SILBER

Courtly wide-rimmed plate

Silbernes Tisch-Barometer von Fabergé

Fabergé, Moskau 1899-1908

Silber, Stempel Fabergé unter Doppeladler, Initialen K F, Moskau 1899-1908, 84 Zolotnik

Kleines Aneroid-Barometer für den Schreibtisch, das rund umlaufende Schriftband mit Wetterangabe in kyrillischer Schrift mit gebläutem Stahlzeiger, verbunden mit der Mess-Mechanik. Die Abdeckung aus Kristallglas, der Zeigergriff zum Einstellen des Anzeigewertes mit einem rotem Granat-Cabochon besetzt. Der Fuß des Barometers seitlich dekoriert mit klassizistischem Rosetten-Fries zwischen Entrelac-Bändern über einer Akanthus-Bordüre.

Ein Aneroid-Barometer misst den Luftdruck, indem das Luftgewicht auf einige miteinander gekoppelte, luftleere, dünnwandige Dosen drückt, in denen eine Feder sitzt. Je nach Luftdruck werden die Dosen mehr oder weniger stark verformt und die Spannung auf einen Zeiger übertragen. Diese Barometer-Art eignet sich besonders für den Innengebrauch.

Höhe: 6 cm, Durchmesser: 10,8 cm

Wir danken Alexander von Solodkoff für seine Expertise.

Satz von vier Leuchtern

aus dem Besitz des Herzog Clemens August von Bayern, Erzbischof von Köln und Kurfürst des Heiligen Römischen Reiches (1723-1761)

Bautzen um 1740, wohl Johann Adolf Borns (1689-1760)

Silber, Beschauzeichen Bautzen um 1740, Meisterzeichen JB, Tremolierstich.
Alle vier Leuchter tragen die Wappengravur des Kurfürsten Clemens August.

In der Oberlausitz mit ihrer alten Hauptstadt Bautzen lagen die einzigen geschlossen katholischen, meist sorbischen Siedlungen unter sächsischer Herrschaft. Der für diese in der Diaspora lebenden Katholiken zuständige Apostolische Nuntius hatte nach 1715 seinen Dienstsitz in Köln, bis 1743 wieder ein Apostolisches Vikariat in Sachsen selbst errichtet wurde.

Höhe: 14,5 cm, Gewicht: zus. 822 g

Marc Rosenberg, Der Goldschmiede Merkzeichen, 4 Bde., Frankfurt a. M. 1922-1928, Nrr. 1141 u. 1145

Schwere barocke Prunkterrine

Christian von Hansen (1716-1792), Danzig um 1760

Silber, Beschauzeichen Danzig um 1760, Meistermarke CVH im Dreipass.

Große, glatt gewandete Deckelterrine auf vier Füßen, deren Schwung sich bis in die kräftigen Rocaillen-Griffe fortsetzt, der Deckelknauf als große, naturgetreue Zitrone gestaltet, mit Blättern und Zweig.

Breite: 45 cm, Höhe: 35 cm, Gewicht: ca. 5.500 g

Augsburger Email-Koppchen mit Cupido-Kartuschen

Elias Adam (1669-1745, Meister 1703), Augsburg 1708-1710 zugeschrieben

Silber, feuervergoldet, mit emaillierter Außenwandung.
Die emaillierte Außenwand zieren drei Kartuschen mit Darstellungen Amors zwischen feinem, floralen Rankenwerk auf rotem Fond.

Augsburg, insbesondere Elias Adam, war berühmt für seine qualitätvolle Malerei auf Email.

Zahlreiche Werke dieser Art von Elias Adam haben sich in bedeutenden europäischen Sammlungen erhalten.

Höhe: 5 cm, Durchmesser: 6,5 cm

Bedeutender Nürnberger Muschelpokal

Simon Lang (1608-1671, Meister 1645), Nürnberg um 1660

Silber, graviert und teilvergoldet, Beschauzeichen Nürnberg um 1660, Meisterzeichen SL.

Die große muschelförmige Pokalschale mit gefächerter Zunge wird von einem Schaft in Gestalt der Siegesgöttin Fortuna mit Siegespalme und Kranz auf ovalem, hochgeschwungenem, gebuckeltem Fuß getragen. Ein kleiner Putto, ebenfalls mit Palme und Siegeskranz auf einer Kugel stehend, bekrönt den Muschelpokal, der außen aufwändig mit Tulpen-, Nelken- und Rosenblüten graviert ist.

Es haben sich mehrere, nahezu identische Exemplare dieses Modells vom selben Meister erhalten: etwa in der Sammlung der Markgrafen und Großherzöge von Baden, im Besitz des Germanischen Nationalmuseums und ein halb so großer im Städtischen Museum Schloß Rheydt. Die Entstehung dieses Modells im Zusammenhang mit dem Westfälischen Frieden 1648 liegt nahe.

Höhe: 41 cm Gewicht: 515 g

vgl.: Germanisches Nationalmuseum Nürnberg Band 1, Teil 2, im Kölner Stadtmuseum, Nr. 646
CC BY-NC-SA @ Städtisches Museum Schloss Rheydt
Karin Tebbe, Nürnberger Goldschmiedekunst – Formtypen und stilistische Entwicklung, in: Nürnberger Goldschmiedekunst: 1541-1868, 2 Bde., Nürnberg 2007, Bd. II, S. 183 f.

Paar kleine Augsburger Silberpokale

Ungemarkt, zugeschrieben Elias Adam (1669-1745, Meister 1703), Augsburg um 1710

Silber, mit geringen Resten von ehemaliger Vergoldung

Um Kuppa, Nodus und Fußscheibe, reich und äußerst fein dekoriert in Email. Die zweischalige Kuppa zwischen goldenen Ranken und Bandwerk zeigt in ovalen Medaillons den Amorknaben in Landschaften und Architektur in unterschiedlichen Tätigkeiten.

Auf der Fuß- und Nodusscheibe jeweils drei Amordarstellungen in Medaillons, mit Attributen der Erotik und Liebe zwischen feinst gemalten Blüten.
Der Schaft gegossen und graviert.

Vergleichbare Arbeiten befinden sich im GNM Nürnberg und im Maximilansmuseum Augsburg.

Höhe: 12,5 cm, Durchmesser: 6 cm

Tabatière mit Email-Miniatur

J. S. Magnin (1772 – 1812), Genf um 1790

Ovale Golddose, Genfer Beschau um 1790, Meistermarke J. S. Magnin & Cie, Gelbgold mit transluzidem und opakem Email, flacher Korpus mit Stülpscharnierdeckel.

Ovaler Korpus umlaufend mit transluzidem blauem Email auf guillochiertem Untergrund gegliedert, Deckel mit ovaler Email-Miniatur einer fein gezeichneten Liebesszene, eingebettet in blauen Fond.

Höhe: 2,7 cm, Durchmesser: 8,2 cm, Gewicht: 125 g

Masterful Hamburg silver tankard

Peter Ohr I., around 1660

Silver with partial gilding, marked with Hamburg inspection from 1654-74 and master's mark Peter Ohr I. (1647-62).
A frieze made of naturalistic tulip and daffodil blossoms on the stand bead and the lid, the cylindrical wall with a series of cupids in a particularly sculpted relief. A small figure in contemporary clothing crowns the lid. With his goldsmith work at the highest level, Ohr was one of the most important North German masters in the second half of the 17th century. One of his most important commissions, a large table fountain as a present for Tsar Alexei Mikhailovich, is now in the armory of the Kremlin Museum in Moscow.
Height 28 cm; Weight approx. 1600 g.
Schliemann, Die Goldschmiede Hamburgs, Hamburg 1985, MZ No. 36 I, 190 and a comparable tankard Ohrs shown as No. 262. Hernmarck, The European Silversmith, London 1979, p. 122.

Ein Paar grosse englische Rokoko-Leuchter

Meister CB, London 1768

Silber, Beschauzeichen London 1768, Meisterzeichen C. B mit Stern, Holzkern

Reich getriebener, floraler und Rocaillen-Dekor in Halbrelief. Diese beiden Leuchter sind vermutlich die einzigen beiden Stücke, die dem bislang nicht identifizierten Londoner Meister von Jackson zuzuweisen sind.

Höhe: 31 cm

Jackson’s Silver & Gold Marks of England, Scotland & Ireland, Woodbridge 1994, Nr. 57 + 212

Large centerpiece

Frankfurt 1892
Manufactory F. Schürmann

This large, powerful silver work is an extremely representative, upper-class table decoration for flowers or fruit.
This magnificent Art Nouveau silversmith work was created in Frankfurt by F. Schürmann and was made for the silver wedding anniversary of Baron Max of Guaita and his wife Sophie, née Leve.

The Guaita family was one of Frankfurt's most important banking families, appointed several mayors and local politicians of the city and were highly esteemed as patrons of the arts.

The family was extremely successful in Aachen and Frankfurt and achieved great wealth amongst others through trade, manufacturing, land ownership and bank holdings.
Their noble status was confirmed by Emperor Franz I in 1754.

Weight: 4300 g
Length: 47 cm, depth: 33 cm, height: 15 cm;

Pair of solid silver wall appliques

Rotterdam, 1770
by Rudolf Sondag (1726-1812)

Silver wall arms were made by various Dutch goldsmiths in the 18th century, in very rare cases even as an ensemble with a silver chandelier. The commissions were always extremely valuable and the circle of clients very small. The appliqués shown here were made by the most famous Rotterdam goldsmith of the 18th century.

Rudolf Sondag, who repeatedly came up with his own original designs, developed over the course of his life with works in the style from the opulent Rococo to the early Classicism of the second half of the 18th century. The wall panels are almost symmetrical, and the intertwined arms display a certain severeness. The two side arms end at the same height, giving the appliqués a strong monumentality.

Marked: Dutch lion, Rotterdam city mark, master's mark sun for Rudolf Sondag, year letter M (1770), guild stamp N (Rotterdam 1795).

Literature: Exhibition catalog Rococo in Nederland, Rijksmuseum, Amsterdam 2001, cf. nos. 80, 85, 123.

Height: 55 cm, total weight 2952 g

Silver plaque with the Madonna and Christ Child

Augsburg around 1630
by Hans Christoph II Fesenmair (1587-1664, master since 1618)

Mary, carved in the rays of light, shows her child standing gracefully on her lap and benedictionally proclaiming God's grace with the globe in its hand.
Mary is wrapped in a cloak, covered with a headscarf and has bowed her head before the significance of her divine child.

Hans Christoph II Fesenmair is considered one of the most important goldsmiths in Augsburg in the second quarter of the 17th century. He was several times guild foreman and inspectoral master. His numerous secular and ecclesiastical showpieces were commissioned by the cathedral chapter and the imperial city of Augsburg as well as the imperial court in Vienna, the archducal chamber in Innsbruck and the Elector of Cologne.

Height: 16 cm, width: 11.8 cm, weight: approx. 62 g

A pair of silver wine coolers

London, 1813
William Elliott

The extremely high-quality, crater-shaped vessels from the Regency period are worked in heavy sterling silver with naturalistically modeled elements, some of them “en relief”, as well as fully sculpted in antique form as wine coolers. Horns of plenty with fruit serve as powerful handles and lush vine leaves with grapes decorate the garb.

On June 18, 1872, the vases were presented as a gift for the marriage of Prince Hermann of Hatzfeld zu Trachenberg to Countess Natalie of Benckendorff in Berlin. Duke of Hatzfeld was an important Prussian politician, civil servant and major general from Silesia. He was chairman of the New Faction of Big Landowners and a hereditary member of the Prussian House of Lords from 1878. His wife served as the Empress Frederick's Mistress of the Robes.

Natalie's older brother, Count Alexander von Benckendorff, was Russian ambassador in London and gave the vases to his sister as a wedding present.

Height: 32 cm, total weight 5100 g

Nuremberg columbine goblet

Marked Philpp Plapert, 1643-1646, silver, partly fire-gilded

Silver, gilded columbine goblet, fourfold designed with six humps on the lid, the dome, and the foot. A large Schmeck decorates the masterly Nuremberg silversmith's work as a crowning.

Today, Plapert's particularly high-quality hump goblets are in various public collections, including the Victoria and Albert Museum in London, the Hermitage in St. Petersburg, and the Museo Palazzo Venezia in Rome.
BZ Nuremberg for 1643-1646, MZ Philipp Plapert (1637-1665) GNM no. BZ17, 655);

Height: 34 cm, weight: 294 g

Silver tureen

Partly fire-gilded, marked Augsburg, around 1763-1765, by Gottfried Bartermann

This unusually richly decorated tureen, a late work by the famous Gottfried Bartermann (approx. 1705-1769), is a top product of Augsburg silversmithing of the Rococo period. In Succession of the most important Parisian goldsmiths, such as Thomas Germain, Bartermann has decorated the lid with lifelike vegetables such as asparagus, cabbage and celery root, crowned by an artichoke; a string of strawberries forms a particularly original motif. The large cartouche, spreading on both sides over the body and the lid, shows a turnip and other vegetables in the center. Besides centerpieces, tureens were the most important showpieces of a representatively set festive table. The sporadic fully plastic vegetables possibly indicate the ingredients of the dish prepared in the tureen.
Helmut Seling has written about this piece: "We know a whole series of tureens by Gottfried Bartermann, which consistently document his masterly skills. Among them is this oval tureen, made between 1763 and 1765, whose successfully produced shape forms a unity with the decoration."

Literature: Helmut Seling, "Die Kunst der Augsburger Goldschmiede 1529-1868", Munich 1980, vol. I, p. 164; vol. II, fig. 736

Height: approx. 36 cm, width: 50 cm, weight: approx. 4630 g

Nuremberg Diamond Buckbeaker

Michael Müllner 1609-1629

Silver gilt, the conical cup with profiled lip rim stands on a narrow stand ring. The wall is decorated with chased diamond bosses which taper downwards to match the cup. On the underside of the cup is the Nuremberg city hallmark, the master's mark and the tremolo line.
Other works by Michael Müllner have survived in the Germanisches Nationalmuseum, the Swedish National Museum in Stockholm and in the Oetker Collection. In the early 17th century, the workshop of Michael Müllner and Hans Petzold enjoyed a high reputation for the production of elaborate hump cups.

Lit.: Nürnberger Goldschmiedekunst 1541-1868, GNM 2007.

Height 11 cm,
Weight 173 g

Large Classiclst Pair of Tureens of Duke Friedrich August of Brunswick-Lüneburg-Oels

Wroclaw, Tobias Meyer and Gottlieb Benjamin Vogtmann, 1792

The imposing pair of silver tureens stands on the original presentoires. Both tureens have
preserved the original interior gilding. The pair was commissioned by Duke Friedrich August of Brunswick-Lüneburg-Oels in 1792 and made in Breslau by Tobias Meyer and Gottlieb Benjamin Vogtmann.
Duke Friedrich August married Friederike Sophie, Princess of Württemberg-Oels, in 1768 and was enfeoffed with the Lower Silesian Duchies of Oels and Bernstadt in 1792 after the death of his father-in-law.
A single additional tureen from the workshop has been preserved in the Germanisches Nationalmuseum in Nuremberg.
Hallmarks on all parts (Hintze Breslau, Hallmark. No. 22, year letter K, master's marks No. 173 and 175).

Lit. Hintze, Die Breslauer Goldschmiede, 1906, plate V, no. 173 and 175.

50 x 42 x 32 cm,
weight approx. 11400 gr

Large Pair of Silver Jugs

Augsburg 1791 -93

Two extreme high quality, classicistic silver jugs. Wrought, cast, chased, hallmarked and mounted, with original interior gilding and ebonised handles. From Southern German nobility.
MZ: CGS for Christian Gottlieb Il Schuhmann (1757-1794, master from 1784).
Another pair of jugs by the master has survived in Wittelsbach possession and is in the silver chamber of the Munich Residenz.

Lit. cf. BZ: Seling III, no. 276 and 2601.

Height 34 cm and 26 cm,
Weight 1021 g and 527 g.

Rare set of three Augsburg pitchers

Augsburg, Johann Heinrich Busch, 1807 to 1810

Silver, chased, cast, chased and gilded on the inside. Consisting of large coffee pot, hot milk pot and tea pot.
Marked with the BZ: Augsburg 1807/08 and 1809/10‚ MZ: Johann Heinrich Busch (1807-1810).
The vase-shaped pots with curved spouts and elaborately carved wooden handles are decorated with lush floral borders on their robes and are executed in very high quality.
A tureen by Johann Heinrich Busch is in the silver chamber of the Munich Residenz.

Lit. Seling Ill, No. 2940, 2960, 2662.

Height coffee pot 34 cm,
Height of hot milk jug 25 cm,
height of teapot 20 cm.
Total weight 2598 g.

A pair of Régence candlesticks

Augsburg, Johann Jakob Kohlern 1722-1726

Silver, cast, embossed and chased with Augsburg inspection and master’s mark Johann Jakob Kohlern.
A very beautifully executed pair of early baroque candlesticks, in which the fine engravings have been preserved in a very good condition and artfully alternate with embossed, relief ornaments and rich profiles.
Height 17.3 cm, weight 580 g.

Rare, extraordinary funnel cup

Nuremberg, Heinrich Mack 1612-1626

Silver, cast, chased and engraved, with the original gilding.
Marked with Nuremberg hallmark for 1609-1629, master’s mark Heinrich Mack (1581-1626, GNM no. bz13, 545) and assay line.
A finely structured shaft, supported by three delicate volute braces, rises above the curved, hunched foot. The funnel-shaped cup opens over two rows of offset humps into an eight-sided vessel, the walls of which are engraved with ornamental festoons, fruit decorations and insects.
Height 18.5 cm, weight 182 g.

Heavy, high quality silver jug

Liège 1784-1792

Silver, cast, chased and engraved with an elegantly curved, carved handle. Marked with Liège inspection for 1784-1792 and the additional stamp with the coat of arms of Prince-Bishop Caesar Constantin Franz von Hoensbroech (1724-1792, Prince-Bishop since 1784).
The extravagant, deeply bulbous shape of the jug looks very modern and is complemented by high-quality borders, garlands and rosettes.
The unusual lid knob in the form of an exotic fruit underlines the exquisite taste of the wealthy client.
Height 33 cm, weight 1415 g.
Rosenberg, “Der Goldschmiede Merkzeichen”, vol. 4, p. 97.