaue #georglaue #wondersarecollectable #kunstkammer #wunderkammer #cabinetofcuriosities #cabinetdecuriosities #oddities #curiosities #renaissance #baroque #antiques #artcollector #collectingart #collector #artificialia #collectorscabinet #clock #automaticclock #automatenuhr #feinmechanik #antikeuhren #clockcollector #clockcollection #historicclock #historicclocks #spielwerk #wissenschaftlicheinstrumente
#wearewaitingforyou♥️ #rassegnaantiquariamontichiari #seidelcastellofinearts #seidelcastellogallery #seidelcastello #stefaniabenazzointeriordesigner #artistlayfigure h 80 cm #👁️♥️👁️ #wondersarecollectable #brixia #piacenza #finearts
#seidelcastellofinearts #seidelcastellogallery #antiques #marblerelief 🌹40cm x30 cm 🌹 #domenicozauli 1859 dated and signed #work of this sculptor is part of the collection at #racconigi ‘s castle #romanschool #interiordesign #stefaniabenazzo ✨ #sculpture #piacenza #roma #naples #bronze #neclassicismo #melange #wondersarecollectable #abstractart bronze
(3/3) The silver mount confirms a sixteenth-century date for this small court glass tankard: it consists of a low domed lid with a spherical thumbpiece, which is fastened to the handle by a hinge and is engraved with the date 1597. This provides a terminus ante quem for dating the glass vessel, which must have been made before the mount. The lid also reveals something of the history of this precious glass vessel: the top is engraved with the nuptial coats of arms of a noble couple and the initials SM and AB within a laurel wreath. They refer to the original owners of the glass tankard: Malteson Sehested til Holmgaard (1553–1611) and Anne Henrikdatter Brahe (1576–1635), who married in 1592. The red marbled agate-glass tankard was evidently regarded as precious so that it was handed down from generation to generation in the family. The fact that this small Renaissance lidded tankard of red agate glass was continuously owned from the sixteenth century on by a single family clearly indicates how highly prized it was for more than four centuries as an unusual German work of art in glass. Today the magnificent small drinking vessel seems all the more precious considering that, apart from fragmentary archaeological finds made at municipal sites, only a few other works of this type in glass have survived. Renaissance tankard of red marbled glass once owned by the Swedish noble family of Sehested til Holmgaard German, Dates 1597 Initials SM and AB as well as the coats of arms of Maltesøn Sehested til Holmgaard (1553–1611) and his wife, Anne Henrikdatter Brahe (1576–1635), engraved on the lid Height 10.5 cm #kunstkammergeorglaue #georglaue #wondersarecollectable #kunstkammer #wunderkammer #cabinetofcuriosities #cabinetdecuriosities #oddities #curiosities #renaissance #baroque #antiques #artcollector #collectingart #collector #artificialia #glass
(2/3) Excavations conducted at sites where glassworks were once in operation and at urban sites prove that vessels blown of opaque red glass with orange or dark brown streaks were popular in the German-speaking territories from the latter half of the fifteenth century on. Excavations conducted in 1966 at 6/7 Grosse Bäckerstrasse in Lüneburg, for instance, brought to light a fragment of a piriform jug, which was made of the same reddish-brown marbled glass in the sixteenth century. Also noteworthy in this connection are red marbled glasses that were found by divers in Lake Walchensee – and, appropriately, below the ‘Post’, an inn that used to cater for both pilgrims on their way to Rome and hunting parties hosted by the dukes of Bavaria (Schaich 2019, pp. 182–196). When the inn was being renovated in 1602, the damaged and old-fashioned drinking glasses were evidently disposed of in the most convenient way to hand by being set out on the frozen surface of Lake Walchensee. When a thaw set in and snow and ice melted, they would have sunk into its waters. Among the vessels found on the lake bed were a sixteenth-century goblet and a beaker made of red marbled glass, which match the piriform tankard discussed here in both material and style. Renaissance tankard of red marbled glass once owned by the Swedish noble family of Sehested til Holmgaard German, Dates 1597 Initials SM and AB as well as the coats of arms of Maltesøn Sehested til Holmgaard (1553–1611) and his wife, Anne Henrikdatter Brahe (1576–1635), engraved on the lid Height 10.5 cm #kunstkammergeorglaue #georglaue #wondersarecollectable #kunstkammer #wunderkammer #cabinetofcuriosities #cabinetdecuriosities #oddities #curiosities #renaissance #baroque #antiques #artcollector #collectingart #collector #artificialia #glass
(1/3) Made of reddish-brown marbled glass and silver-mounted, this small, piriform lidded tankard represents a rare gem of the sixteenth-century glassblower’s craft north of the Alps. At first glance the reddish-brown marbled glass is reminiscent of Venetian calcedonio – a type of glass that is often also referred to as ‘agate glass’. The recipe for it was developed by Murano glassblowers in the latter half of the fifteenth century with the aim of imitating the natural banding of chalcedony or agate. However, the shape of this small piriform tankard, the unusual reddish-brown color of the glass and the thickness of the vessel wall argue against a Venetian origin. That this sophisticated glass vessel is actually a product of a German glassworks is confirmed by archaeological finds made at a north German urban site and in a lake in southern Germany as well as a few vessels of the same red opaque glass that are privately owned or held by the Musée National de la Renaissance in Écouen @musee_ renaissance: all of them reveal the design typical of glass made north of the Alps. Height 10.5 cm Renaissance tankard of red marbled glass once owned by the Swedish noble family of Sehested til Holmgaard German, Dates 1597 Initials SM and AB as well as the coats of arms of Maltesøn Sehested til Holmgaard (1553–1611) and his wife, Anne Henrikdatter Brahe (1576–1635), engraved on the lid Height 10.5 cm #kunstkammergeorglaue #georglaue #wondersarecollectable #kunstkammer #wunderkammer #cabinetofcuriosities #cabinetdecuriosities #oddities #curiosities #renaissance #baroque #antiques #artcollector #collectingart #collector #artificialia #glass
@munichhighlights Automaton clock once owned by the Counts Leublfing Augsburg, ca 1620 Bronze; silver, parcel-gilt; copper, parcel-gilt and with polychromy; iron Engraved coat of arms of the Counts Leublfing on the base Height 25 cm, width 8.5 cm, depth 8.5 cm From October 18 to 22, Kunstkammer Georg Laue will participate in the International Art Fair Highlights @munichhighlights, taking place at the Munich Residence. #kunstkammergeorglaue #georglaue #wondersarecollectable #kunstkammer #wunderkammer #cabinetofcuriosities #cabinetdecuriosities #oddities #curiosities #renaissance #baroque #antiques #artcollector #collectingart #collector #artificialia #collectorscabinet #scientifica #munichhighlights #clock #automaticclock #automatenuhr #feinmechanik #antikeuhren #clockcollector #clockcollection #historicclock #historicclocks #spielwerk #wissenschaftlicheinstrumente
@munichhighlights (2/2) Magnificent automaton clocks with figures of ‘Moors‘ were particularly popular among distinguished Renaissance collectors. Similar Augsburg automaton clocks dating from the years between 1600 and 1630 are held, for instance, by the Landesmuseum Württemberg in Stuttgart @lmwstuttgart, the Treasury of the Princes Esterházy at Burg Forchtenstein @esterhazy.at, the Kunstkammer at the Kunsthistorisches Museum in Vienna @kunsthistorischesmuseumvienna and the Milwaukee Art Museum @milwaukeeart. The present automaton clock was once also owned by a noble family: its provenance is attested by the heraldic escutcheon with a coronet engraved on the front face of the base. It represents the arms of the Leublfings, an ancient, but now extinct, Lower Bavarian aristocratic family. From October 18 to 22, Kunstkammer Georg Laue will participate in the International Art Fair Highlights @munichhighlights, taking place at the Munich Residence. Automaton clock once owned by the Counts Leublfing Augsburg, ca 1620 Bronze; silver, parcel-gilt; copper, parcel-gilt and with polychromy; iron Engraved coat of arms of the Counts Leublfing on the base Height 25 cm, width 8.5 cm, depth 8.5 cm From October 18 to 22, Kunstkammer Georg Laue will participate in the International Art Fair Highlights @munichhighlights, taking place at the Munich Residence. #kunstkammergeorglaue #georglaue #wondersarecollectable #kunstkammer #wunderkammer #cabinetofcuriosities #cabinetdecuriosities #oddities #curiosities #renaissance #baroque #antiques #artcollector #collectingart #collector #artificialia #collectorscabinet #scientifica #munichhighlights #clock #automaticclock #automatenuhr #feinmechanik #antikeuhren #clockcollector #clockcollection #historicclock #historicclocks #spielwerk #wissenschaftlicheinstrumente
#vestalis #neoclassico #romantico #marblesculpture 84cm x 44cm approx #vestal #vestale #allegoriadellapudicizia #mablesculpture #italianmarblesculpture #timeless #seidelcastellofinearts #seidelcastellogallery #piacenza #stefaniabenazzo 📸 #wondersarecollectable #neoclassicoromantico #interiør #ame #magic #white #rome #neoclassical #amirrorwithaview
@munichhighlights Acquired by the @schellcollection Graz @munichhighlights 2023. (3/3) From the turn to the 17th century, Augsburg cabinets were only rarely decorated with enameled silver. Well known examples are the medallions with allegorical figures and abstract decoration which David Altenstetter made for the Pomeranian Art Cabinet. A prolific artist working on commission for both Hainhofer and the Emperor Rudolf II, Altenstetter made jars, guns, clocks and other utilitarian objects in basse-taille enamel. Philipp Hainhofer praised David Altenstetter as one of the ‘most skilled and renowned masters […] in enamelling work’. Ulrich's son, Melchior Baumgartner, probably found some basse-taille enamel silver works by the deceased goldsmith in the stock of his father's workshop, which he integrated as decorative plaques into the large ivory cabinet of the Bavarian National Museum @bayerisches.nationalmuseum and also into the present lidded casket. This also explains the difference in quality between the small round enamel plaques of the casket, which are obviously by another hand, and the two large oval plaques, which testify to the mastery of the gifted "fire painter" David Altenstetter. From October 18 to 22, Kunstkammer Georg Laue will participate in the International Art Fair Highlights @munichhighlights, taking place at the Munich Residence. Court Casket Melchior Baumgartner Augsburg, ca 1650 Enameling: David Altenstetter Ivory, tortoiseshell, wood; silver plaquettes with basse-taille enamel; red silk; brass Height 21 cm, width 23 cm, depth 15.5 cm #kunstkammergeorglaue #georglaue #wondersarecollectable #kunstkammer #wunderkammer #cabinetofcuriosities #cabinetdecuriosities #oddities #curiosities #renaissance #baroque #antiques #artcollector #collectingart #collector #artificialia #collectorscabinet #courtcabinet #munichhighlights #art #artfair #schellcollection
@munichhighlights Acquired by the @schellcollection Graz @munichhighlights 2023. (2/3) Melchior Baumgartner was the son of the ‘Kistlers’ (cabinet maker) Ulrich Baumgartner, who had collaborated on the ‘Pommerscher Kunstschrank‘ (Pomeranian Art Cabinet) under the supervision of Philipp Hainhofer. Melchior Baumgartner was just as successful as his father and has been verified as the maker of several ivory cabinets for the Munich Court, including the cabinet in the Bayerisches Nationalmuseum, which the dowager Electress Anna Maria acquired in Augsburg in 1655. In the present magnificent casket, the two large oval plaques with basse-taille enamel differ stylistically from the smaller, round plaquettes. The delicate grotesques of the large plaques, with their filigree tendrils, insects, picturesque birds and delicate flowers, are consistent with the oeuvre of the Augsburg goldsmith David Altenstetter. Stylistically, they are related, among others, to a service by the master dated 1615 in private ownership, which bears the monogram D A F ("David Altenstetter Fecit"). Undoubtedly, the enameled plaques of the large ivory art cabinet in the Bavarian National Museum are also by the same artist. The Augsburg goldsmith and "fire painter" Johann Georg Priester was suggested as the author of these plaques, because he was in Munich in 1655 at the same time as the cabinet was presented to the Electress's widow Maria Anna. However, since no other enamel work by Priester has survived and his involvement in the cabinet cannot be proven, this attribution is problematic. In contrast, it is certain that Ulrich Baumgartner and David Altenstetter worked closely together on the conception of the Pomeranian Art Cabinet. Court Casket Melchior Baumgartner Augsburg, ca 1650 Enameling: David Altenstetter #kunstkammergeorglaue #georglaue #wondersarecollectable #kunstkammer #wunderkammer #cabinetofcuriosities #cabinetdecuriosities #oddities #curiosities #renaissance #baroque #antiques #artcollector #collectingart #collector #artificialia #collectorscabinet #courtcabinet #munichhighlights #art #artfair #schellcollection