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SILVER
Courtly wide-rimmed plate
Video: wide rim plate
Duke Christian of Saxony-Eisenberg
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;
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
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
Fabergé spice bowl
Moscow, around 1899-1908
Silver partly gilt
The spice bowl is worked in silver in the shape of a sturgeon, realistically and humorously depicted as if the fish is gliding flat across the table. The body is finely worked with fish scales and fins.
Marked: Cyrillic initials KF for Karl Fabergé (1846-1920), Moscow inspection for 1899-1908
Length: 11.8 cm
We would like to thank Alexander von Solodkoff for his expertise.
Silver partly gilt
The spice bowl is worked in silver in the shape of a sturgeon, realistically and humorously depicted as if the fish is gliding flat across the table. The body is finely worked with fish scales and fins.
Marked: Cyrillic initials KF for Karl Fabergé (1846-1920), Moscow inspection for 1899-1908
Length: 11.8 cm
We would like to thank Alexander von Solodkoff for his expertise.
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
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
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
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.
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.
Early basin beater bowl
Nuremberg, around 1450
The powerfully chased brass cymbal beater's bowl shows four shield-holding angels between humped petals.
Cymbal beater bowls were a sought-after product of the brass guild in Nuremberg and were valued as holy water and baptismal font bowls, as well as alms bowls.
They were sold throughout Europe via the known trade routes. Early works like this plate shown have survived very rarely.
Lit. Tamäs Egyeki-Szabö, Cymbal beater keys 2008.
Diameter 41 cm.
The powerfully chased brass cymbal beater's bowl shows four shield-holding angels between humped petals.
Cymbal beater bowls were a sought-after product of the brass guild in Nuremberg and were valued as holy water and baptismal font bowls, as well as alms bowls.
They were sold throughout Europe via the known trade routes. Early works like this plate shown have survived very rarely.
Lit. Tamäs Egyeki-Szabö, Cymbal beater keys 2008.
Diameter 41 cm.
Coin cup
Berlin, Joachim II Hübener, around 1750
Silver; partielly gilded. Conical cup with flared lip rim on indented foot.
The wall with flat chased Ieaf scallops and latticework between 18 Brandenburg and Polish coins, mainly of the 16th century.
Marks: BZ Berlin c. 1737 - 57, MZ Joachim Hübener II (1737 — 80), tremolo engraving.
The production of such coin cups was always particularly precious because solid silver coins were worked into the wall and thus became part of the decoration of the cup.
Another coin cup by the master has survived in a private collection in Berlin.
Lit. Cf. Scheffler Berlin, no. 5, tig. 10.
Height 10.5 cm,
weight 159 g.
Silver; partielly gilded. Conical cup with flared lip rim on indented foot.
The wall with flat chased Ieaf scallops and latticework between 18 Brandenburg and Polish coins, mainly of the 16th century.
Marks: BZ Berlin c. 1737 - 57, MZ Joachim Hübener II (1737 — 80), tremolo engraving.
The production of such coin cups was always particularly precious because solid silver coins were worked into the wall and thus became part of the decoration of the cup.
Another coin cup by the master has survived in a private collection in Berlin.
Lit. Cf. Scheffler Berlin, no. 5, tig. 10.
Height 10.5 cm,
weight 159 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.
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.
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.
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.
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.
Very large, classical samovar
Paris, Abel-Étienne Giroux 1809-1819
Silver, cast, driven and chased, with Parisian inspection for 925 silver and the master’s mark Abel-Étienne Giroux. On three ebonized wooden feet the urn-shaped heater, above the ovoid body with relief leaves and elegantly raised handles, the spout with ebonized wooden regulator, as a crown on the lid a naturalistic parrot. The precious execution of the large samovar in solid silver speaks for the high demands of the client.
Height 56 cm, weight approx. 2500 g.
Silver, cast, driven and chased, with Parisian inspection for 925 silver and the master’s mark Abel-Étienne Giroux. On three ebonized wooden feet the urn-shaped heater, above the ovoid body with relief leaves and elegantly raised handles, the spout with ebonized wooden regulator, as a crown on the lid a naturalistic parrot. The precious execution of the large samovar in solid silver speaks for the high demands of the client.
Height 56 cm, weight approx. 2500 g.
Very rare, silver baroque box
Leipzig 1689-1691
Silver, cast, driven and chased with Leipzig inspection and other marks. Above the base, which is engraved with leaf ornaments, the body is decorated on all sides with splendid, detailed tulip and daffodil blossoms. The domed lid is framed by a corrugated band and crowned by a three-dimensional petal as a knob. Since the tulipomania had already reached its peak in the first half of the 17th century, this box was not used to store the valuable, sought-after flower bulbs. It was probably used as a sugar bowl or a confectionery bowl.
Height 13 cm, width 16 cm, depth 12 cm
weight approx. 580 g.
Silver, cast, driven and chased with Leipzig inspection and other marks. Above the base, which is engraved with leaf ornaments, the body is decorated on all sides with splendid, detailed tulip and daffodil blossoms. The domed lid is framed by a corrugated band and crowned by a three-dimensional petal as a knob. Since the tulipomania had already reached its peak in the first half of the 17th century, this box was not used to store the valuable, sought-after flower bulbs. It was probably used as a sugar bowl or a confectionery bowl.
Height 13 cm, width 16 cm, depth 12 cm
weight approx. 580 g.
A pair of baroque silver candlesticks
Augsburg, Albrecht Biller and Johann II Pepfenhauser 1707-1711
Silver, cast, chased and engraved, with remains of the original gilding. Marked with Augsburg inspection for 1707-1711, the spouts with the master’s mark Albrecht Biller (around 1681-1720, Seling no. 1777), the feet also with the Augsburg inspection and the master’s mark Johann II Pepfenhauser (1697-1754, Seling no. 1350, 1919). An elegant baluster shaft with Régence decoration on a chased base with a decorative frieze above the passig curly foot, the cylindrical spout surrounded by a wreath of godrones. The rich ornamentation stands in balanced contrast to the smoothly polished areas.
Height 22 cm, weight 1044 g.
Cf. a pair of candlesticks from Pepfenhausers at Seling, “Die Kunst der Augsburger Goldschmiede”, Munich 1980, no. 817.
Silver, cast, chased and engraved, with remains of the original gilding. Marked with Augsburg inspection for 1707-1711, the spouts with the master’s mark Albrecht Biller (around 1681-1720, Seling no. 1777), the feet also with the Augsburg inspection and the master’s mark Johann II Pepfenhauser (1697-1754, Seling no. 1350, 1919). An elegant baluster shaft with Régence decoration on a chased base with a decorative frieze above the passig curly foot, the cylindrical spout surrounded by a wreath of godrones. The rich ornamentation stands in balanced contrast to the smoothly polished areas.
Height 22 cm, weight 1044 g.
Cf. a pair of candlesticks from Pepfenhausers at Seling, “Die Kunst der Augsburger Goldschmiede”, Munich 1980, no. 817.
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.
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.
Baroque spherical cup
Friedrich Simon Agatz, Erfurt around 1700
Silver, chased, chased and hallmarked, completely gilded inside and partly gilded outside. Marked twice with the maker's mark Friedrich Simon Agatz (master 1689), with engraved owner's monograms on the bottom. The wall is decorated with artfully rolled acanthus leaves, which are given an even greater three-dimensional effect through the partial gilding of the smooth areas.
Height 19 cm.
Rosenberg, Der Goldschmiede Merkzeichen, Frankfurt aM 1923, Vol. 2, No. 1970.
Silver, chased, chased and hallmarked, completely gilded inside and partly gilded outside. Marked twice with the maker's mark Friedrich Simon Agatz (master 1689), with engraved owner's monograms on the bottom. The wall is decorated with artfully rolled acanthus leaves, which are given an even greater three-dimensional effect through the partial gilding of the smooth areas.
Height 19 cm.
Rosenberg, Der Goldschmiede Merkzeichen, Frankfurt aM 1923, Vol. 2, No. 1970.
Rare, early Baroque tankard
Lukas Neusser, Augsburg around 1650
Silver with original partly gilding, marked with the Augsburg hallmark, master mark and assay line. Above the profiled, made out foot rim the conic wall with driven, finely chiselled and punched decoration of all-around, symmetrical volutes in auricle style, in the front with an oval cartridge flanked by fruit bundles, on the lid a knob in the form of a stylised bud. Neusser became a master in Augsburg in 1617 and had been working until around 1657/63. Sideboards from Neusser, produced on behalf of King Karl XI. Of Sweden, are today in the Krem-Museum in Moskau and in the Nordiska Museum in Stockholm.
Height 14 cm, weight about 380 g.
Seling: “Die Kunst der Augsburger Goldschmiede“, Munich 1980, no. 550, 1321.
Silver with original partly gilding, marked with the Augsburg hallmark, master mark and assay line. Above the profiled, made out foot rim the conic wall with driven, finely chiselled and punched decoration of all-around, symmetrical volutes in auricle style, in the front with an oval cartridge flanked by fruit bundles, on the lid a knob in the form of a stylised bud. Neusser became a master in Augsburg in 1617 and had been working until around 1657/63. Sideboards from Neusser, produced on behalf of King Karl XI. Of Sweden, are today in the Krem-Museum in Moskau and in the Nordiska Museum in Stockholm.
Height 14 cm, weight about 380 g.
Seling: “Die Kunst der Augsburger Goldschmiede“, Munich 1980, no. 550, 1321.
Gilt beaker with lid and alliance emblem
Silver, Southern Germany, dated “1627“
Above a profiled foot on the cylindric wall between strapwork with three images of allegoric female figures as personifications of Spes, Caritas and Fides.
The lid with a thumb rest out of split-up leaves and emblem engraving of the Franconian-Palatine royal families of Wirsberg and Schirnding, with owner’s monogram (“H V V[on] W[irsberg] E V[on] W[irsberg] G[eborene] V[on] S[chirnding] “) and the date “1627“.
Height 11 cm.
Above a profiled foot on the cylindric wall between strapwork with three images of allegoric female figures as personifications of Spes, Caritas and Fides.
The lid with a thumb rest out of split-up leaves and emblem engraving of the Franconian-Palatine royal families of Wirsberg and Schirnding, with owner’s monogram (“H V V[on] W[irsberg] E V[on] W[irsberg] G[eborene] V[on] S[chirnding] “) and the date “1627“.
Height 11 cm.
Big rococo ciborium with lid
Marked Landshut, around 1760
Made by Master Josef Ferdinand Schmid I. (mentioned 1741-1790).
Silver with its original fire gilding.
Richly profiled, by swung creases decorated foot and baluster shaft, the goblet and the pointed lid with driven volute decoration and ball-shaped knob.
Height 38 cm, about 1.100 g.
Made by Master Josef Ferdinand Schmid I. (mentioned 1741-1790).
Silver with its original fire gilding.
Richly profiled, by swung creases decorated foot and baluster shaft, the goblet and the pointed lid with driven volute decoration and ball-shaped knob.
Height 38 cm, about 1.100 g.
Early baroque goblet with lid
Augsburg around 1620
Master Georg Brechtel (born in Nuremberg, died 1632, Master since 1594).
Silver, gilded on the inside and outside.
The bowl is supported by three fine volutes on a bell-shaped foot with a short baluster shaft.
On the slightly conical wall of the bowl, as well as on the base and lid, finely embossed and chiseled decoration of fruit and canopies in a pattern of volutes and strapwork.
The icing on the lid is the three-dimensional figure of an armed warrior.
Height 27cm.
Seling, Augsburg goldsmiths, Bd.III. MZ Nr.1100.
Master Georg Brechtel (born in Nuremberg, died 1632, Master since 1594).
Silver, gilded on the inside and outside.
The bowl is supported by three fine volutes on a bell-shaped foot with a short baluster shaft.
On the slightly conical wall of the bowl, as well as on the base and lid, finely embossed and chiseled decoration of fruit and canopies in a pattern of volutes and strapwork.
The icing on the lid is the three-dimensional figure of an armed warrior.
Height 27cm.
Seling, Augsburg goldsmiths, Bd.III. MZ Nr.1100.
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