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SILVER
Courtly wide-rimmed plate
Video: wide rim plate
Duke Christian of Saxony-Eisenberg
Silver table barometer by Fabergé
Fabergé, Moscow 1899-1908
Silver, stamped Fabergé under double-headed eagle, initials K F, Moscow 1899-1908, 84 Zolotnik
Small aneroid for the desk. The circular inscription band with weather indication is written in Cyrillic script, has blued steel hands, and is connected to the measuring mechanism. The cover is made of crystal glass, the clock hand handle for setting the display value is set with a red garnet cabochon. The base of the barometer is decorated on the side with a classicist rosette frieze between entrelac bands above an acanthus border.
An aneroid measures the air pressure by the weight of the air pressing on several coupled, thin-walled, airless cans containing a spring. Depending on the air pressure, the cans are deformed to a greater or lesser extent and the tension is transferred to a hand. This type of barometer is particularly suitable for indoor use.
Height: 6 cm, diameter: 10.8 cm
We would like to thank Alexander von Solodkoff for his expertise.
Silver, stamped Fabergé under double-headed eagle, initials K F, Moscow 1899-1908, 84 Zolotnik
Small aneroid for the desk. The circular inscription band with weather indication is written in Cyrillic script, has blued steel hands, and is connected to the measuring mechanism. The cover is made of crystal glass, the clock hand handle for setting the display value is set with a red garnet cabochon. The base of the barometer is decorated on the side with a classicist rosette frieze between entrelac bands above an acanthus border.
An aneroid measures the air pressure by the weight of the air pressing on several coupled, thin-walled, airless cans containing a spring. Depending on the air pressure, the cans are deformed to a greater or lesser extent and the tension is transferred to a hand. This type of barometer is particularly suitable for indoor use.
Height: 6 cm, diameter: 10.8 cm
We would like to thank Alexander von Solodkoff for his expertise.
Heavy baroque pomp tureen
Christian von Hansen (1716-1792), Gdansk, around 1760
Silver, hallmark Gdansk c. 1760, master's mark CVH in trefoil.
Large, smooth-walled lidded tureen on four feet, the curve of which continues into the strong rocaille handles, and the lid knob is designed as a large, lifelike lemon, with leaves and a branch.
Width: 45 cm, height: 35 cm, weight: approx. 5,500 g
Silver, hallmark Gdansk c. 1760, master's mark CVH in trefoil.
Large, smooth-walled lidded tureen on four feet, the curve of which continues into the strong rocaille handles, and the lid knob is designed as a large, lifelike lemon, with leaves and a branch.
Width: 45 cm, height: 35 cm, weight: approx. 5,500 g
Augsburg enamel bowl with Cupid cartouches
Attributed to Elias Adam (1669-1745, Master 1703), Augsburg 1708-1710
Silver, fire-gilt, with enamelled outer wall that is decorated with three cartouches depicting Cupid between fine floral tendrils on a red background.
Augsburg, and Elias Adam in particular, was famous for high-quality painting on enamel.
Numerous works of this type by Elias Adam have been preserved in important European collections.
Height: 5 cm, diameter: 6.5 cm
Helmut Seling, “Die Kunst der Augsburger Goldschmiede” 1529-1868, 3 vols, Munich 1980, BZ 165, MZ 1964, cf. also pic. 866-870
Silver, fire-gilt, with enamelled outer wall that is decorated with three cartouches depicting Cupid between fine floral tendrils on a red background.
Augsburg, and Elias Adam in particular, was famous for high-quality painting on enamel.
Numerous works of this type by Elias Adam have been preserved in important European collections.
Height: 5 cm, diameter: 6.5 cm
Helmut Seling, “Die Kunst der Augsburger Goldschmiede” 1529-1868, 3 vols, Munich 1980, BZ 165, MZ 1964, cf. also pic. 866-870
Important Nuremberg shell goblet
Simon Lang (1608-1671, master 1645), Nuremberg, around 1660
Silver, engraved and partially gilded, Nuremberg hallmark around 1660, master's mark SL.
The large shell-shaped goblet with fanned tongue is supported by a shaft in the shape of the goddess of victory Fortuna with a palm of victory, and a wreath on an oval, upward curved, and humped foot. A small putto, also standing on a sphere with a palm and a victory wreath, crowns the shell goblet, which is elaborately engraved on the outside with tulip, carnation, and rose blossoms.
Several almost identical examples of this model by the same master have been preserved: for example, in the collection of the Margraves and Grand Dukes of Baden, in the possession of the Germanisches Nationalmuseum and one half this size in the Städtisches Museum Schloss Rheydt. It is likely that this model was created in connection with the Peace of Westphalia in 1648.
Height: 41 cm Weight: 515 g
cf.: “Germanisches Nationalmuseum Nürnberg” vol. 1, part 2, in the Cologne City Museum, No. 646
CC BY-NC-SA @ Städtisches Museum Schloss Rheydt
Karin Tebbe, “Nürnberger Goldschmiedekunst - Formtypen und stilistische Entwicklung”, within: “Nürnberger Goldschmiedekunst”: 1541-1868, 2 vols, Nürnberg 2007, vol. II, p. 183 f.
Silver, engraved and partially gilded, Nuremberg hallmark around 1660, master's mark SL.
The large shell-shaped goblet with fanned tongue is supported by a shaft in the shape of the goddess of victory Fortuna with a palm of victory, and a wreath on an oval, upward curved, and humped foot. A small putto, also standing on a sphere with a palm and a victory wreath, crowns the shell goblet, which is elaborately engraved on the outside with tulip, carnation, and rose blossoms.
Several almost identical examples of this model by the same master have been preserved: for example, in the collection of the Margraves and Grand Dukes of Baden, in the possession of the Germanisches Nationalmuseum and one half this size in the Städtisches Museum Schloss Rheydt. It is likely that this model was created in connection with the Peace of Westphalia in 1648.
Height: 41 cm Weight: 515 g
cf.: “Germanisches Nationalmuseum Nürnberg” vol. 1, part 2, in the Cologne City Museum, No. 646
CC BY-NC-SA @ Städtisches Museum Schloss Rheydt
Karin Tebbe, “Nürnberger Goldschmiedekunst - Formtypen und stilistische Entwicklung”, within: “Nürnberger Goldschmiedekunst”: 1541-1868, 2 vols, Nürnberg 2007, vol. II, p. 183 f.
Oval tobacco tin
Gold, with applied honey-coloured agate
The mounting with extremely fine decorated depictions of floral ornaments, hunting dogs, foxes and rabbits in a forest landscape.
A miniature portrait of Peter Theobald, Esquire, is set into the inside of the lid and on the base, the crowned coat of arms of the portrayed figure is engraved, dated 1740, George II, London, around 1740
Width: 7 cm
The mounting with extremely fine decorated depictions of floral ornaments, hunting dogs, foxes and rabbits in a forest landscape.
A miniature portrait of Peter Theobald, Esquire, is set into the inside of the lid and on the base, the crowned coat of arms of the portrayed figure is engraved, dated 1740, George II, London, around 1740
Width: 7 cm
Tobacco tin with enamel miniature
J. S. Magnin (1772–1812), Geneva, around 1790
Oval gold box, Geneva hallmark around 1790, master's mark J. S. Magnin & Cie, yellow gold with translucent and opaque enamel and a flat body with hinged lid.
Oval body circularly structured with translucent blue enamel on a needle etched background, the lid with an oval enamel miniature of a finely drawn love scene, is embedded in a blue background.
Height: 2.7 cm, diameter: 8.2 cm, weight: 125 g
Oval gold box, Geneva hallmark around 1790, master's mark J. S. Magnin & Cie, yellow gold with translucent and opaque enamel and a flat body with hinged lid.
Oval body circularly structured with translucent blue enamel on a needle etched background, the lid with an oval enamel miniature of a finely drawn love scene, is embedded in a blue background.
Height: 2.7 cm, diameter: 8.2 cm, weight: 125 g
Important Hamburg ceremonial tankard
Peter Ohr I. (1647-1662), Hamburg, around 1660
Partly gilt silver, Hamburg inspection mark from 1654-1674, and master's mark Peter Ohr I.
The cylindrical body is chased with a roundelay of playing cupids in half relief, framed by a frieze of naturalistic tulip and daffodil blossoms in flat relief on the base embossment and the lid, the latter is crowned by a small male figure (wineskin and grape lost), with a handle in Mannerist style. The later engraved helmet decoration with five ostrich feathers under the lip rim.
With his high-profile goldsmith work, 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 for Tsar Alexei Mikhailovich, is now in the armory of the Moscow Kremlin.
Height: 27.5 cm, weight: 1,607 g
Cf. Erich Schliemann ed., “Die Goldschmiede Hamburgs”, 3 vols., Hamburg 1985, MZ no. 36 I, 190, no. 262.
Carl Hernmarck, “The Art of the European Silversmith” 1430-1830, 2 vols., London 1977, vol. I, p. 122.
Partly gilt silver, Hamburg inspection mark from 1654-1674, and master's mark Peter Ohr I.
The cylindrical body is chased with a roundelay of playing cupids in half relief, framed by a frieze of naturalistic tulip and daffodil blossoms in flat relief on the base embossment and the lid, the latter is crowned by a small male figure (wineskin and grape lost), with a handle in Mannerist style. The later engraved helmet decoration with five ostrich feathers under the lip rim.
With his high-profile goldsmith work, 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 for Tsar Alexei Mikhailovich, is now in the armory of the Moscow Kremlin.
Height: 27.5 cm, weight: 1,607 g
Cf. Erich Schliemann ed., “Die Goldschmiede Hamburgs”, 3 vols., Hamburg 1985, MZ no. 36 I, 190, no. 262.
Carl Hernmarck, “The Art of the European Silversmith” 1430-1830, 2 vols., London 1977, vol. I, p. 122.
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
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, 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
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
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
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
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