27 S E L E C T E D W O R K S
Collecting Treasures of the Past
27 S E L E C T E D W O R K S
Collecting Treasures of the Past
4
Julius Böhler – Collecting Treasures of the Past
Foreword More than eighteen years ago I discovered a couple of angels
For Tony Blumka and me it is a great pleasure to be able to show
in flight at a sculpture sale held by an auction house in London.
you these magnificent sculptures now, for the first time on the
The catalogue entry read: ‘Pair of gilded angels, Italian, 18th century’.
public stage, at TEFAF. They testify to the masterly skill of this unique
Together with Tony Blumka, who was not able to be in London at that
sculptor who was way ahead of his time. The catalogue in hand is an
time, I discussed the purchase of the two figures at great length on the
appreciation of the two heavenly Putti and places them within the
phone. We decided to bid for them. It was a risk as, due to the thick layer
context of the work of the important artist about whom little
of gesso that was not original and the gilding that had been added on
information has been handed down.
top, I could not judge their artistic quality exactly. However, we were convinced that the attribution ‘Italian, 18th century’ was wrong. Even at
A special thank-you goes to Dr. Matthias Weniger whose profound
that time we suspected that the angels were by a sculptor in the close
knowledge of Hans Leinberger helped us enormously. He also kindly
circle of the Landshut woodcarver Hans Leinberger. After their purchase
provided us with comprehensive photographic material, as did Markus T.
came the thrilling part that demanded a lot of patience from both of us.
Huber.
My restorer at that time, Benno Gantner sen., since deceased, with whom our company had worked since the 1950s, freed the two angels of the
Paul M. Arnold, who has been researching Leinberger for several
thick layers of paint and gilding over a period of several months. He
decades, assisted us and gave advice at all times. A big thank-you is due
successfully brought their individual quality to light in full. And thanks to
to Andreas Huber, our exceptionally skilled photographer. Through the
painstaking research, we have finally been able to attribute the
intensive study of works of art during hour-long photo sessions with him
putti to the hand of Hans Leinberger himself.
I have often gained new and important insights – as was also the case with the Leinberger angels.
In 2002 we wanted to present the two figures at a joint show in Tony’s gallery for the first time. A private collector in New York, however,
I would particularly like to mention Eva Bitzinger in this foreword who
had already seen the angels in our exhibition catalogue and was so
has been responsible for the research work carried out and Julia Scheid
fascinated that he bought them before the opening, after seeing them
who added a final linguistic polish to the text.
briefly, and took them home with him. A special thank-you goes to Dr. Matthias Weniger whose profound knowledge of Hans Leinberger helped us enormously. He also kindly provided us with comprehensive photographic material, as did Markus T. Huber. Florian Eitle-Böhler Starnberg, February 2021
5
Art of highest Quality — Since 1880 DOCUMENTED IN LOREM
More than eighteen years ago I discovered a couple of angels in flight at a sculpture sale held by an auction house in London. The catalogue entry read: ‘Pair of gilded angels, Italian, 18th century’. Together with Tony Blumka, who was not able to be in London at that time, I discussed the purchase of the two figures at great length on the phone. We decided to bid for them. It was a risk as, due to the thick layer of gesso that was not original and the gilding that had been added on top, I could not judge their artistic quality exactly. However, we were convinced that the attribution ‘Italian, 18th century’ was wrong. Even at that time we suspected that the angels were by a sculptor in the close circle of the Landshut woodcarver Hans Leinberger. After their purchase came the thrilling part that demanded a lot of patience from both of us. My restorer at that time, Benno Gantner sen., since deceased, with whom our company. Lorem Ipsum Abb. 02 — Abb. 04
In 2002 we wanted to present the two figures at a joint show in Tony’s Since its foundation in 1880, the name Julius Böhler has stood for
gallery for the first time. A private collector in New York, however, had
works of art of the highest quality, testified by its appointment as
already seen the angels in our exhibition catalogue and was so fascinated
purveyor to the ‘Royal-Prussian and Royal Bavarian courts. While the
that he bought them before the opening, after seeing them briefly, and
circle of collectors has meanwhile expanded and become inter-
took them home with him.
national, our service with regard to quality and provenance remains unaltered. Thanks to the long family tradition, Florian Eitle-Böhler has
In 2002 we wanted to present the two figures at a joint show in Tony’s
close contact to major international museum and private collections.
gallery for the first time. A private collector in New York, however, had already seen the angels in our exhibition catalogue and was so fascinated
Discovering the exceptional through our profound expertise is both
that he bought them before the opening, after seeing them briefly, and
responsibility and a pleasure for us as art dealers and has contributed
took them home with him.
into making the gallery an international leader in its specialist fields. However, we were convinced that the attribution ‘Italian, 18th century’ In 2002 we wanted to present the two figures at a joint show in Tony’s
was wrong. Even at that time we suspected that the angels were by a
gallery for the first time. A private collector in New York, however, had
sculptor in the close circle of the Landshut woodcarver Hans Leinberger.
already seen the angels in our exhibition catalogue and was so fascina-
After their purchase came the thrilling part that demanded a lot of
ted that he bought them before the opening, after seeing them briefly,
patience from both of us. My restorer at that time, Benno Gantner sen.,
and took them home with him.
since deceased, with whom our company.
6
Julius Böhler – Collecting Treasures of the Past
In 2002 we wanted to present the two figures at a joint show in Tony’s
More than eighteen years ago I discovered a couple of angels in flight
gallery for the first time. A private collector in New York, however, had
at a sculpture sale held by an auction house in London. The catalogue
already seen the angels in our exhibition catalogue and was so fascinated
entry read: ‘Pair of gilded angels, Italian, 18th century’. Together with
that he bought them before the opening, after seeing them briefly, and
Tony Blumka, who was not able to be in London at that time, I discussed
took them home with him.
the purchase of the two figures at great length on the phone. We decided to bid for them. It was a risk as, due to the thick layer of gesso
For Tony Blumka and me it is a great pleasure to be able to show you
that was not original and the gilding that had been added on top, I
these magnificent sculptures now, for the first time on the public stage,
could not judge their artistic quality exactly. However, we were
at TEFAF. They testify to the masterly skill of this unique sculptor who
convinced that the attribution ‘Italian, 18th century’ was wrong. Even at
was way ahead of his time. The catalogue in hand is an appreciation of
that time we suspected that the angels were by a sculptor in the close
the two heavenly Putti and places them within the context of the work
circle of the Landshut woodcarver Hans Leinberger. After their purchase
of the important artist about whom little information has been handed
came the thrilling part that demanded a lot of patience from both of us.
down.
My restorer at that time, Benno Gantner sen., since deceased, with whom our company.
A special thank-you goes to Dr. Matthias Weniger whose profound knowledge of Hans Leinberger helped us enormously. He also kindly
A special thank-you goes to Dr. Matthias Weniger whose profound
provided us with comprehensive photographic material, as did Markus
knowledge of Hans Leinberger helped us enormously. He also kindly
T. Huber.
provided us with comprehensive photographic material, as did Markus T. Huber.
More than eighteen years ago I discovered a couple of angels in flight at a sculpture sale held by an auction house in London. The catalogue
Paul M. Arnold, who has been researching Leinberger for several decades,
entry read: ‘Pair of gilded angels, Italian, 18th century’. Together with
assisted us and gave advice at all times. A big thank-you is due to Andreas
Tony Blumka, who was not able to be in London at that time, I discussed
Huber, our exceptionally skilled photographer. Through the intensive study of
the purchase of the two figures at great length on the phone. We
works of art during hour-long photo sessions with him I have often gained
decided to bid for them. It was a risk as, due to the thick layer of gesso
new and important insights – as was also the case with the Leinberger angels.
that was not original and the gilding that had been added on top, I could not judge their artistic quality exactly. However, we were convinced that the attribution ‘Italian, 18th century’ was wrong. Even at that time we suspected that the angels were by a sculptor in the close circle of the Landshut woodcarver Hans Leinberger. After their purchase came the thrilling part that demanded a lot of patience from both of us. My restorer at that time, Benno Gantner sen., since deceased, with whom our company.
7
C H R I S T C R U C I F I E D, AT T R I B U T E D T O TILMAN RIEMENSCHNEIDER
Weit hinten, hinter den Wortbergen, fern
11
der Länder Vokalien und Konsonantien.
CERES, ALLEGORY OF SUMMER BY FERDINAND TIE TZ
Weit hinten, hinter den Wortbergen, fern
25
der Länder Vokalien und Konsonantien.
8
Julius Böhler – Collecting Treasures of the Past
Content Foreword
4
Kunsthandlung Julius Böhler
6
Content
8
01 Lion-Aquamanile
10
02 Mirror Case
16
03 Virgin and Child
22
04 “Schöne” Madonna
28
05 Albarello
34
06 Two Pairs of Candlesticks with Lion Feet
40
Weit hinten, hinter den Wortbergen,
07 Relief of the Lamentation of Christ
46
fern. The horse was produced using
08 Relief with the Head of Saint John the Baptist
52
the direct casting method with which
09 The Head of Saint John the Baptist on the Platter
58
a figure is modelled in wax directly on a
10 Two Wings of an Altar with Scenes of the Life of the Virgin
64
so-called casting core. An outer casting
11 Christ Crucified, attributed to Tilman Riemenschneider
70
mould, a so-called investment, is then
12 Two Wings of a Small Altar with Scenes of the Life of Christ
76
placed over the wax and held in place
13 Trotting Horse
82
by core pins.
14 Relief with the Legend of the Shoeing of the Horse
88
TROT TING HORSE
13
15 Glass Roundel of Saint John the Baptist
94
16 Portrait of an Idealized Woman, attributed to Simone di Bianco
100
17 Majolica plate with Peacock Feathers
106
18 Ewer with Bacchanal and Procession of Sea Gods, by the Master I.C.
112
19 Crucifixion Group with Christ and Mary Magdalene
118
20 Crucifix, attributed to Georg Petel
124
21 Relief of Lot and his Daughters, attributed to Daniel Neuberger the Younger
130
22 Allegory of a Prisoner, circle of Martin Desjardins
136
23 Relief of Saint Sebastian, attributed to Christoph Daniel Schenck
142
24 Saint Sebastian, commissioned for the Prince Bishop of Bamberg
148
25 Ceres, Allegory of Summer, by Ferdinand Tietz
154
26 Relief of the Lamentation, by Balthasar Permoser
160
27 Relief of the Rape of Europa, by Dominikus Stainhardt
166
28 Frederik V of Denmark, by Johann Christoph Ludwig Lücke
172
Index
174
Impressum
178
Blumka, kommen dazu:
Können ggf. raus:
a)
Madonna and Child enthroned
a)
Lamentation of Christ
b)
Hans Thoman Relief
b)
Allegory of a prisoner,
c)
Two Pairs of Candlesticks with Lion feet
d)
Enamel Christ with Cross
e)
Damascene Mirror
9
circle of Martin Desjardins
Lion-Aquamanile
01
10
Julius Böhler – Collecting Treasures of the Past
11
Lion-Aquamanile
L I O N - A Q UA M A N I L E
Not far from Bamberg is the former summer residence of the prince- bishops, the beautiful palace known as Schloss Seehof. It is
Germany (Hildesheim)
an impressive testimony to the once so impressive court upheld by
Circa 1250
the bishopric and, at the same time, it is the artistic legacy of one of the greatest Rococo artists of southern Germany, Ferdinand Tietz,
Two recent ink-inscriptions „1909 E R“ and „J. v S. G.
who originally came from Bohemia.
Bronze Height: 27 cm, length: 27 cm
Born in Holešice, probably in 1708, as Ferdinand Dietz, he later changed the spelling of his surname to ‘Tietz’. He came from a family
Provenance:
of craftsmen; his father was a sculptor and had a workshop in Jezerí.
According to Dr. Joanna Olchawa the provenance is hard to
Although Ferdinand was later to become a successful sculptor there
conclude. In her view, the two ink-inscriptions shall clearly refer
is no documentary evidence covering the first third of the artist’s
to the art gallery Julius and Selig Goldschmidt, active in the
lifetime. He most probably went to Vienna where he met the sculptor
19th century in Frankfurt / Main, who sold medieval aquamaniles
Johann Wolfgang von der Auwera (1708 – 1756), as stylistic parallels
from the collection Friedrich Hahn, Hannover, around 1868.
reveal. It is not until 1736, when he was twenty-eight years old, that the artist is mentioned in archival records. He worked under Balthasar
Private Collection, Bonn, since the 1920s, by descent until 2019
Neumann (1687 – 1753) on large projects in the Würzburg Residenz, as shown on various invoices. In 1747 Tietz was summoned to Bam-
Literature:
berg by Prince- Bishop Johann Philipp Anton von Franckenstein
Olchawa, Joanna. Aquamanilien: Genese, Verbreitung und
(1695 – 1753) who commissioned him to devise a comprehensive plan
Bedeutung in islamischen und christlichen Zeremonien,
of figures for the park at Schloss Seehof. This project represents the
Regensburg 2019.
highlight of the park’s overall design and Tietz’s artistic breakthrough. Together with his workshop, Tietz – who was appointed court sculptor in 1748 – completed some 400 masterly worked and powerfully modelled sculptures of playfully exuberant figures captured in motion. They were to make the artist famous well beyond the region.1 In 1754 Tietz was called to Trier by the prince-bishop Franz Georg von Schönborn (1682 – 1756) and did not return to Bamberg until 1760 where, in the meantime, Adam Friedrich von Seinsheim (1708 – 1779), Prince-Bishop of Würzburg, had taken over the princebishopric office in Bamberg as well, as the position had become vacant.
01
12
Julius Böhler – Collecting Treasures of the Past
In 1765 Seinsheim commissioned Tietz to submit new designs for
His playful style reflecting the zeitgeist of the Rococo period was
the court garden at Veitshöchheim near Würzburg. To accompany
no longer in keeping with the increasingly sobre and seemingly harsh
the architectural plans he devised a comprehensive sculptural agen-
lines of emerging art tastes. Tietz died in 1777 at the age of 69 in
da. The court sculptor made a major contribution to peopling the
Seehof near Bamberg.
garden with allegorical stone figures from mythology between 1765 and 1768. Upon completion in 1776, some 300 figures decorated
Our figurative group is a model that would have been presented to
the garden, of which some 200 have survived. They were originally
the patron who gave the commission, presumably Adam Friedrich
painted à la porcelaine2 that would certainly have made an
von Seinsheim, before work started on the large sculpture in stone.
impressive sight.
A youthful-looking, nude woman is depicted in a dynamic pose standing on an octagonal pedestal with sweeping concave curves
In 1767 Ferdinand Tietz was also appointed court sculptor in
and a central floral relief. A small putto and woman in peasant’s garb
Würzburg. However, after completing his commissions for Würzburg
kneeling at her feet proffering a sheaf of grain, form her entourage.
and Bamberg he did not receive any further work of note.
The ripe corn is an attribute of the Roman goddess Ceres and reveals the sensual beauty as an allegory of summer.
1
Today, only a small number of figures are to be seen.
2
Painted à la porcelaine, the stone sculptures would have had the appearance of painted china figures.
13
The model for a garden figure was most probably once painted. 3
The extreme rotation of Ceres’ body and the crossing of her legs
It is similar to an allegory of summer that Tietz made in 1765/67 for
as if dancing, can similarly be found in the figure of Pan. The god
the court garden at Veitshöchheim in which the motif of the kneeling
of shepherds was one of the figures in Tietz’s cycle of gods that he
peasant woman with a gift of grain also appears. The small putto,
made in 1760 for the Rose Garden in Bamberg. The extreme rotation
however, is not included and the goddess is clothed. The virtuosity
of Ceres’ body and the crossing of her legs as if dancing, can similarly
and dynamism of the small sculpted work are lacking; instead the
be found in the figure of Pan. The god of shepherds was one of the
garden figure exudes a calm majesty. In the case of the garden figure
figures in Tietz’s cycle of gods that he made in 1760 for the Rose
Tietz also eschewed the sensually erotic aesthetic and gleeful
Garden in Bamberg. Due to the work’s high artistic quality and taking
exuberance that characterise the model, presumably at the request
stylistic comparisons into consideration we assume that this model is
of the patron.
a work by Ferdinand Tietz himself. In all probability, the Ceres group served as a model for the Allegory of Summer in the garden at Veitshöchheim.
01
3
14
Hans-Peter Trenschel, the former director of the Mainfränkisches Museum in Würzburg emphasises that, in Tietz’s case, sketches did not play a role in the creative process of a sculpture. Instead, he generally carved small wooden figures immediately before, in preparation for his work on the stone figures (F. Tietz Symposium, Bamberg,
Julius Böhler – Collecting Treasures of the Past
15
Mirror Case
02
16
Julius Böhler – Collecting Treasures of the Past
17
Mirror Case
MIRROR CASE
Mirror cases are exquisite treasures of the middle ages. The image areas that decorate them feature mostly profane courtly scenes with
France (Paris)
love couples, hunting or games sceneries, making a reference to the
Circa 1310 – 1320
middle age ideal of the “Hohe Minne”. These objects were probably expensive presents, given to family or friends on engagement or
Ivory
wedding occasions.
Height: 10 cm, width: 9.5 cm Our mirror case also belongs to this tradition. The image area is Provenance:
divided in four compartments by a tree and its outgoing branches.
Collection Charles Gillot, Paris (1853 – 1903);
Two smaller trees border the sides. We can see loving couples in all
by descent until 2008
four areas. Clockwise are represented a woman who gives a crown to her lover, followed by a young man who caresses his beloved by
Literature:
touching her chin. Below, a young man is kneeling in front of his
Koechlin, Raymond. Les ivoires gothiques français,
adored woman and gives her a rose coming from the rose tree, while
Paris 1924, vol. II, Cat. no. 1012, pp. 372/373
she is making a flower wreath. Next to that scene, a couple plays chess at a table. Four mythological creatures are decorating the object’s outer edges. The high quality carving of the faces and clothes suggests that the mirror case had been made in a Paris workshop circa 1310 – 1320. (Comp. the mirror case at Le Louvre, Danielle GABORIN-CHOPIN, Ivoires médiévaux Ve - XVe siècle, Musée du Louvre, Départment des Objets d’Art, Paris, 2003, cat. No. 129). Raymond KOECHLIN cites only ten mirror cases with four divided decorated areas: vol. II, p. 382, cat. no. 1007-1015-1011; Danielle GABORIT-CHOPIN completes this group by another four works. The scene of loving couples playing chess is very rare. Mirror cases are always made of two round disks, often with creeping mythological creatures positioned on the edges. On the inner side, the border was often embossed and edge banding at the same time so that the mirror could be inserted. Mirrors were propably made out of polished metal or glass and pleated with lead on the
02
back side. To open the mirror case, both sides of it would have to be rotated in opposite directions and would click when closed. Today, almost no complete mirror cases are preserved (Danielle GaborinChopin, op.cit. Nr 129, 272).
18
Julius Böhler – Collecting Treasures of the Past
Paris (first quarter of the 14th century), two mirror cases, courtly scenes, ivory, d. 11,30 cm, d. 1.05 cm Former collection Révoil; acquisition by the Louvre, in 1828, MRR 197
1
Today, only a small number of figures are to be seen.
2
Painted à la porcelaine, the stone sculptures would have had the appearance of painted china figures.
19
02
20
Julius Böhler – Collecting Treasures of the Past
21
Virgin and Child
03
22
Julius Böhler – Collecting Treasures of the Past
23
Virgin and Child
VIRGIN AND CHILD
Not far from Bamberg is the former summer residence of the prince- bishops, the beautiful palace known as Schloss Seehof. It is
Probably Bohemia or Franconia
an impressive testimony to the once so impressive court upheld by
Second quarter of the 14th century
the bishopric and, at the same time, it is the artistic legacy of one of the greatest Rococo artists of southern Germany, Ferdinand Tietz,
Linden wood with polychromy and gilding
who originally came from Bohemia.
Height: 96 cm Born in Holešice, probably in 1708, as Ferdinand Dietz, he later Provenance:
changed the spelling of his surname to ‘Tietz’. He came from a family
Collection Konrad Nolte, Delbrück
of craftsmen; his father was a sculptor and had a workshop in Jezerí. Although Ferdinand was later to become a successful sculptor there
Related literature:
is no documentary evidence covering the first third of the artist’s
Charles IV, Emperor by the Grace of God. Art and
lifetime. He most probably went to Vienna where he met the sculptor
Representation in the House of Luxembourg 1310 – 1437,
Johann Wolfgang von der Auwera (1708 – 1756), as stylistic parallels
exh. cat., New York 2006
reveal. It is not until 1736, when he was twenty-eight years old, that the artist is mentioned in archival records. He worked under Balthasar
Schöne Madonnen am Rhein, exh. cat., Leipzig 2009, p. 59.
Neumann (1687 – 1753) on large projects in the Würzburg Residenz, as shown on various invoices. In 1747 Tietz was summoned to Bamberg by Prince- Bishop Johann Philipp Anton von Franckenstein (1695 – 1753) who commissioned him to devise a comprehensive plan of figures for the park at Schloss Seehof. This project represents the highlight of the park’s overall design and Tietz’s artistic breakthrough. Together with his workshop, Tietz – who was appointed court sculptor in 1748 – completed some 400 masterly worked and powerfully modelled sculptures of playfully exuberant figures captured in motion. They were to make the artist famous well beyond the region.1 In 1754 Tietz was called to Trier by the prince-bishop Franz Georg von Schönborn (1682 – 1756) and did not return to Bamberg until 1760 where, in the meantime, Adam Friedrich von Seinsheim (1708 – 1779), Prince-Bishop of Würzburg, had taken over the princebishopric office in Bamberg as well, as the position had become vacant.
03
24
Julius Böhler – Collecting Treasures of the Past
In 1765 Seinsheim commissioned Tietz to submit new designs for
His playful style reflecting the zeitgeist of the Rococo period was
the court garden at Veitshöchheim near Würzburg. To accompany
no longer in keeping with the increasingly sobre and seemingly harsh
the architectural plans he devised a comprehensive sculptural agen-
lines of emerging art tastes. Tietz died in 1777 at the age of 69 in
da. The court sculptor made a major contribution to peopling the
Seehof near Bamberg.
garden with allegorical stone figures from mythology between 1765 and 1768. Upon completion in 1776, some 300 figures decorated
Our figurative group is a model that would have been presented to
the garden, of which some 200 have survived. They were originally
the patron who gave the commission, presumably Adam Friedrich
painted à la porcelaine2 that would certainly have made an
von Seinsheim, before work started on the large sculpture in stone.
impressive sight.
A youthful-looking, nude woman is depicted in a dynamic pose standing on an octagonal pedestal with sweeping concave curves
In 1767 Ferdinand Tietz was also appointed court sculptor in
and a central floral relief. A small putto and woman in peasant’s garb
Würzburg. However, after completing his commissions for Würzburg
kneeling at her feet proffering a sheaf of grain, form her entourage.
and Bamberg he did not receive any further work of note.
The ripe corn is an attribute of the Roman goddess Ceres and reveals the sensual beauty as an allegory of summer.
1
Today, only a small number of figures are to be seen.
2
Painted à la porcelaine, the stone sculptures would have had the appearance of painted china figures.
25
The model for a garden figure was most probably once painted. 3
The extreme rotation of Ceres’ body and the crossing of her legs
It is similar to an allegory of summer that Tietz made in 1765/67 for
as if dancing, can similarly be found in the figure of Pan. The god
the court garden at Veitshöchheim in which the motif of the kneeling
of shepherds was one of the figures in Tietz’s cycle of gods that he
peasant woman with a gift of grain also appears. The small putto,
made in 1760 for the Rose Garden in Bamberg. The extreme rotation
however, is not included and the goddess is clothed. The virtuosity
of Ceres’ body and the crossing of her legs as if dancing, can similarly
and dynamism of the small sculpted work are lacking; instead the
be found in the figure of Pan. The god of shepherds was one of the
garden figure exudes a calm majesty. In the case of the garden figure
figures in Tietz’s cycle of gods that he made in 1760 for the Rose
Tietz also eschewed the sensually erotic aesthetic and gleeful
Garden in Bamberg. Due to the work’s high artistic quality and taking
exuberance that characterise the model, presumably at the request
stylistic comparisons into consideration we assume that this model is
of the patron.
a work by Ferdinand Tietz himself. In all probability, the Ceres group served as a model for the Allegory of Summer in the garden at Veitshöchheim.
03
3
26
Hans-Peter Trenschel, the former director of the Mainfränkisches Museum in Würzburg emphasises that, in Tietz’s case, sketches did not play a role in the creative process of a sculpture. Instead, he generally carved small wooden figures immediately before, in preparation for his work on the stone figures (F. Tietz Symposium, Bamberg,
Julius Böhler – Collecting Treasures of the Past
27
‘Schöne’ Madonna
04
28
Julius Böhler – Collecting Treasures of the Past
29
‘Schöne’ Madonna
“SCHÖNE” MADONNA
Not far from Bamberg is the former summer residence of the prince- bishops, the beautiful palace known as Schloss Seehof. It is
Circa 1420
an impressive testimony to the once so impressive court upheld by the bishopric and, at the same time, it is the artistic legacy of one of
Walnut with original polychromy
the greatest Rococo artists of southern Germany, Ferdinand Tietz,
Height: 50.5 cm
who originally came from Bohemia.
Provenance: Kunsthandlung Madl, Vienna, 1920s, from where acquired by Leopoldine Katharina Kutter, Vienna; in her possession until 1964; sold through the mediation of Dr. Kurt Rossacher in 1965 to Prof. Anton Dermota, hon. ‘Kammersänger’, Vienna, by descent until 2020 Literature: Schöne Madonnen 1350 – 1450, exh. cat., Salzburg, p. 91, no. 40, fig. 27 Exhibition: ‚Schöne Madonnen 1350 – 1450’, Salzburg 1965, cat. no. 40, fig. 27, listed as Innviertel region around Ried, church province of Salzburg, diocese of Passau
04
30
Julius Böhler – Collecting Treasures of the Past
1
Today, only a small number of figures are to be seen.
2
Painted à la porcelaine, the stone sculptures would have had the appearance of painted china figures.
31
The model for a garden figure was most probably once painted. 3
The extreme rotation of Ceres’ body and the crossing of her legs
It is similar to an allegory of summer that Tietz made in 1765/67 for
as if dancing, can similarly be found in the figure of Pan. The god
the court garden at Veitshöchheim in which the motif of the kneeling
of shepherds was one of the figures in Tietz’s cycle of gods that he
peasant woman with a gift of grain also appears. The small putto,
made in 1760 for the Rose Garden in Bamberg. The extreme rotation
however, is not included and the goddess is clothed. The virtuosity
of Ceres’ body and the crossing of her legs as if dancing, can similarly
and dynamism of the small sculpted work are lacking; instead the
be found in the figure of Pan. The god of shepherds was one of the
garden figure exudes a calm majesty. In the case of the garden figure
figures in Tietz’s cycle of gods that he made in 1760 for the Rose
Tietz also eschewed the sensually erotic aesthetic and gleeful
Garden in Bamberg. Due to the work’s high artistic quality and taking
exuberance that characterise the model, presumably at the request
stylistic comparisons into consideration we assume that this model is
of the patron.
a work by Ferdinand Tietz himself. In all probability, the Ceres group served as a model for the Allegory of Summer in the garden at Veitshöchheim.
04
3
32
Hans-Peter Trenschel, the former director of the Mainfränkisches Museum in Würzburg emphasises that, in Tietz’s case, sketches did not play a role in the creative process of a sculpture. Instead, he generally carved small wooden figures immediately before, in preparation for his work on the stone figures (F. Tietz Symposium, Bamberg,
Julius Böhler – Collecting Treasures of the Past
33
Albarello
05
34
Julius Böhler – Collecting Treasures of the Past
35
Albarello
ALBARELLO
This three-coloured albarello, a vessel, used to store valuable spices, was probably made in a pottery workshop in Manises or
Paterna or Manises
Paterna in the second half of the 15th century. Standing on a
1435 – 1460
distinctly modelled pedestal, the tall, slender cylindrical body has slightly concave walls; the shoulder is short and the neck section
Tin-glazed and lustred earthenware
long. The white-glazed body is divided into four registers coloured in
Height: 29 cm
a bold cobalt blue and manganese brown. The two principle sections, divided by a manganese brown ring outlined in blue, are decorated
Provenance:
with vegetal shapes (with alternating leaf and floral patterns), an
George and Florence Blumenthal, New York; gift of George
ataurique decorative motif typical of Arab earthenware. Fine
Blumenthal to the Metropolitan Museum of Art, 1941 (41.190.112);
arabesques embellish the shoulder; the long, straight neck has
together with the ivory wing of a medieval tabernacle (France,
a linear decoration in cobalt blue and manganese brown.
c. 1300) in the collection of Paul W. Doll jr., exchanged in June 2007 for a marble tabernacle (France, 14th century) from the Doll
The first lustreware pieces were fashioned in the early 9th century
collection; collection of Paul W. Doll jr., New York, until 2020.
under the Abbasids in present-day Iraq although, originally, it is probable that glassmakers already developed the lustreware
Related literature:
technique in the 8th century. The recipe for exquisite earthenware
Caiger-Smith, Alan. Lustre Pottery, Technique, Tradition and
was a well-kept secret. Through the migration of potters and their
Innovation in Islam and the Western World, London 1991
families the secret technique spread across Egypt, then Syria and Persia. From the 12th century onwards lustreware was produced in
Dectot, Xavier. Céramiques hispaniques (XII-XVIII siècle), Paris 2007
Muslim regions on the Iberian Peninsula. The workshops in Manises
Id., Reflets d’or, d’orient en occident. La céramique lustrée IX-XV
and Paterna near Valencia are famous. For the potters, the long,
siècle, Paris 2008
stable political climate and wealthy clients in ‘al-Andalus’ were
Hudson, Christopher. The Arts of Fire. Islamic Influences on Glass
conducive to their success. The region also boasted rich deposits of
and Ceramics of the Italian Renaissance, Los Angeles 1994, p. 39
metals and clay that were needed in the production of lustreware.
Monreal, Louis: Schätze des Aga Khan Museums, Meisterwerke islamischer Kunst, Berlin 2010
The manufacturing instructions from the 14th century were
Ray, Anthony:Spanish Pottery, 1248 – 1898, London 2000,
passed down by Abu’l-Qasim who came from a dynasty of potters
p. 81, no. 170 Sievernich, Gereon and Budde, Hendrik:
in Kashan, Iran, the Persian centre of lustreware. According to
Europa und der Orient: 800 – 1900, Berlin
Abu’l-Qasim, earthenware has to be fired twice. Before the first firing, the clay is coated with a tin glaze; for the second firing, the
Islamic and Hispano-Moresque Pottery in Spain: A Technical
object is painted with a paste comprising silver and copper
Approach, Zaragoza, Spain
05
compounds dissolved in grape juice or vinegar.
36
Julius Böhler – Collecting Treasures of the Past
The Portinari Triptych by Hugo van der Goes (Gent 1435/40 – 1482 Brussels), central panel, oil on wood, height: 253 x width: 304 cm, Bruges, 1477/1478 © Gabinetto Fotografico delle Gallerie degli Uffizi (Wikipedia)
The second and decisive firing must be made in a special kiln. By reducing the supply of oxygen the metallic pigment bonds are modified, producing a shimmering film on the surface of the ceramic piece. After firing, the item is polished with damp earth after cooling. Firing is considered a success when the object is a ‘reddish gold and shines like the sun’ (op. cit. Hudson, p. 39). In the Middle Ages, Spanish-Islamic lustreware from Andalusia that shimmered like gold was highly prized in Europe. Items made in Muslim pottery workshops were exported over land and across the Mediterranean to Christian countries in the Western World, to Sicily and northern Germany. Lustreware was considered a status symbol – not only by the great houses of Spain. The Duke of Burgundy and the Medicis of Florence were also among those who commissioned and collected works which often bore religious or heraldic decorative motifs.
37
“As the Lorem is relatively small, it was made for Ipsum devotional use and dolores have been placed.” Florian Eitle-Böhler
Evidence in the visual arts of the importance that southern Spanish lustreware attained in the 14th century can be found in the central panel of Hugo van der Goes’ triptich Adoration of the Shepherds. A lustreware albarello is being used as a vase; it is shown both in its new function as an everyday object and, at the same time, as a representative, prestigious object. This albarello entered the holdings of the Metropolitan Museum of Art in 1941 as part of the extensive bequest of the banker George Blumenthal (1858 – 1941). In 2007, together with the wing o f a medieval tabernacle, the vessel was exchanged for a marble tabernacle from the 14th century in the collection of Paul W. Doll jr., of New York. The MET presumably decided to part with Blumenthal’s gift as two albarelli with very similar decorative elements were included in the bequest, as seen in the images.
Albarello, formerly in the Blumenthal Collection © Metropolitan Museum of Art, New York
05
38
1
Originally, vessels of this type were probably used to store valuable spices that were transported along the trade routes from the East to Moorish Spain. Odourless and easy to close they were later used in Italy, in particular, as apothecary jars. They are cylindrical in shape with slightly concave walls. The opening was stopped with a cloth or parchment, tied and held in place by the slight notch around the neck ring.
2
Andalusian lustreware has a very homogenous style which makes it difficult to differentiate between individual workshops. As a result our albarello cannot be attributed with any certainty to either Paterna or Manises.
3
Christopher Hudson, The Arts of Fire. Islamic Influences on Glass and Ceramics of the Italian Renaissance, The J. Paul Getty Museum, Los Angeles 1994, p. 39 2008).
Julius Böhler – Collecting Treasures of the Past
Albarello, Kunsthandlung Julius Böhler
39
Two Pairs of Candlesticks with Lion Feet
06
40
Julius Böhler – Collecting Treasures of the Past
41
Two Pairs of Candlesticks with Lion Feet
T W O PA I R S O F C A N D L E S T I C K S W I T H L I O N F E E T
Not far from Bamberg is the former summer residence of the prince- bishops, the beautiful palace known as Schloss Seehof. It is
German or South Netherlandish (Nuremberg or Dinant)
an impressive testimony to the once so impressive court upheld by
Late 15th / early 16th century
the bishopric and, at the same time, it is the artistic legacy of one of the greatest Rococo artists of southern Germany, Ferdinand Tietz,
Cast copper alloy
who originally came from Bohemia.
Larger candlesticks, height: 135 cm Smaller candlesticks, height: 88 cm
Born in Holešice, probably in 1708, as Ferdinand Dietz, he later changed the spelling of his surname to ‘Tietz’. He came from a family
Provenance:
of craftsmen; his father was a sculptor and had a workshop in Jezerí.
Private American collection
Although Ferdinand was later to become a successful sculptor there is no documentary evidence covering the first third of the artist’s
Related Literature:
lifetime. He most probably went to Vienna where he met the sculptor
Mende, Ursula. Die Mittelalterlichen Bronzen im Germanischen
Johann Wolfgang von der Auwera (1708 – 1756), as stylistic parallels
Nationalmuseum. Nürnberg 2013
reveal. It is not until 1736, when he was twenty-eight years old, that the artist is mentioned in archival records. He worked under Balthasar
D‘Allemagne, Henry-Réné. Histoire du luminaire depuis
Neumann (1687 – 1753) on large projects in the Würzburg Residenz,
l‘époque romaine jusqu‘au XIXe siècle. Paris 1981
as shown on various invoices. In 1747 Tietz was summoned to Bamberg by Prince- Bishop Johann Philipp Anton von Franckenstein
Flanders in the Fifteenth Century: Art and Civilization,
(1695 – 1753) who commissioned him to devise a comprehensive plan
exh. cat., Detroit 1960
of figures for the park at Schloss Seehof. This project represents the highlight of the park’s overall design and Tietz’s artistic breakthrough. Together with his workshop, Tietz – who was appointed court sculptor in 1748 – completed some 400 masterly worked and powerfully modelled sculptures of playfully exuberant figures captured in motion. They were to make the artist famous well beyond the region.1 In 1754 Tietz was called to Trier by the prince-bishop Franz Georg von Schönborn (1682 – 1756) and did not return to Bamberg until 1760 where, in the meantime, Adam Friedrich von Seinsheim (1708 – 1779), Prince-Bishop of Würzburg, had taken over the princebishopric office in Bamberg as well, as the position had become vacant.
06
42
Julius Böhler – Collecting Treasures of the Past
1
Today, only a small number of figures are to be seen.
2
Painted à la porcelaine, the stone sculptures would have had the appearance of painted china figures.
43
The model for a garden figure was most probably once painted. 3
The extreme rotation of Ceres’ body and the crossing of her legs
It is similar to an allegory of summer that Tietz made in 1765/67 for
as if dancing, can similarly be found in the figure of Pan. The god
the court garden at Veitshöchheim in which the motif of the kneeling
of shepherds was one of the figures in Tietz’s cycle of gods that he
peasant woman with a gift of grain also appears. The small putto,
made in 1760 for the Rose Garden in Bamberg. The extreme rotation
however, is not included and the goddess is clothed. The virtuosity
of Ceres’ body and the crossing of her legs as if dancing, can similarly
and dynamism of the small sculpted work are lacking; instead the
be found in the figure of Pan. The god of shepherds was one of the
garden figure exudes a calm majesty. In the case of the garden figure
figures in Tietz’s cycle of gods that he made in 1760 for the Rose
Tietz also eschewed the sensually erotic aesthetic and gleeful
Garden in Bamberg. Due to the work’s high artistic quality and taking
exuberance that characterise the model, presumably at the request
stylistic comparisons into consideration we assume that this model is
of the patron.
a work by Ferdinand Tietz himself. In all probability, the Ceres group served as a model for the Allegory of Summer in the garden at Veitshöchheim.
06
3
44
Hans-Peter Trenschel, the former director of the Mainfränkisches Museum in Würzburg emphasises that, in Tietz’s case, sketches did not play a role in the creative process of a sculpture. Instead, he generally carved small wooden figures immediately before, in preparation for his work on the stone figures (F. Tietz Symposium, Bamberg,
Julius Böhler – Collecting Treasures of the Past
45
Relief of the Lamentation of Christ
07
46
Julius Böhler – Collecting Treasures of the Past
47
Relief of the Lamentation of Christ
R E L I E F O F T H E L A M E N TAT I O N O F C H R I S T
An unknown artist carved this exceptional pietà from a block of oak wood. On the underside a non-attributable mark is shown four
Flanders (Antwerp or Brussels)
times. The work depicts one of the most dramatic moments in the
Circa 1490
Passion and death of Christ.
Oak relief with the original gilding and polychromy
The figures are arranged on a steep meadow painted a brow-
Height: 36 cm, length: 47 cm, width: 7 cm
nish-green, the surface area of which has been structured with punching and stamping tools. The Virgin Mary sits at the centre of
Provenance:
the group in a flowing, golden dress with a wealth of folds. A similarly
European private collection
golden cloak with a blue lining is pulled over her head and shades her beautiful but sad face that exudes pain and sensitivity. The
Related Literature:
emotions expressed capture her role as a mother immediately after
Aubert, Marcel : Description raisonnée des sculptures du
the death of her beloved child, the Son of God. Mary bends over
Moyen Age, de la Renaissance et des Temps Modernes,
Christ who has been placed across on her knees and embraces him
vol. 1, Moyen Age (Middle Ages), Paris 1950, p. 278, object 396,
lovingly with both arms. Christ is depicted as a handsome, slim man;
‘Vierge de la Pitié’, fig. 396
his naked, immaculate body is marked by the bleeding wound in his side and the stigmata visible on the right foot. Blood pours out of the
Destree, M.J. Recherches sur la sculpture brabançonne, Bulletin
wounds torn by the thorny twines of the crown mockingly placed on
de la Société nationale des Antiquaires de France, 1890
his head. A golden loincloth (perizonium) preserves his modesty.
Guillot de Suduiraut, Sophie. Sculptures brabançonnes
To the right of the Virgin Mary and her son is Christ’s favourite discip-
du Musée du Louvre, Bruxelles Malines Anvers XV-XVI siècles,
le John (the Evangelist), also in blue and gold. He holds his right arm
Paris 2001, fig. 41, p. 44, fig. 31, p. 149
up to his face in a gesture of grievance and, with his left hand, supports Christ’s head, preventing it from tilting backwards. From this unified composition of the Virgin Mary, Christ and John, Mary Magdalene stands out as the beautiful and graceful young woman holding the ointment vessel, her attribute. She turns away from Mary and is alone with her pain. The coloration of her robe has less gilding and differs slightly from that of Mary and John. All the more charming is her lovely face.
07
48
Julius Böhler – Collecting Treasures of the Past
The work was made in Flanders, probably in Antwerp or Brussels, at the end of the 15th century. At this time both cities were important centers of the arts in the Duchy of Brabant that became part of the House of Habsburg through the line of succession. One of the great artists who had a considerable influence on both the painting and sculpture of the time in this region was Rogier van der Weyden. Born Rogier de la Pasture in 1400 in Tournai, he is first mentioned in documents in 1435 in Brussels where he later died in 1464. In 1919 the art historian Joseph Destrée described van der Weyden’s function as a role model in his publication “A propos de l’influence de Roger van der Weyden (Roger de la Pasture) sur la sculpture brabançonne” and illustrated this with a Pietà made of walnut that was made in Brussels in the 15th century. Pietà, walnut, 15th century, Brussels, Collection of Paul de Decker, in Joseph Destrée, A propos de l´influence de Rogier van der Weyden
Pietà, walnut, 15th century, Brussels, Collection of Paul de Decker, in Joseph Destrée, A propos de l´influence de Rogier van der Weyden sur la sculpture brabançonne, Brussels 1919, fig. 1 (hier versuche ich, ein besseres Foto zu bekommen)
sur la sculpture brabançonne, Brussels 1919, fig. 1 (hier versuche ich, ein besseres Foto zu bekommen) Through their powerful expressiveness, the composition and facial
The formally extremely elegant arrangement of the Virgin Mary
and bodily gestures of the figures capture the emotions of those
and the Son of God after the Crucifixion is artistically outstanding.
depicted and are very much in keeping with the religious mind-set of
The two lines formed by the Virgin Mary’s cloak that lead from the
the late Middle Ages. The new iconography developed by van der
head downwards, on the right from the elongated arm of Christ and,
Weyden was well received and, over the following few decades, was
on the left, from the slightly mannered crossed legs, form a successful
widely adopted in all artistic disciplines. Repeated in one workshop
triangular composition together with the edge of the sculpture’s
and the next, his formal language was also translated in totally
base.
different media, such as sculpture.
1
J. Destrée, A propos de l’influence de Roger van der Weyden (Roger de la Pasture) sur la sculpture brabançonne, Annales de la Société royale de l’Archéologie, XXVIII, pp. 1–11.
49
The definitive determination of the sculpture’s place of origin may be found in the marks added to the underside. What do these marks mean? In the mid 15th century, the guilds that oversaw the work of sculptors introduced strict regulations, according to which only seasoned oak or walnut was to be used by a sculptor for his work. After examination, carvings were given a clearly visible ‘guarantee stamp’ (marque de garantie). Painters, generally belonging to the Guild of Saint Luke, were then responsible for painting and gilding the figures. The sale of artworks was only possible after a final examination by the city administration, following which a corresponding mark was added. The oak used for the Pietà obviously met the quality criteria of the wood assessor. This is shown by the four marks on the underside of the pedestal. In each case they comprise a square, measuring c. 0.5 x 0.5 cm, divided into four compartments. The marks shown in this case are, however, unknown. Bitte austauschen bzw. Ergänzen in der „Related literature:“ Destree, Joseph, Etude sur la sculpture brabançonne au Moyen Age, Brussels 1894 Id., A propos de l’influence de Roger van der Weyden (Roger de la Pasture) sur la sculpture brabançonne, Brussels 1919, pp. 1-11
07
50
Julius Böhler – Collecting Treasures of the Past
51
Relief with the Head of Saint John the Baptist
08
52
Julius Böhler – Collecting Treasures of the Past
53
Relief with the Head of Saint John the Baptist
RELIEF WITH THE HEAD OF SAINT JOHN THE BAPTIST
Not far from Bamberg is the former summer residence of the prince- bishops, the beautiful palace known as Schloss Seehof. It is
England (Nottingham)
an impressive testimony to the once so impressive court upheld by
Late 15th century
the bishopric and, at the same time, it is the artistic legacy of one of the greatest Rococo artists of southern Germany, Ferdinand Tietz,
Alabaster with the original partial polychromy
who originally came from Bohemia.
Height: 29.5, length: 18 cm Born in Holešice, probably in 1708, as Ferdinand Dietz, he later Related literature:
changed the spelling of his surname to ‘Tietz’. He came from a family
Brink, Peter van den, Preising, Dagmar, Polfer, Michel (ed.).
of craftsmen; his father was a sculptor and had a workshop in Jezerí.
Blut und Tränen. Albrecht Bouts und das Antlitz der Passion, exh. cat.,
Although Ferdinand was later to become a successful sculptor there
Regensburg 2016, pp. 164-167, cat. no. 44
is no documentary evidence covering the first third of the artist’s lifetime. He most probably went to Vienna where he met the sculptor
Williamson, Paul (ed.). Objects of Devotion, Medieval English
Johann Wolfgang von der Auwera (1708 – 1756), as stylistic parallels
Alabaster Sculpture from the Victoria and Albert Museum,
reveal. It is not until 1736, when he was twenty-eight years old, that
Alexandria, Virginia 2010, nos. 18, 46, 49
the artist is mentioned in archival records. He worked under Balthasar Neumann (1687 – 1753) on large projects in the Würzburg Residenz,
Cheetham, Francis. Alabaster Images of Medieval England.
as shown on various invoices. In 1747 Tietz was summoned to Bam-
Woodbridge 2003, reprint 2011, pp. 156-160, figs. 1-21, esp.
berg by Prince- Bishop Johann Philipp Anton von Franckenstein
figs. 15-19 (type F), color ill. XXI, p. 14
(1695 – 1753) who commissioned him to devise a comprehensive plan of figures for the park at Schloss Seehof. This project represents the
Cheetham, Francis. Alabaster Men, Sacred Images from Medieval
highlight of the park’s overall design and Tietz’s artistic breakthrough.
England, Woodbridge 2001
Together with his workshop, Tietz – who was appointed court sculptor in 1748 – completed some 400 masterly worked and powerfully mo-
Arndt, Hella; Kroos, Renate. Zur Ikonographie der Johannesschüssel,
delled sculptures of playfully exuberant figures captured in motion.
in: Aachener Kunstblätter, vol. 38, 1969, pp. 243-328
They were to make the artist famous well beyond the region.1
Woods, Kim. Cut in Alabaster. A Material of Sculpture and its
In 1754 Tietz was called to Trier by the prince-bishop Franz Georg
European Traditions 1330–1530. Distinguished Contributions to the
von Schönborn (1682 – 1756) and did not return to Bamberg until
Study of the Arts in the Burgundian Netherlands. London 2018
1760 where, in the meantime, Adam Friedrich von Seinsheim (1708 – 1779), Prince-Bishop of Würzburg, had taken over the princebishopric office in Bamberg as well, as the position had become vacant.
08
54
Julius Böhler – Collecting Treasures of the Past
In 1765 Seinsheim commissioned Tietz to submit new designs for
His playful style reflecting the zeitgeist of the Rococo period was
the court garden at Veitshöchheim near Würzburg. To accompany
no longer in keeping with the increasingly sobre and seemingly harsh
the architectural plans he devised a comprehensive sculptural agen-
lines of emerging art tastes. Tietz died in 1777 at the age of 69 in
da. The court sculptor made a major contribution to peopling the
Seehof near Bamberg.
garden with allegorical stone figures from mythology between 1765 and 1768. Upon completion in 1776, some 300 figures decorated
Our figurative group is a model that would have been presented to
the garden, of which some 200 have survived. They were originally
the patron who gave the commission, presumably Adam Friedrich
painted à la porcelaine2 that would certainly have made an
von Seinsheim, before work started on the large sculpture in stone.
impressive sight.
A youthful-looking, nude woman is depicted in a dynamic pose standing on an octagonal pedestal with sweeping concave curves
In 1767 Ferdinand Tietz was also appointed court sculptor in
and a central floral relief. A small putto and woman in peasant’s garb
Würzburg. However, after completing his commissions for Würzburg
kneeling at her feet proffering a sheaf of grain, form her entourage.
and Bamberg he did not receive any further work of note.
The ripe corn is an attribute of the Roman goddess Ceres and reveals the sensual beauty as an allegory of summer.
1
Today, only a small number of figures are to be seen.
2
Painted à la porcelaine, the stone sculptures would have had the appearance of painted china figures.
55
The model for a garden figure was most probably once painted. 3
The extreme rotation of Ceres’ body and the crossing of her legs
It is similar to an allegory of summer that Tietz made in 1765/67 for
as if dancing, can similarly be found in the figure of Pan. The god
the court garden at Veitshöchheim in which the motif of the kneeling
of shepherds was one of the figures in Tietz’s cycle of gods that he
peasant woman with a gift of grain also appears. The small putto,
made in 1760 for the Rose Garden in Bamberg. The extreme rotation
however, is not included and the goddess is clothed. The virtuosity
of Ceres’ body and the crossing of her legs as if dancing, can similarly
and dynamism of the small sculpted work are lacking; instead the
be found in the figure of Pan. The god of shepherds was one of the
garden figure exudes a calm majesty. In the case of the garden figure
figures in Tietz’s cycle of gods that he made in 1760 for the Rose
Tietz also eschewed the sensually erotic aesthetic and gleeful
Garden in Bamberg. Due to the work’s high artistic quality and taking
exuberance that characterise the model, presumably at the request
stylistic comparisons into consideration we assume that this model is
of the patron.
a work by Ferdinand Tietz himself. In all probability, the Ceres group served as a model for the Allegory of Summer in the garden at Veitshöchheim.
08
3
56
Hans-Peter Trenschel, the former director of the Mainfränkisches Museum in Würzburg emphasises that, in Tietz’s case, sketches did not play a role in the creative process of a sculpture. Instead, he generally carved small wooden figures immediately before, in preparation for his work on the stone figures (F. Tietz Symposium, Bamberg,
Julius Böhler – Collecting Treasures of the Past
57
The Head of Saint John the Baptist on the Platter
09
58
Julius Böhler – Collecting Treasures of the Past
59
The Head of Saint John the Baptist on the Platter
THE HEAD OF SAINT JOHN THE BAPTIST ON THE PLAT TER
Not far from Bamberg is the former summer residence of the prince- bishops, the beautiful palace known as Schloss Seehof. It is
England (Nottingham)
an impressive testimony to the once so impressive court upheld by the bishopric and, at the same time, it is the artistic legacy of one of
Late 15th century
the greatest Rococo artists of southern Germany, Ferdinand Tietz, who originally came from Bohemia.
Alabaster with the original partial polychromy Diameter: x cm
Born in Holešice, probably in 1708, as Ferdinand Dietz, he later changed the spelling of his surname to ‘Tietz’. He came from a family
Related literature:
of craftsmen; his father was a sculptor and had a workshop in Jezerí.
Cheetham, Francis. Alabaster Images of Medieval England,
Although Ferdinand was later to become a successful sculptor there
Woodbridge 2003, reprint 2011
is no documentary evidence covering the first third of the artist’s lifetime. He most probably went to Vienna where he met the sculptor
Woods, Kim. Cut in Alabaster. A Material of Sculpture and its
Johann Wolfgang von der Auwera (1708 – 1756), as stylistic parallels
European Traditions 1330 – 1530. Distinguished Contributions to the
reveal. It is not until 1736, when he was twenty-eight years old, that
Study of the Arts in the Burgundian Netherlands. London 2018
the artist is mentioned in archival records. He worked under Balthasar Neumann (1687 – 1753) on large projects in the Würzburg Residenz, as shown on various invoices. In 1747 Tietz was summoned to Bamberg by Prince- Bishop Johann Philipp Anton von Franckenstein (1695 – 1753) who commissioned him to devise a comprehensive plan of figures for the park at Schloss Seehof. This project represents the highlight of the park’s overall design and Tietz’s artistic breakthrough. Together with his workshop, Tietz – who was appointed court sculptor in 1748 – completed some 400 masterly worked and powerfully modelled sculptures of playfully exuberant figures captured in motion. They were to make the artist famous well beyond the region.1 In 1754 Tietz was called to Trier by the prince-bishop Franz Georg von Schönborn (1682 – 1756) and did not return to Bamberg until 1760 where, in the meantime, Adam Friedrich von Seinsheim (1708 – 1779), Prince-Bishop of Würzburg, had taken over the princebishopric office in Bamberg as well, as the position had become vacant.
09
60
Julius Böhler – Collecting Treasures of the Past
In 1765 Seinsheim commissioned Tietz to submit new designs for
His playful style reflecting the zeitgeist of the Rococo period was
the court garden at Veitshöchheim near Würzburg. To accompany
no longer in keeping with the increasingly sobre and seemingly harsh
the architectural plans he devised a comprehensive sculptural agen-
lines of emerging art tastes. Tietz died in 1777 at the age of 69 in
da. The court sculptor made a major contribution to peopling the
Seehof near Bamberg.
garden with allegorical stone figures from mythology between 1765 and 1768. Upon completion in 1776, some 300 figures decorated
Our figurative group is a model that would have been presented to
the garden, of which some 200 have survived. They were originally
the patron who gave the commission, presumably Adam Friedrich
painted à la porcelaine2 that would certainly have made an
von Seinsheim, before work started on the large sculpture in stone.
impressive sight.
A youthful-looking, nude woman is depicted in a dynamic pose standing on an octagonal pedestal with sweeping concave curves
In 1767 Ferdinand Tietz was also appointed court sculptor in
and a central floral relief. A small putto and woman in peasant’s garb
Würzburg. However, after completing his commissions for Würzburg
kneeling at her feet proffering a sheaf of grain, form her entourage.
and Bamberg he did not receive any further work of note.
The ripe corn is an attribute of the Roman goddess Ceres and reveals the sensual beauty as an allegory of summer.
1
Today, only a small number of figures are to be seen.
2
Painted à la porcelaine, the stone sculptures would have had the appearance of painted china figures.
61
The model for a garden figure was most probably once painted. 3
The extreme rotation of Ceres’ body and the crossing of her legs
It is similar to an allegory of summer that Tietz made in 1765/67 for
as if dancing, can similarly be found in the figure of Pan. The god
the court garden at Veitshöchheim in which the motif of the kneeling
of shepherds was one of the figures in Tietz’s cycle of gods that he
peasant woman with a gift of grain also appears. The small putto,
made in 1760 for the Rose Garden in Bamberg. The extreme rotation
however, is not included and the goddess is clothed. The virtuosity
of Ceres’ body and the crossing of her legs as if dancing, can similarly
and dynamism of the small sculpted work are lacking; instead the
be found in the figure of Pan. The god of shepherds was one of the
garden figure exudes a calm majesty. In the case of the garden figure
figures in Tietz’s cycle of gods that he made in 1760 for the Rose
Tietz also eschewed the sensually erotic aesthetic and gleeful
Garden in Bamberg. Due to the work’s high artistic quality and taking
exuberance that characterise the model, presumably at the request
stylistic comparisons into consideration we assume that this model is
of the patron.
a work by Ferdinand Tietz himself. In all probability, the Ceres group served as a model for the Allegory of Summer in the garden at Veitshöchheim.
09
3
62
Hans-Peter Trenschel, the former director of the Mainfränkisches Museum in Würzburg emphasises that, in Tietz’s case, sketches did not play a role in the creative process of a sculpture. Instead, he generally carved small wooden figures immediately before, in preparation for his work on the stone figures (F. Tietz Symposium, Bamberg,
Julius Böhler – Collecting Treasures of the Past
63
Two Wings of an Altar with Scenes of the Life of the Virgin
10
64
Julius Böhler – Collecting Treasures of the Past
65
Two Wings of an Altar with Scenes of the Life of the Virgin
T W O W I N G S O F A N A LTA R W I T H S C E N E S
Not far from Bamberg is the former summer residence of the
OF THE LIFE OF THE VIRGIN
prince- bishops, the beautiful palace known as Schloss Seehof. It is an impressive testimony to the once so impressive court upheld by
Two Reliefs:
the bishopric and, at the same time, it is the artistic legacy of one of
· Birth of Christ
the greatest Rococo artists of southern Germany, Ferdinand Tietz,
· The Adoration of the Magi
who originally came from Bohemia.
Two Paintings
Born in Holešice, probably in 1708, as Ferdinand Dietz, he later
· The Annunciation
changed the spelling of his surname to ‘Tietz’. He came from a family
· The Presentation in the Temple
of craftsmen; his father was a sculptor and had a workshop in Jezerí. Although Ferdinand was later to become a successful sculptor there
The Annunciation, The Adoration of the Magi
is no documentary evidence covering the first third of the artist’s
Wood, carved, gilded and coloured
lifetime. He most probably went to Vienna where he met the sculptor
Height: 157 cm, length: 78 cm
Johann Wolfgang von der Auwera (1708 – 1756), as stylistic parallels reveal. It is not until 1736, when he was twenty-eight years old, that
Birth of Christ; Presentation in the Temple
the artist is mentioned in archival records. He worked under Balthasar
Oil on Wood
Neumann (1687 – 1753) on large projects in the Würzburg Residenz,
Height: 157.5 cm, length: 71 cm
as shown on various invoices. In 1747 Tietz was summoned to Bam-
Innviertel (Austria), probably Passau
berg by Prince- Bishop Johann Philipp Anton von Franckenstein (1695 – 1753) who commissioned him to devise a comprehensive plan
Late 15th century
of figures for the park at Schloss Seehof. This project represents the highlight of the park’s overall design and Tietz’s artistic breakthrough.
Provenance:
Together with his workshop, Tietz – who was appointed court sculptor
Probably commissioned by an Augustian monk or an
in 1748 – completed some 400 masterly worked and powerfully mo-
Augustian congregation; probably collection of Albert von
delled sculptures of playfully exuberant figures captured in motion.
Carmesina (1806 – 1881), Vienna; purchased by Eduard Strache
They were to make the artist famous well beyond the region.1
(1847 – 1912), Vienna, between 1866 and 1870; by way of inheritance to the collection of Emil Wittasek (1885 – 1971), Vienna; acquired
In 1754 Tietz was called to Trier by the prince-bishop Franz Georg
by the Zentralsparkasse of the City of Vienna in in 1975 (merged in
von Schönborn (1682 – 1756) and did not return to Bamberg until
1991 to the bank of Austria), 1975; until 2018 loaned to the
1760 where, in the meantime, Adam Friedrich von Seinsheim
Vienna Museum.
(1708 – 1779), Prince-Bishop of Würzburg, had taken over the princebishopric office in Bamberg as well, as the position had become
Exhibition:
vacant.
Wien im Mittelalter, Vienna 1976, ex catalogue
10
66
Julius Böhler – Collecting Treasures of the Past
In 1765 Seinsheim commissioned Tietz to submit new designs for
His playful style reflecting the zeitgeist of the Rococo period was
the court garden at Veitshöchheim near Würzburg. To accompany
no longer in keeping with the increasingly sobre and seemingly harsh
the architectural plans he devised a comprehensive sculptural agen-
lines of emerging art tastes. Tietz died in 1777 at the age of 69 in
da. The court sculptor made a major contribution to peopling the
Seehof near Bamberg.
garden with allegorical stone figures from mythology between 1765 and 1768. Upon completion in 1776, some 300 figures decorated
Our figurative group is a model that would have been presented to
the garden, of which some 200 have survived. They were originally
the patron who gave the commission, presumably Adam Friedrich
painted à la porcelaine2 that would certainly have made an
von Seinsheim, before work started on the large sculpture in stone.
impressive sight.
A youthful-looking, nude woman is depicted in a dynamic pose standing on an octagonal pedestal with sweeping concave curves
In 1767 Ferdinand Tietz was also appointed court sculptor in
and a central floral relief. A small putto and woman in peasant’s garb
Würzburg. However, after completing his commissions for Würzburg
kneeling at her feet proffering a sheaf of grain, form her entourage.
and Bamberg he did not receive any further work of note.
The ripe corn is an attribute of the Roman goddess Ceres and reveals the sensual beauty as an allegory of summer.
1
Today, only a small number of figures are to be seen.
2
Painted à la porcelaine, the stone sculptures would have had the appearance of painted china figures.
67
The model for a garden figure was most probably once painted. 3
The extreme rotation of Ceres’ body and the crossing of her legs
It is similar to an allegory of summer that Tietz made in 1765/67 for
as if dancing, can similarly be found in the figure of Pan. The god
the court garden at Veitshöchheim in which the motif of the kneeling
of shepherds was one of the figures in Tietz’s cycle of gods that he
peasant woman with a gift of grain also appears. The small putto,
made in 1760 for the Rose Garden in Bamberg. The extreme rotation
however, is not included and the goddess is clothed. The virtuosity
of Ceres’ body and the crossing of her legs as if dancing, can similarly
and dynamism of the small sculpted work are lacking; instead the
be found in the figure of Pan. The god of shepherds was one of the
garden figure exudes a calm majesty. In the case of the garden figure
figures in Tietz’s cycle of gods that he made in 1760 for the Rose
Tietz also eschewed the sensually erotic aesthetic and gleeful
Garden in Bamberg. Due to the work’s high artistic quality and taking
exuberance that characterise the model, presumably at the request
stylistic comparisons into consideration we assume that this model is
of the patron.
a work by Ferdinand Tietz himself. In all probability, the Ceres group served as a model for the Allegory of Summer in the garden at Veitshöchheim.
10
3
68
Hans-Peter Trenschel, the former director of the Mainfränkisches Museum in Würzburg emphasises that, in Tietz’s case, sketches did not play a role in the creative process of a sculpture. Instead, he generally carved small wooden figures immediately before, in preparation for his work on the stone figures (F. Tietz Symposium, Bamberg,
Julius Böhler – Collecting Treasures of the Past
69
11
70
Julius Böhler – Collecting Treasures of the Past
Christ crucified, attributed to Tilman Riemenschneider
71
Christ crucified, attributed to Tilman Riemenschneider TILMAN RIMENSCHNEIDER
The artist depicts Christ Crucified as a young man immediately
attributed to 1460 Heiligenstadt – 1531 Würzburg
after the throes of death on the cross. His head with the Crown of Thorns hangs heavily on his right shoulder. Clotted strands of hair
Early 16th century
frame his bearded face. His mouth is slightly open; his tongue
Fruit wood, carved in the round
pressing outwards – an indication that he has just died. Christ is
24 x 22 cm
nailed to the cross in three places – through both of his hands and through his feet that are arranged one over the other. The muscular,
Provenance
slim and seemingly elegant body is captured with considerable
Collection of Professor Wilhelm von Miller
anatomical accuracy. The loincloth, tied around Christ’s hips, winds
(1848 Munich – 1899 Munich)
around the sides in artistic, almost Mannerist-like loops.
Acquired in 1907 by Julius Böhler from von Miller’s estate Since then in family ownership
As the figure is relatively small, it was made for private devotional use and would have been placed on a house altar.
Comparative literature: Erik Soder von GÜLDENSTUBBE and Ariane WIDLICH,
The figure is attributed to Tilman Riemenschneider. Stylistically,
Tilman Riemenschneider und sein Erbe im Taubertal,
it is similar to depictions of Christ in the crucifixion group in the
Gerchsheim 2004, p. 67 ff.
Hessisches Landesmuseum Darmstadt (fig. 1) – both made in Riemenschneider’s own hand. Christ’s face, the Crown of Thorns, his
Julien CHAPUIS, Tilman Riemenschneider, Master Sculptor
body and the loincloth are modelled on these works, as are the lance
of the Late Middle Ages, exh. cat., Yale University Press,
wound and the inserted nipples. On comparison, the face and hair
New Haven 1999, p. 290 ff.
of our figure of Christ are arguably slightly less finely carved. Riemenschneider, one of the most important artists during the transition period from late Gothic to the Renaissance, created works largely of religious subjects. His customers included the Church and wealthy citizens. His first, prominent commissions that could be seen by the general public, primarily altarpieces and crucifixion groups, founded his artistic reputation and helped him establish a flourishing workshop in Würzburg.
11
72
Julius Böhler – Collecting Treasures of the Past
Bildunterschriften ?
73
Get Out „As the figure is relatively small, it was made for private devotional use and would have been placed on a house altar.“ Florian Eitle-Böhler
11
74
Julius Böhler – Collecting Treasures of the Past
Original Size
75
Two Wings of a Small Altar with Scenes of the Life of Christ
12
76
Julius Böhler – Collecting Treasures of the Past
77
Two Wings of a Small Altar with Scenes of the Life of Christ
D O S S I E R F E H LT N O C H
Not far from Bamberg is the former summer residence of the prince- bishops, the beautiful palace known as Schloss Seehof. It is an impressive testimony to the once so impressive court upheld by the bishopric and, at the same time, it is the artistic legacy of one of the greatest Rococo artists of southern Germany, Ferdinand Tietz, who originally came from Bohemia. Born in Holešice, probably in 1708, as Ferdinand Dietz, he later changed the spelling of his surname to ‘Tietz’. He came from a family of craftsmen; his father was a sculptor and had a workshop in Jezerí. Although Ferdinand was later to become a successful sculptor there is no documentary evidence covering the first third of the artist’s lifetime. He most probably went to Vienna where he met the sculptor Johann Wolfgang von der Auwera (1708 – 1756), as stylistic parallels reveal. It is not until 1736, when he was twenty-eight years old, that the artist is mentioned in archival records. He worked under Balthasar Neumann (1687 – 1753) on large projects in the Würzburg Residenz, as shown on various invoices. In 1747 Tietz was summoned to Bamberg by Prince- Bishop Johann Philipp Anton von Franckenstein (1695 – 1753) who commissioned him to devise a comprehensive plan of figures for the park at Schloss Seehof. This project represents the highlight of the park’s overall design and Tietz’s artistic breakthrough. Together with his workshop, Tietz – who was appointed court sculptor in 1748 – completed some 400 masterly worked and powerfully modelled sculptures of playfully exuberant figures captured in motion. They were to make the artist famous well beyond the region.1 In 1754 Tietz was called to Trier by the prince-bishop Franz Georg von Schönborn (1682 – 1756) and did not return to Bamberg until 1760 where, in the meantime, Adam Friedrich von Seinsheim (1708 – 1779), Prince-Bishop of Würzburg, had taken over the princebishopric office in Bamberg as well, as the position had become vacant.
12
78
Julius Böhler – Collecting Treasures of the Past
In 1765 Seinsheim commissioned Tietz to submit new designs for
His playful style reflecting the zeitgeist of the Rococo period was
the court garden at Veitshöchheim near Würzburg. To accompany
no longer in keeping with the increasingly sobre and seemingly harsh
the architectural plans he devised a comprehensive sculptural agen-
lines of emerging art tastes. Tietz died in 1777 at the age of 69 in
da. The court sculptor made a major contribution to peopling the
Seehof near Bamberg.
garden with allegorical stone figures from mythology between 1765 and 1768. Upon completion in 1776, some 300 figures decorated
Our figurative group is a model that would have been presented to
the garden, of which some 200 have survived. They were originally
the patron who gave the commission, presumably Adam Friedrich
painted à la porcelaine2 that would certainly have made an
von Seinsheim, before work started on the large sculpture in stone.
impressive sight.
A youthful-looking, nude woman is depicted in a dynamic pose standing on an octagonal pedestal with sweeping concave curves
In 1767 Ferdinand Tietz was also appointed court sculptor in
and a central floral relief. A small putto and woman in peasant’s garb
Würzburg. However, after completing his commissions for Würzburg
kneeling at her feet proffering a sheaf of grain, form her entourage.
and Bamberg he did not receive any further work of note.
The ripe corn is an attribute of the Roman goddess Ceres and reveals the sensual beauty as an allegory of summer.
1
Today, only a small number of figures are to be seen.
2
Painted à la porcelaine, the stone sculptures would have had the appearance of painted china figures.
79
The model for a garden figure was most probably once painted. 3
The extreme rotation of Ceres’ body and the crossing of her legs
It is similar to an allegory of summer that Tietz made in 1765/67 for
as if dancing, can similarly be found in the figure of Pan. The god
the court garden at Veitshöchheim in which the motif of the kneeling
of shepherds was one of the figures in Tietz’s cycle of gods that he
peasant woman with a gift of grain also appears. The small putto,
made in 1760 for the Rose Garden in Bamberg. The extreme rotation
however, is not included and the goddess is clothed. The virtuosity
of Ceres’ body and the crossing of her legs as if dancing, can similarly
and dynamism of the small sculpted work are lacking; instead the
be found in the figure of Pan. The god of shepherds was one of the
garden figure exudes a calm majesty. In the case of the garden figure
figures in Tietz’s cycle of gods that he made in 1760 for the Rose
Tietz also eschewed the sensually erotic aesthetic and gleeful
Garden in Bamberg. Due to the work’s high artistic quality and taking
exuberance that characterise the model, presumably at the request
stylistic comparisons into consideration we assume that this model is
of the patron.
a work by Ferdinand Tietz himself. In all probability, the Ceres group served as a model for the Allegory of Summer in the garden at Veitshöchheim.
12
3
80
Hans-Peter Trenschel, the former director of the Mainfränkisches Museum in Würzburg emphasises that, in Tietz’s case, sketches did not play a role in the creative process of a sculpture. Instead, he generally carved small wooden figures immediately before, in preparation for his work on the stone figures (F. Tietz Symposium, Bamberg,
Julius Böhler – Collecting Treasures of the Past
81
Trotting Horse
13
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Julius Böhler – Collecting Treasures of the Past
83
Leonardo da Vinci (1452 – 1519) A horse in profile divided by lines, pen and ink over black chalk, c. 1480.
Leonardo da Vinci (1452 – 1519) A horse in left profile with measure-ments, c. 1490 both Royal Collection Trust, © HM Queen Elisabeth II 2016
Leonardo da Vinci, (1452 – 1519) A Horse divided by lines, metalpoint on blue paper, c. 1490
Leonardo da Vinci (1452 – 1519) Studies for an equestrian monument, pen and ink over black chalk, c. 1517 – 18. Recto: a study of a horse, moving in profile to the right, and two studies of horses moving to the right, seen in three- quarter view from the rear. Verso: a study of a horse in profile to the left, and an equestrian figure riding in profile to the right, his right arm outstretched behind, and a fluttering cloak. c. 1517 – 18, Royal Collection Trust, © HM Queen Elisabeth II 2016.
13
Leonardo da Vinci (1452 – 1519) A quick study for a horse walking in profile to the left, pen and ink, c. 1490. Fragment from the Codex Atlanticus, 147 recto-b; Royal Collection Trust, © HM Queen Elisabeth II 2016
84
Leonardo da Vinci, (1452 – 1519) A horse in profile and from the front, c. 1490, metal- point on blue paper, both Royal Collection Trust, © HM Queen Elisabeth II 2016
Julius Böhler – Collecting Treasures of the Past
Trotting Horse
TROT TING HORSE Italian (Florence or Milan)
In the Renaissance there were only a few statues of mounted
Circa 1500
riders or horses considered as prototypes. These include the Quadriga, comprising four gilded bronze horses, taken from
Bronze, direct unique cast
Constantinople in 1204 for St. Mark’s in Venice and the equestrian
Height 27.8, length 31.5 cm
statue of Marcus Aurelius in Rome dating from Antiquity. In 1453 Donatello completed his bronze equestrian statue of the mercenary
Provenance:
leader Gattamelata and, up until his death in 1488, Andrea del Verro-
Marczell Nemes Collection, acquired at auction at Mensing,
chio had been working for ten years on a memorial to the condottie-
Amsterdam, 13–14 November 1928, lot no. 113 (as being by a
ro Bartolomeo Colleoni. This was first completed and cast in 1496 by
‘Milanese Master’) for 7140 Reichsmarks by Heinrich Baron
another sculptor, Alessandro Leopardi. All of these equestrian figures,
Thyssen-Bornemisza de Kászon; thereafter through the family
however, stand on three legs, not least of all to provide stability.
until 2006
What makes our horse so special is its elegant stride, with a diametrically opposed rear and front leg raised at the same time.
Related literature: xxx
The movement of this step is reminiscent of the so-called piaffe in dressage that was already being taught in the Renaissance.
The horse was produced using the direct casting method with
The ‘Regisole’ (Sun King) monument in Pavia, that also dated from
which a figure is modelled in wax directly on a so-called casting core.
Antiquity but was destroyed in 1796, was probably the only one also
An outer casting mould, a so-called investment, is then placed over
showing two legs raised simultaneously. In looking for an artist who
the wax and held in place by core pins. This is followed by the firing
could have manufactured our bronze, one soon arrives at the circle
process during which the wax runs out. Afterwards, bronze is poured
of Leonardo da Vinci. Throughout his life Leonardo was preoccupied
into the hollow form created. The direct casting method has certain
with creating the most anatomically precise depiction of a horse
characteristics such as somewhat more solid walls of slightly varying
possible and made numerous sketches and designs of horses in
thicknesses. In the case of our horse sculpture, an original, corrected
various positions and gaits. The bronze cast for an equestrian statue
and barely visible casting error has been identified behind the right
to honour Francesco Sforza in Milan, in particular, for which Sforza’s
ear. This was probably where a large part of the casting core was
sons sought an appropriate master of his craft after 1473, was a
removed. No other corrections are discernible.
challenge to the universal genius.
Indicative of the anonymous artist’s great talent are the out-
In 1482 Leonardo writes to Lodovico Sforza in Milan offering his
standing, individual modelling of the mane and tail as well as the
services as an architect of fortresses but also mentions the ‘bronze
unusually realistic depiction of the hooves. In addition, the whole
horse’: “... to [mark] the immortal glory and in eternal honour of your
body has a delicately hammered surface structure. As the design,
father as well as of the virtuous House of Sforza.” (Codex Atlanticus,
skilled production and artistic quality of this horse are exquisite it
folio 391r-a, cited in: Ladislao Reti (ed.), Leonardo. Künstler, Forscher,
must have been created in the workshop or in the vicinity of one
Magier, Frankfurt a. M., 1974, p. 88). Leonardo is called to the court
of the great Renaissance masters.
and remains there for sixteen years.
85
During this period he repeatedly works on a design for the equestrian memorial that, at Ludovico Sforza’s request, was then to be much larger than life-size with a height of seven metres. Numerous studies and sketches still exist that interestingly also show the piaffe step sequence. Together with Francesco di Giorgio Martini, Leonardo visits the city of Pavia in 1490 where he is deeply impressed by the so-called ‘Regisole’ equestrian monument mentioned above. He writes: ”What one has to marvel at in particular about the horse in Pavia is its movement … its trot is precisely like the trot of a living horse.” (Cited in Reti, 1974, p. 94). A drawing is held at Windsor Castle that Leonardo could have made of this monument. It shows a trotting horse that is lifting its front left and rear right legs. After seeing the ‘Regisole’, Leonardo switches from his original design for a rearing horse back to one trotting. He develops innovative casting and modelling methods in order to be able to cast a horse four times its real size. He describes this in detail in the Codex Madrid II, which he illustrates with drawings. He is, however, never able to turn his ingenious concept into reality. The bronze for the cast that had already been delivered is used instead to make cannons to fight the French King Charles VIII. After Ludovico Sforza’s defeat, Leonardo leaves Milan in 1500. It is possible that Leonardo also created a bronze model of a striding horse with which our unknown artist may have been familiar. It is known, for example, that Leoni Leoni (1509 – 1590) of Milan owned several of Leonardos horse bozzetti. Whether a comparable horse was among these can no longer be verified. The lively execution of its step, the precisely modelled head with its open mouth and snorting nostrils, as well as the detailing of the hooves suggest an extremely talented artist. These could include a master sculptor in the circle of the Court of Milan or a successor to Andrea del Verrocchio of Florence. The technical execution of this single cast could only been achieved by an experienced craftsman who certainly would not have been working on his own but would have received an apprenticeship
13
within the circle of artists already mentioned.
86
Julius Böhler – Collecting Treasures of the Past
”It is possible that Leonardo also created a bronze model of a striding horse with which our unknown artist may have been familiar.”
87
Relief with the Legend of the Shoeing of the Horse
14
88
Julius Böhler – Collecting Treasures of the Past
89
Relief with the Legend of the Shoeing of the Horse
F E H LT N O C H
Not far from Bamberg is the former summer residence of the prince- bishops, the beautiful palace known as Schloss Seehof. It is an impressive testimony to the once so impressive court upheld by the bishopric and, at the same time, it is the artistic legacy of one of the greatest Rococo artists of southern Germany, Ferdinand Tietz, who originally came from Bohemia. Born in Holešice, probably in 1708, as Ferdinand Dietz, he later changed the spelling of his surname to ‘Tietz’. He came from a family of craftsmen; his father was a sculptor and had a workshop in Jezerí. Although Ferdinand was later to become a successful sculptor there is no documentary evidence covering the first third of the artist’s lifetime. He most probably went to Vienna where he met the sculptor Johann Wolfgang von der Auwera (1708 – 1756), as stylistic parallels reveal. It is not until 1736, when he was twenty-eight years old, that the artist is mentioned in archival records. He worked under Balthasar Neumann (1687 – 1753) on large projects in the Würzburg Residenz, as shown on various invoices. In 1747 Tietz was summoned to Bamberg by Prince- Bishop Johann Philipp Anton von Franckenstein (1695 – 1753) who commissioned him to devise a comprehensive plan of figures for the park at Schloss Seehof. This project represents the highlight of the park’s overall design and Tietz’s artistic breakthrough. Together with his workshop, Tietz – who was appointed court sculptor in 1748 – completed some 400 masterly worked and powerfully modelled sculptures of playfully exuberant figures captured in motion. They were to make the artist famous well beyond the region.1 In 1754 Tietz was called to Trier by the prince-bishop Franz Georg von Schönborn (1682 – 1756) and did not return to Bamberg until 1760 where, in the meantime, Adam Friedrich von Seinsheim (1708 – 1779), Prince-Bishop of Würzburg, had taken over the princebishopric office in Bamberg as well, as the position had become vacant.
14
90
Julius Böhler – Collecting Treasures of the Past
In 1765 Seinsheim commissioned Tietz to submit new designs for
His playful style reflecting the zeitgeist of the Rococo period was
the court garden at Veitshöchheim near Würzburg. To accompany
no longer in keeping with the increasingly sobre and seemingly harsh
the architectural plans he devised a comprehensive sculptural agen-
lines of emerging art tastes. Tietz died in 1777 at the age of 69 in
da. The court sculptor made a major contribution to peopling the
Seehof near Bamberg.
garden with allegorical stone figures from mythology between 1765 and 1768. Upon completion in 1776, some 300 figures decorated
Our figurative group is a model that would have been presented to
the garden, of which some 200 have survived. They were originally
the patron who gave the commission, presumably Adam Friedrich
painted à la porcelaine2 that would certainly have made an
von Seinsheim, before work started on the large sculpture in stone.
impressive sight.
A youthful-looking, nude woman is depicted in a dynamic pose standing on an octagonal pedestal with sweeping concave curves
In 1767 Ferdinand Tietz was also appointed court sculptor in
and a central floral relief. A small putto and woman in peasant’s garb
Würzburg. However, after completing his commissions for Würzburg
kneeling at her feet proffering a sheaf of grain, form her entourage.
and Bamberg he did not receive any further work of note.
The ripe corn is an attribute of the Roman goddess Ceres and reveals the sensual beauty as an allegory of summer.
1
Today, only a small number of figures are to be seen.
2
Painted à la porcelaine, the stone sculptures would have had the appearance of painted china figures.
91
The model for a garden figure was most probably once painted. 3
The extreme rotation of Ceres’ body and the crossing of her legs
It is similar to an allegory of summer that Tietz made in 1765/67 for
as if dancing, can similarly be found in the figure of Pan. The god
the court garden at Veitshöchheim in which the motif of the kneeling
of shepherds was one of the figures in Tietz’s cycle of gods that he
peasant woman with a gift of grain also appears. The small putto,
made in 1760 for the Rose Garden in Bamberg. The extreme rotation
however, is not included and the goddess is clothed. The virtuosity
of Ceres’ body and the crossing of her legs as if dancing, can similarly
and dynamism of the small sculpted work are lacking; instead the
be found in the figure of Pan. The god of shepherds was one of the
garden figure exudes a calm majesty. In the case of the garden figure
figures in Tietz’s cycle of gods that he made in 1760 for the Rose
Tietz also eschewed the sensually erotic aesthetic and gleeful
Garden in Bamberg. Due to the work’s high artistic quality and taking
exuberance that characterise the model, presumably at the request
stylistic comparisons into consideration we assume that this model is
of the patron.
a work by Ferdinand Tietz himself. In all probability, the Ceres group served as a model for the Allegory of Summer in the garden at Veitshöchheim.
14
3
92
Hans-Peter Trenschel, the former director of the Mainfränkisches Museum in Würzburg emphasises that, in Tietz’s case, sketches did not play a role in the creative process of a sculpture. Instead, he generally carved small wooden figures immediately before, in preparation for his work on the stone figures (F. Tietz Symposium, Bamberg,
Julius Böhler – Collecting Treasures of the Past
93
Glass Roundel of Saint John the Baptist
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Julius Böhler – Collecting Treasures of the Past
95
Glass Roundel of Saint John the Baptist
GLASS ROUNDEL OF SAINT JOHN THE BAPTIST
Glass roundel
Germany (Cologne)
This round panel bears a delicately painted, full-length depiction of
First third of the 16th century
St John. The saint is considered a precursor and forerunner of Christ. A book rests on his lower left arm with the so-called ‘Agnus Dei’ – the
Surrounding inscription:
Lamb of God – a symbol for Jesus Christ used since early Christianity.
Johannes Castenhoultz venerabilis curie
He holds his right hand in a pointing gesture. This and his words ‘Ecce
Coloniensis causarum notarius commitatus
Agnus dei’ (Behold the Lamb of God) traditionally characterise
(The notary Johannes Castenhoultz represents the interests
depictions of the saint. His torn pelt garment, tied at the shoulder, is
of the honourable Curia of Cologne)
another of his attributes.
Silver stained glass, heightened with Schwarzlot
St John stands on a tiled floor, drawn in perspective, in front of a wall on which a tapestry with a tendril design has been hung. Behind this,
Diameter: 28.8 cm
a view opens up of the surrounding landscape. To the left, next to the saint, is the donor and namesake, Johannes Castenhoultz, depicted on a smaller scale. The inscription around the edge describes him as a ‘notary who represents the interests of the honourable Curia of Cologne’. Behind him are his two sons, kneeling. A rolled up document to his left acts as a reference to his work as a notary. Castenhoultz, his hands folded in prayer, is fashionably dressed in an ermine-lined coat. On the heraldic shield, known as a targe, are his initials together with a lily. This possibly refers to the fact that Castenhoultz had studied at the University of Paris. Not many burghers had the means to have themselves portrayed in such a manner. Castenhoultz must have been a honourable citizen and a renowned notary in Cologne. A ‘notarius (ap. et imp. et curie Col. causarum) Joh. Castenhoultz’ is mentioned as an authorised representative in a document held in the city archives in Cologne, dating from 2 February 1540, in connection with election of the cathedral dean. We would like to thank Dr. Max Plassmann from the Historic Archives of the City of Cologne for drawing our attention to the institution’s virtual reading room. He
15
also pointed out that, as the name Johannes was very common, it is certainly possible that there were several people with the name Johannes Castenhoultz. However, as the date 1540 of the document
96
Julius Böhler – Collecting Treasures of the Past
coincides with the creation of the roundel in the first third of the 16th
known artists: Albrecht Dürer, Hans Baldung Grien, Hans Suess von
century, and that it is a notary in both cases, the probability is great
Kulmbach, Hans Schäufelein and Hans Aldegrever all made designs
that the Johannes Castenhoultz in question is one and the same
for glass panels, as did their Dutch colleagues Lucas van Leyden and
person. To date, no further information has been found about the
Cornelis Engelbrechtsz.
pious donor or his house where this painted glas panel would have been installed. Painted panels of glass were created from the end of the 15th and beginning of the 16th centuries in the Netherlands and the Cologne area in particular. Wealthy burghers had the central round panels of glass in their windows – commonly known as crown glass panels – decorated with figures or heraldic elements that were then installed, surrounded by clear panels. The depictions were generally directly related to the residents of the house. In this way, families publically demonstrated their economic status or their religious leanings. Silver stain is a silver oxide that is applied on glass directly and then fired. Depending on its composition, translucent shades of colour emerge after firing that oscillate between bright yellow and dark amber. The depictions were often made after drawings by well-
1
Today, only a small number of figures are to be seen.
2
Painted à la porcelaine, the stone sculptures would have had the appearance of painted china figures.
97
The model for a garden figure was most probably once painted. 3
The extreme rotation of Ceres’ body and the crossing of her legs
It is similar to an allegory of summer that Tietz made in 1765/67 for
as if dancing, can similarly be found in the figure of Pan. The god
the court garden at Veitshöchheim in which the motif of the kneeling
of shepherds was one of the figures in Tietz’s cycle of gods that he
peasant woman with a gift of grain also appears. The small putto,
made in 1760 for the Rose Garden in Bamberg. The extreme rotation
however, is not included and the goddess is clothed. The virtuosity
of Ceres’ body and the crossing of her legs as if dancing, can similarly
and dynamism of the small sculpted work are lacking; instead the
be found in the figure of Pan. The god of shepherds was one of the
garden figure exudes a calm majesty. In the case of the garden figure
figures in Tietz’s cycle of gods that he made in 1760 for the Rose
Tietz also eschewed the sensually erotic aesthetic and gleeful
Garden in Bamberg. Due to the work’s high artistic quality and taking
exuberance that characterise the model, presumably at the request
stylistic comparisons into consideration we assume that this model is
of the patron.
a work by Ferdinand Tietz himself. In all probability, the Ceres group served as a model for the Allegory of Summer in the garden at Veitshöchheim.
15
3
98
Hans-Peter Trenschel, the former director of the Mainfränkisches Museum in Würzburg emphasises that, in Tietz’s case, sketches did not play a role in the creative process of a sculpture. Instead, he generally carved small wooden figures immediately before, in preparation for his work on the stone figures (F. Tietz Symposium, Bamberg,
Julius Böhler – Collecting Treasures of the Past
99
Portrait of an Idealized Woman, attributed to Simone di Bianco
16
100
Julius Böhler – Collecting Treasures of the Past
101
Portrait of an Idealized Woman, attributed to Simone di Bianco
Simone di Bianco
id., ‘Simone Bianco. Venezianische Skulptur zwischen Antiken-
Born in Loro Ciuffenna/Arezzo, Italy, since 1512 active
begeisterung und Antikenfälschung’ in: Sascha Kansteiner (ed.),
in Venice – after 1553, attributed to
Transformationen der Antike, vol. 45: Pseudoantike Skulptur I. Fallstudien zu antiken Skulpturen und ihren Imitationen,
Circa 1520/30 White marble relief
Berlin 2016, pp. 9 – 24
Height: 30 cm, length: 23.5 cm, width: 8.5 cm Luchs, Alison. Tullio Lombardo and ideal portrait sculpture Provenance:
in Renaissance Venice, 1490–1530, Cambridge 1995
With Charles Beddington, London, 2014; private collection, England Markham Schulz, Anne. ‘Simone Bianco, The Grimani collection Related Literature:
of antiquities and other unexpected findings’ in: Jahrbuch des Kunst-
Bacchi, Andrea and Giacomell, Lucianai (eds.). Rinascimento e
historischen Museums Wien, vol. 17/18 (2015/2016), pp. 26 – 43
Passione – Andrea Riccio e il suo tempo, exh. cat., Trient 2000, no. 116 (fig.)
Id. The History of Venetian Renaissance Sculpture. ca. 1400 – 1530, London, Turnhout 2017, pp. 355 – 365
Kryza-Gersch, Claudia. ‘Discovered in the stores. Two female busts by Simone Bianco in the Kunsthistorisches Museum in Vienna’ in:
Meller, Peter. ‘Marmi e bronzi die Simone Bianco’ in: Mitteilungen des
Peta Motture, Emma Jones and Dimitrios Zikos (eds.), Carvings,
Kunsthistorischen Institutes in Florenz, vol. XXI, 1977, pp. 199 – 210
Casts and Collectors, London 2013, pp. 72 – 87 Schlegel, Ursula. ‘Simone Bianco und die venezianische Malerei’ in: Mitteilungen des Kunsthistorischen Institutes in Florenz, 23.1979, pp. 187 – 196
16
102
Julius Böhler – Collecting Treasures of the Past
Simone Bianco, Profile Portrait of a Woman, white marble, Galleria Estense, Modena, inv. no. 2045
This marble relief depicts an elegant woman’s head in strict profile.
Simone Bianco came from the province of Arezzo. The exact
The classical profile view, a motif from Antiquity, was initially adopted
place and date of birth are unknown. Bianco is first mentioned in
in the Renaissance for coins and medals before appearing in the form
documents in 1512 in Venice. As a successor to Tullio und Antonio
of stone reliefs as a conscious citation of Ancient Greece and Rome.
Lombardo he had a decisive influence on the development of
The well-proportioned face – the closed lips, straight nose and
Venetian portrait sculpture in a secular context up until 1530.
calm expression – is framed by an unusual, elaborate hairstyle: her
Unlike Florence, portrait sculpture in Venice in the 15th century
carefully plaited tresses, tied into a bow on her forehead, have been
was concentrated on public spaces. It was not until the first third of
draped into a coil on her smoothly combed hair. From the temple,
the 16th century that wealthy residents of la Serenissima gradually
thick strands of hair fall onto the neck; several are turned slightly
commissioned sculptors to make copies of ancient works or portraits
inwards giving the image a particularly sensuous appeal. The hair is
in the style of works from Antiquity, with an increasingly individual
additionally held in place by a narrow ribbon. The artistically
character, for private households.1
arranged coiffeur gives this image of a woman a contemporary appearance. The robe over her shoulders, on the other hand,
Simone Bianco, whose œuvre has been the subject of intensive
emulates models from Antiquity.
research over the past few years, seemed to have been the driving force behind this development. The famous poet and a contempo-
Stylistically, the unsigned relief is to be assigned to Venetian art
rary of his, Pietro Aretino, praised Bianco’s works, drawing com-
of around 1520/30. The profile portrait in relief form was popular in
parisons with Titian. Among other statements he also reported that
the whole of Italy in the last quarter of the 15th century. In Venice,
three busts had been sent to the French king and that Bianco was “
however, a unique style, influenced by Antiquity, evolved at the
a decent person, a good sculptor and great friend.”2 It would appear
beginning of the 16th century, initiated through the work of Pietro
that this artist and his delicately executed sculptures quite wrongly
and Tullio Lombardo. The classical facial features reminiscent of
sank into oblivion. As he seldom signed his works, his sculptures
Antiquity and the precise execution of the hair, in particular, point
were often not attributed to him. Bianco’s artistic legacy – often
to the sculptor Simone Bianco.
mentioned in sources – was consequently little known and his works frequently lay undiscovered as ‘works of Antiquity’ in museum depots.3
1
For further details, see: LUCHS 1995.
2
KRYZA-GERSCH 2013, here: 74 – 75.
3
Ibid., on the two busts of women recently discovered in Vienna
103
Finds made over the past few years, however, have revealed that
The relief discussed here is also very much in keeping with
Simone Bianco had his own distinctive handwriting. His masterly
Simone Bianco’s style that oscillates between all antico, on the
skill can be seen, in particular, in the detailed execution of the hair
one hand, and contemporary, on the other. Interestingly, Bianco’s
which always forms a complex composition of plaits and intertwined
idealised portraits of women, unlike his busts of men, for example,
strands. Although the sculptural treatment of the hair is similar, no
do not depict heroines from Classical Antiquity. Neither are they
one hairstyle is repeated, it is always being modified instead.
contemporary portraits. The style of Bianco’s work could be described as hybrid – moving little by little towards individualised
Two works prove that Simone Bianco also worked on reliefs.
portraiture from the certainty of the pictorial tradition of Antiquity.
4
A figure of Christ in Pommersfelden and a relief portrait of a woman. This profile portrait of a woman in the Galleria Estense in Modena,
Or else his busts are creations in the style of ‘beautiful Venetian
in particular, is very similar to our relief. The succinct physiognomy
women’ to whom Palma Vecchio, Titian and Paris Bordone paid
of Classical Antiquity and the exquisitely executed hair, right down
homage in their paintings, executed at the same time. Giorgione
to the last detail. Despite this being a flat relief, the perspectively
established a paradigm for this new genre of female portraiture in
depicted foreshortening of the folds in the garment and the
Venetian painting with his Laura in 1506. The identity of his model
pronounced, three-dimensional plaits and curls are also typical
remains uncertain; the ideal of female beauty being celebrated, pars
of Simone Bianco. The relief in Modena has also recently and
pro toto, in his depiction. Our unknown beauty with her classical
convincingly been included in the sculptor’s œuvre. If one compares
profile also fits perfectly into this artistic category.
the two reliefs, there can be no doubt that they must have been executed by one and the same sculptor. The lower border of the relief stone, similarly worked in both cases, also speaks in favour of this. To date, however, it has not been possible to compile a chronology for the few works.5 It is certain that Bianco started his activities before 1512 and was still alive in 1553. He received many commissions and was highly skilled in making works to meet the wishes of collectors. That this relief was created around 1530, when the artist had reached the peak of his career, is highly plausible.
16
104
3
Kryza-Gersch 2016, on the signed relief of Christ in Pommersfelden; the relief in Modena is attributed to Bianco by Anne Markham Schulz, see: Markham Schulz, here: p. 39 fig. 13, and pp. 40 – 41.
4
This was attempted by Kryza-Gersch in 2013 who, however, notes: „Although the chronology proposed so far does not seem unreasonable, a word of caution should be added. As already pointed out by Anne Markham Schulz, Simone must have been able to switch his style according to the nature of his commission.“, p. 82.
Julius Böhler – Collecting Treasures of the Past
Simone Bianco, Profile Portrait of a Woman, white marble, Galleria Estense, Modena, inv. no. 2045
105
Majolica plate with Peacock Feathers
17
106
Julius Böhler – Collecting Treasures of the Past
107
Majolica plate with Peacock Feathers
M A J O L I C A P L AT E W I T H P E A CO C K F E AT H E R S
Not far from Bamberg is the former summer residence of the
Italy (Deruta, lustred in red in Gubbio)
prince- bishops, the beautiful palace known as Schloss Seehof. It is an impressive testimony to the once so impressive court upheld by
Circa 1525
the bishopric and, at the same time, it is the artistic legacy of one of the greatest Rococo artists of southern Germany, Ferdinand Tietz,
Tin-glazed and lustred earthenware
who originally came from Bohemia.
Diameter: 21 cm Born in Holešice, probably in 1708, as Ferdinand Dietz, he later changed the spelling of his surname to ‘Tietz’. He came from a family of craftsmen; his father was a sculptor and had a workshop in Jezerí. Although Ferdinand was later to become a successful sculptor there is no documentary evidence covering the first third of the artist’s lifetime. He most probably went to Vienna where he met the sculptor Johann Wolfgang von der Auwera (1708 – 1756), as stylistic parallels reveal. It is not until 1736, when he was twenty-eight years old, that the artist is mentioned in archival records. He worked under Balthasar Neumann (1687 – 1753) on large projects in the Würzburg Residenz, as shown on various invoices. In 1747 Tietz was summoned to Bamberg by Prince- Bishop Johann Philipp Anton von Franckenstein (1695 – 1753) who commissioned him to devise a comprehensive plan of figures for the park at Schloss Seehof. This project represents the highlight of the park’s overall design and Tietz’s artistic breakthrough. Together with his workshop, Tietz – who was appointed court sculptor in 1748 – completed some 400 masterly worked and powerfully modelled sculptures of playfully exuberant figures captured in motion. They were to make the artist famous well beyond the region.1 In 1754 Tietz was called to Trier by the prince-bishop Franz Georg von Schönborn (1682 – 1756) and did not return to Bamberg until 1760 where, in the meantime, Adam Friedrich von Seinsheim (1708 – 1779), Prince-Bishop of Würzburg, had taken over the princebishopric office in Bamberg as well, as the position had become vacant.
17
108
Julius Böhler – Collecting Treasures of the Past
In 1765 Seinsheim commissioned Tietz to submit new designs for
His playful style reflecting the zeitgeist of the Rococo period was
the court garden at Veitshöchheim near Würzburg. To accompany
no longer in keeping with the increasingly sobre and seemingly harsh
the architectural plans he devised a comprehensive sculptural agen-
lines of emerging art tastes. Tietz died in 1777 at the age of 69 in
da. The court sculptor made a major contribution to peopling the
Seehof near Bamberg.
garden with allegorical stone figures from mythology between 1765 and 1768. Upon completion in 1776, some 300 figures decorated
Our figurative group is a model that would have been presented to
the garden, of which some 200 have survived. They were originally
the patron who gave the commission, presumably Adam Friedrich
painted à la porcelaine2 that would certainly have made an
von Seinsheim, before work started on the large sculpture in stone.
impressive sight.
A youthful-looking, nude woman is depicted in a dynamic pose standing on an octagonal pedestal with sweeping concave curves
In 1767 Ferdinand Tietz was also appointed court sculptor in
and a central floral relief. A small putto and woman in peasant’s garb
Würzburg. However, after completing his commissions for Würzburg
kneeling at her feet proffering a sheaf of grain, form her entourage.
and Bamberg he did not receive any further work of note.
The ripe corn is an attribute of the Roman goddess Ceres and reveals the sensual beauty as an allegory of summer.
1
Today, only a small number of figures are to be seen.
2
Painted à la porcelaine, the stone sculptures would have had the appearance of painted china figures.
109
The model for a garden figure was most probably once painted. 3
The extreme rotation of Ceres’ body and the crossing of her legs
It is similar to an allegory of summer that Tietz made in 1765/67 for
as if dancing, can similarly be found in the figure of Pan. The god
the court garden at Veitshöchheim in which the motif of the kneeling
of shepherds was one of the figures in Tietz’s cycle of gods that he
peasant woman with a gift of grain also appears. The small putto,
made in 1760 for the Rose Garden in Bamberg. The extreme rotation
however, is not included and the goddess is clothed. The virtuosity
of Ceres’ body and the crossing of her legs as if dancing, can similarly
and dynamism of the small sculpted work are lacking; instead the
be found in the figure of Pan. The god of shepherds was one of the
garden figure exudes a calm majesty. In the case of the garden figure
figures in Tietz’s cycle of gods that he made in 1760 for the Rose
Tietz also eschewed the sensually erotic aesthetic and gleeful
Garden in Bamberg. Due to the work’s high artistic quality and taking
exuberance that characterise the model, presumably at the request
stylistic comparisons into consideration we assume that this model is
of the patron.
a work by Ferdinand Tietz himself. In all probability, the Ceres group served as a model for the Allegory of Summer in the garden at Veitshöchheim.
17
3
110
Hans-Peter Trenschel, the former director of the Mainfränkisches Museum in Würzburg emphasises that, in Tietz’s case, sketches did not play a role in the creative process of a sculpture. Instead, he generally carved small wooden figures immediately before, in preparation for his work on the stone figures (F. Tietz Symposium, Bamberg,
Julius Böhler – Collecting Treasures of the Past
111
Ewer with Bacchanal and Procession of Sea Gods
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112
Julius Böhler – Collecting Treasures of the Past
113
Ewer with Bacchanal and Procession of Sea Gods
E W E R W I T H B A CC H A N A L A N D P R O C E S S I O N
Related Literature:
OF SEA GODS
Les émaux peints de Limoges. Paris 2000
Master I.C., probably Jean de Court Working in the
Verdier, Philippe. Catalogue of the Painted Enamels of the
second half of the 16th century in Limoges, France
Renaissance. Baltimore 1967
Third quarter of the 16th century Enamels: the XII to the XVI Century. Chicago 1970 Signed I.C., inscribed with the inv. no. G – R 772 in red ink on the underside
Wardropper, Alan. Limoges Enamels at the Frick Collection. New York 2015
Grisaille and camaieu enamels Height: 27 cm
Caroselli, Susan L.. The Painted Enamels of Limoges: A Catalogue of the Collection of the Los Angeles County Museum
Literature:
of Art. Los Angeles 1993
Works of Art from the Estate of the Late Baron Max von Goldschmidt-Rothschild; Auction sale April 13 and 14, 1950, Parke-Benet
Kugel. Emaux de Limoges de la Renaissance. Paris 1994
Galleries, New York (sale no. 137, cat page 37) P. Provenance: Kjellberg, Limoges, Fontainebleau, Connaissance des arts, July 1979,
Collection of Maximilian von Goldschmidt – Rothschild, sold at
no. 329
auction at Parke-Bernet Galleries, New York, April 13, 1950; the Ernest Brummer Collection: Auction sale, 16-19 October 1979,
The Ernest Brummer Sale, Auction sale, 16-19 October 1979, Zurich,
Zurich, Galerie Koller & Spink & Son (sale no. 257, cat pages 396-399);
Galerie Koller & Spink & Son (sale no. 257, cat pages 396 - 399)
private American Collection
18
114
Julius Böhler – Collecting Treasures of the Past
Not far from Bamberg is the former summer residence of the
berg by Prince- Bishop Johann Philipp Anton von Franckenstein
prince- bishops, the beautiful palace known as Schloss Seehof. It is
(1695 – 1753) who commissioned him to devise a comprehensive plan
an impressive testimony to the once so impressive court upheld by
of figures for the park at Schloss Seehof. This project represents the
the bishopric and, at the same time, it is the artistic legacy of one of
highlight of the park’s overall design and Tietz’s artistic breakthrough.
the greatest Rococo artists of southern Germany, Ferdinand Tietz,
Together with his workshop, Tietz – who was appointed court sculptor
who originally came from Bohemia.
in 1748 – completed some 400 masterly worked and powerfully modelled sculptures of playfully exuberant figures captured in motion.
Born in Holešice, probably in 1708, as Ferdinand Dietz, he later
They were to make the artist famous well beyond the region.1
changed the spelling of his surname to ‘Tietz’. He came from a family of craftsmen; his father was a sculptor and had a workshop in Jezerí.
In 1754 Tietz was called to Trier by the prince-bishop Franz Georg
Although Ferdinand was later to become a successful sculptor there
von Schönborn (1682 – 1756) and did not return to Bamberg until
is no documentary evidence covering the first third of the artist’s
1760 where, in the meantime, Adam Friedrich von Seinsheim
lifetime. He most probably went to Vienna where he met the sculptor
(1708 – 1779), Prince-Bishop of Würzburg, had taken over the prince-
Johann Wolfgang von der Auwera (1708 – 1756), as stylistic parallels
bishopric office in Bamberg as well, as the position had become
reveal. It is not until 1736, when he was twenty-eight years old, that
vacant.
the artist is mentioned in archival records. He worked under Balthasar Neumann (1687 – 1753) on large projects in the Würzburg Residenz, as shown on various invoices. In 1747 Tietz was summoned to Bam-
1
Today, only a small number of figures are to be seen.
2
Painted à la porcelaine, the stone sculptures would have had the appearance of painted china figures.
115
The model for a garden figure was most probably once painted. 3
The extreme rotation of Ceres’ body and the crossing of her legs
It is similar to an allegory of summer that Tietz made in 1765/67 for
as if dancing, can similarly be found in the figure of Pan. The god
the court garden at Veitshöchheim in which the motif of the kneeling
of shepherds was one of the figures in Tietz’s cycle of gods that he
peasant woman with a gift of grain also appears. The small putto,
made in 1760 for the Rose Garden in Bamberg. The extreme rotation
however, is not included and the goddess is clothed. The virtuosity
of Ceres’ body and the crossing of her legs as if dancing, can similarly
and dynamism of the small sculpted work are lacking; instead the
be found in the figure of Pan. The god of shepherds was one of the
garden figure exudes a calm majesty. In the case of the garden figure
figures in Tietz’s cycle of gods that he made in 1760 for the Rose
Tietz also eschewed the sensually erotic aesthetic and gleeful
Garden in Bamberg. Due to the work’s high artistic quality and taking
exuberance that characterise the model, presumably at the request
stylistic comparisons into consideration we assume that this model is
of the patron.
a work by Ferdinand Tietz himself. In all probability, the Ceres group served as a model for the Allegory of Summer in the garden at Veitshöchheim.
18
3
116
Hans-Peter Trenschel, the former director of the Mainfränkisches Museum in Würzburg emphasises that, in Tietz’s case, sketches did not play a role in the creative process of a sculpture. Instead, he generally carved small wooden figures immediately before, in preparation for his work on the stone figures (F. Tietz Symposium, Bamberg,
Julius Böhler – Collecting Treasures of the Past
117
Crucifixion Group with Christ and Mary Magdalene
19
118
Julius Böhler – Collecting Treasures of the Past
119
Crucifixion Group with Christ and Mary Magdalene
CRUCIFIXION GROUP WITH CHRIST
The motif of the sinner Mary Magdalene kneeling before the Cross was
AND MARY MAG DALENE
very popular, especially in southern Germany. This is due to one magnificent example of such a group of figures. The famous Flemish-Italian
Southern Germany
Baroque artist Giambologna created several crucifixes that were to
Late 16th/early 17th century
influence sculpture from the 1570s onwards. One is to be found today in the Jesuit church of St. Michael’s in Munich. He executed the crucifix in
Boxwood
1594 in Florence. Giambologna’s German master pupil, Hans Reichle
Height of Christ: 26 cm, height of Mary Magdalene: 14.3 cm
(1565/70 Schongau–1642 Brixen) cast the figure of Mary Magdalene in 1595. Her posture is dramatically moving and her imploring gaze looks
Related Literature:
up at Jesus’ face. She symbolises the faithful sinner seeking redemption.
Giambologna. Triumph des Körpers, exh. cat.,
The group has been placed in the middle of the altar in St. Michael’s in
Vienna 2006, pp. 162 – 65.
Munich.
Silberhirsch und Wunderprunk in der Kunstkammer
A present from Ferdinando de‘ Medici to William V, Duke of Bavaria, the
Würth, exh. cat., Schwäbisch Hall 2016, p. 169.
crucifix was sent from Florence to Munich. It was intended to decorate William’s projected tomb in the Jesuit church that was built from 1583 onwards. The project, however, was never completed. Only the crucifix with the mourning figure of Mary Magdalene was installed in St. Michael’s as a figurative group. Not only the Jesuits marvelled at the masterpiece there which soon became well-known beyond Munich. Numerous artists visited the church to look at the work that was praised for ‘the beauty of its craftsmanship and masterly execution’. Jean de Boulogne (Johannes of Boulogne) who came from Flanders travelled from Doway to Italy where he called himself Giovanni Bologna. While in the service of the Medicis he created the Rape of the Sabine Women – a group of figures now on the Piazza della Signoria in Florence. The group also became a model for later sculptors just like his depiction of Christ that reflects the characteristic Classical ideal of the human body. His small bronze crucifixes, made together with his workshop under Antonio Susini, became widely sought-after among art collectors.
19
120
Julius Böhler – Collecting Treasures of the Past
The sculptor of our crucifixion group certainly came from the southern German region. His work bears a characteristic individual style. One particular feature is the fine execution of detailing such as that on Mary Magdalene’s garment and her hair, as well as the tears on her face. The figure of Christ has notable ornamentation on the loin cloth and in the treatment of the hair and beard. Even the hair under his arms is carved; the nipples, however, have been inserted separately. To date it has not been possible to identify the sculptor.
Crucifixion group in the Jesuit church of St. Michael’s, Munich, by Giovanni da Bologna, Christ (1594), and Hans Reichle, Magdalene (1595), detail
Crucifixion group in the Jesuit church of St. Michael’s, Munich; Christ (1594) by Giovanni da Bologna (1529–1608); figure of Mary Magdalene (1595) by Hans Reichle (1565–70 Schongau –1642 Brixen).
121
19
3
122
Hans-Peter Trenschel, the former director of the Mainfränkisches Museum in Würzburg emphasises that, in Tietz’s case, sketches did not play a role in the creative process of a sculpture. Instead, he generally carved small wooden figures immediately before, in preparation for his work on the stone figures (F. Tietz Symposium, Bamberg,
Julius Böhler – Collecting Treasures of the Past
123
Crucifix
20
124
Julius Böhler – Collecting Treasures of the Past
125
Crucifix
CRUCIFIX
Not far from Bamberg is the former summer residence of the prince- bishops, the beautiful palace known as Schloss Seehof. It is
Georg Petel
an impressive testimony to the once so impressive court upheld by
1601/2 Weilheim – 1634 Augsburg, attributed to
the bishopric and, at the same time, it is the artistic legacy of one of the greatest Rococo artists of southern Germany, Ferdinand Tietz,
Boxwood
who originally came from Bohemia.
Height: 29.8 cm Born in Holešice, probably in 1708, as Ferdinand Dietz, he later Related Literature:
changed the spelling of his surname to ‘Tietz’. He came from a family
Schädler, Alfred; Lieb, Norbert; Müller, Theodor.
of craftsmen; his father was a sculptor and had a workshop in Jezerí.
Georg Petel, 1601/2–1634, Berlin 1973
Although Ferdinand was later to become a successful sculptor there
Georg Petel, 1601/02 – 1634. Bildhauer im Dreißigjährigen
is no documentary evidence covering the first third of the artist’s
Krieg, exh. cat., Munich 2007
lifetime. He most probably went to Vienna where he met the sculptor Johann Wolfgang von der Auwera (1708 – 1756), as stylistic parallels
Krempel, León and Söding, Ulrich. Georg Petel.
reveal. It is not until 1736, when he was twenty-eight years old, that
Neue Forschungen, (eds.), Munich 2009
the artist is mentioned in archival records. He worked under Balthasar Neumann (1687 – 1753) on large projects in the Würzburg Residenz, as shown on various invoices. In 1747 Tietz was summoned to Bamberg by Prince- Bishop Johann Philipp Anton von Franckenstein (1695 – 1753) who commissioned him to devise a comprehensive plan of figures for the park at Schloss Seehof. This project represents the highlight of the park’s overall design and Tietz’s artistic breakthrough. Together with his workshop, Tietz – who was appointed court sculptor in 1748 – completed some 400 masterly worked and powerfully modelled sculptures of playfully exuberant figures captured in motion. They were to make the artist famous well beyond the region.1 In 1754 Tietz was called to Trier by the prince-bishop Franz Georg von Schönborn (1682 – 1756) and did not return to Bamberg until 1760 where, in the meantime, Adam Friedrich von Seinsheim (1708 – 1779), Prince-Bishop of Würzburg, had taken over the princebishopric office in Bamberg as well, as the position had become vacant.
20
126
Julius Böhler – Collecting Treasures of the Past
In 1765 Seinsheim commissioned Tietz to submit new designs for
His playful style reflecting the zeitgeist of the Rococo period was
the court garden at Veitshöchheim near Würzburg. To accompany
no longer in keeping with the increasingly sobre and seemingly harsh
the architectural plans he devised a comprehensive sculptural agen-
lines of emerging art tastes. Tietz died in 1777 at the age of 69 in
da. The court sculptor made a major contribution to peopling the
Seehof near Bamberg.
garden with allegorical stone figures from mythology between 1765 and 1768. Upon completion in 1776, some 300 figures decorated
Our figurative group is a model that would have been presented to
the garden, of which some 200 have survived. They were originally
the patron who gave the commission, presumably Adam Friedrich
painted à la porcelaine2 that would certainly have made an
von Seinsheim, before work started on the large sculpture in stone.
impressive sight.
A youthful-looking, nude woman is depicted in a dynamic pose standing on an octagonal pedestal with sweeping concave curves
In 1767 Ferdinand Tietz was also appointed court sculptor in
and a central floral relief. A small putto and woman in peasant’s garb
Würzburg. However, after completing his commissions for Würzburg
kneeling at her feet proffering a sheaf of grain, form her entourage.
and Bamberg he did not receive any further work of note.
The ripe corn is an attribute of the Roman goddess Ceres and reveals the sensual beauty as an allegory of summer.
1
Today, only a small number of figures are to be seen.
2
Painted à la porcelaine, the stone sculptures would have had the appearance of painted china figures.
127
The model for a garden figure was most probably once painted. 3
The extreme rotation of Ceres’ body and the crossing of her legs
It is similar to an allegory of summer that Tietz made in 1765/67 for
as if dancing, can similarly be found in the figure of Pan. The god
the court garden at Veitshöchheim in which the motif of the kneeling
of shepherds was one of the figures in Tietz’s cycle of gods that he
peasant woman with a gift of grain also appears. The small putto,
made in 1760 for the Rose Garden in Bamberg. The extreme rotation
however, is not included and the goddess is clothed. The virtuosity
of Ceres’ body and the crossing of her legs as if dancing, can similarly
and dynamism of the small sculpted work are lacking; instead the
be found in the figure of Pan. The god of shepherds was one of the
garden figure exudes a calm majesty. In the case of the garden figure
figures in Tietz’s cycle of gods that he made in 1760 for the Rose
Tietz also eschewed the sensually erotic aesthetic and gleeful
Garden in Bamberg. Due to the work’s high artistic quality and taking
exuberance that characterise the model, presumably at the request
stylistic comparisons into consideration we assume that this model is
of the patron.
a work by Ferdinand Tietz himself. In all probability, the Ceres group served as a model for the Allegory of Summer in the garden at Veitshöchheim.
20
3
128
Hans-Peter Trenschel, the former director of the Mainfränkisches Museum in Würzburg emphasises that, in Tietz’s case, sketches did not play a role in the creative process of a sculpture. Instead, he generally carved small wooden figures immediately before, in preparation for his work on the stone figures (F. Tietz Symposium, Bamberg,
Julius Böhler – Collecting Treasures of the Past
129
Relief of Lot and his Daughters
21
130
Julius Böhler – Collecting Treasures of the Past
131
Relief of Lot and his Daughters
R E L I E F O F L O T A N D H I S D AU G H T E R S
Not far from Bamberg is the former summer residence of the prince- bishops, the beautiful palace known as Schloss Seehof. It is
Daniel Neuberger the Younger
an impressive testimony to the once so impressive court upheld by
1621 Augsburg – 1674/81 Augsburg, attributed to
the bishopric and, at the same time, it is the artistic legacy of one of the greatest Rococo artists of southern Germany, Ferdinand Tietz,
Mid 17th century
who originally came from Bohemia.
Polychrome wax relief with partial gilding, height: 41.8 cm, width: 32.5 cm
Born in Holešice, probably in 1708, as Ferdinand Dietz, he later
In the original frame, height: 62cm, width: 52 cm
changed the spelling of his surname to ‘Tietz’. He came from a family of craftsmen; his father was a sculptor and had a workshop in Jezerí.
Literature:
Although Ferdinand was later to become a successful sculptor there
Lipinska, Aleksandra. Moving Sculptures: Southern Netherlandish
is no documentary evidence covering the first third of the artist’s
Alabasters from the 16th to 17th centuries in Central and Northern
lifetime. He most probably went to Vienna where he met the sculptor
Europe, Leiden 2015, pp. 259 – 60, fig. 184.
Johann Wolfgang von der Auwera (1708 – 1756), as stylistic parallels reveal. It is not until 1736, when he was twenty-eight years old, that
McGrath, Maeve. Daniel Neuberger the Younger and Anna Felicitas
the artist is mentioned in archival records. He worked under Balthasar
Neuberger. The Ciroplastic Œuvres 1621 – 1680 and 1650 – 1731,
Neumann (1687 – 1753) on large projects in the Würzburg Residenz,
Regensburg 2016, p. 82, fig. 24 and pp. 164 – 66, no. 6
as shown on various invoices. In 1747 Tietz was summoned to Bamberg by Prince- Bishop Johann Philipp Anton von Franckenstein
Related literature:
(1695 – 1753) who commissioned him to devise a comprehensive plan
Lessmann, Johanna and König-Lein, Susanne. Wachsarbeiten
of figures for the park at Schloss Seehof. This project represents the
des 16. bis 20. Jahrhunderts, Herzog Anton Ulrich Museum
highlight of the park’s overall design and Tietz’s artistic breakthrough.
Braunschweig, Sammlungskatalog Band IX, Braunschweig 2002
Together with his workshop, Tietz – who was appointed court sculptor in 1748 – completed some 400 masterly worked and powerfully modelled sculptures of playfully exuberant figures captured in motion. They were to make the artist famous well beyond the region.1 In 1754 Tietz was called to Trier by the prince-bishop Franz Georg von Schönborn (1682 – 1756) and did not return to Bamberg until 1760 where, in the meantime, Adam Friedrich von Seinsheim (1708 – 1779), Prince-Bishop of Würzburg, had taken over the princebishopric office in Bamberg as well, as the position had become vacant.
21
132
Julius Böhler – Collecting Treasures of the Past
In 1765 Seinsheim commissioned Tietz to submit new designs for
His playful style reflecting the zeitgeist of the Rococo period was
the court garden at Veitshöchheim near Würzburg. To accompany
no longer in keeping with the increasingly sobre and seemingly harsh
the architectural plans he devised a comprehensive sculptural agen-
lines of emerging art tastes. Tietz died in 1777 at the age of 69 in
da. The court sculptor made a major contribution to peopling the
Seehof near Bamberg.
garden with allegorical stone figures from mythology between 1765 and 1768. Upon completion in 1776, some 300 figures decorated
Our figurative group is a model that would have been presented to
the garden, of which some 200 have survived. They were originally
the patron who gave the commission, presumably Adam Friedrich
painted à la porcelaine2 that would certainly have made an
von Seinsheim, before work started on the large sculpture in stone.
impressive sight.
A youthful-looking, nude woman is depicted in a dynamic pose standing on an octagonal pedestal with sweeping concave curves
In 1767 Ferdinand Tietz was also appointed court sculptor in
and a central floral relief. A small putto and woman in peasant’s garb
Würzburg. However, after completing his commissions for Würzburg
kneeling at her feet proffering a sheaf of grain, form her entourage.
and Bamberg he did not receive any further work of note.
The ripe corn is an attribute of the Roman goddess Ceres and reveals the sensual beauty as an allegory of summer.
1
Today, only a small number of figures are to be seen.
2
Painted à la porcelaine, the stone sculptures would have had the appearance of painted china figures.
133
The model for a garden figure was most probably once painted. 3
The extreme rotation of Ceres’ body and the crossing of her legs
It is similar to an allegory of summer that Tietz made in 1765/67 for
as if dancing, can similarly be found in the figure of Pan. The god
the court garden at Veitshöchheim in which the motif of the kneeling
of shepherds was one of the figures in Tietz’s cycle of gods that he
peasant woman with a gift of grain also appears. The small putto,
made in 1760 for the Rose Garden in Bamberg. The extreme rotation
however, is not included and the goddess is clothed. The virtuosity
of Ceres’ body and the crossing of her legs as if dancing, can similarly
and dynamism of the small sculpted work are lacking; instead the
be found in the figure of Pan. The god of shepherds was one of the
garden figure exudes a calm majesty. In the case of the garden figure
figures in Tietz’s cycle of gods that he made in 1760 for the Rose
Tietz also eschewed the sensually erotic aesthetic and gleeful
Garden in Bamberg. Due to the work’s high artistic quality and taking
exuberance that characterise the model, presumably at the request
stylistic comparisons into consideration we assume that this model is
of the patron.
a work by Ferdinand Tietz himself. In all probability, the Ceres group served as a model for the Allegory of Summer in the garden at Veitshöchheim.
21
3
134
Hans-Peter Trenschel, the former director of the Mainfränkisches Museum in Würzburg emphasises that, in Tietz’s case, sketches did not play a role in the creative process of a sculpture. Instead, he generally carved small wooden figures immediately before, in preparation for his work on the stone figures (F. Tietz Symposium, Bamberg,
Julius Böhler – Collecting Treasures of the Past
135
Allegory of a Prisoner
22
136
Julius Böhler – Collecting Treasures of the Past
137
Allegory of a Prisoner
ALLEGORY OF A PRISONER
Not far from Bamberg is the former summer residence of the prince- bishops, the beautiful palace known as Schloss Seehof. It is
France (Paris)
an impressive testimony to the once so impressive court upheld by
Second half of the 17th century
the bishopric and, at the same time, it is the artistic legacy of one of the greatest Rococo artists of southern Germany, Ferdinand Tietz,
Terracotta
who originally came from Bohemia.
Height: 38 cm Born in Holešice, probably in 1708, as Ferdinand Dietz, he later Provenance:
changed the spelling of his surname to ‘Tietz’. He came from a family
Collection of Professor Michael Jaffé, formerly director of
of craftsmen; his father was a sculptor and had a workshop in Jezerí.
the Fitzwilliam Museum, Cambridge; by descent until 2019
Although Ferdinand was later to become a successful sculptor there is no documentary evidence covering the first third of the artist’s
Related literature:
lifetime. He most probably went to Vienna where he met the sculptor
Französische Skulptur im Grand Siècle, in: Kunsthistorische
Johann Wolfgang von der Auwera (1708 – 1756), as stylistic parallels
Arbeitsblätter, Heft 9, 19-32, Marburg 2004.
reveal. It is not until 1736, when he was twenty-eight years old, that the artist is mentioned in archival records. He worked under Balthasar
Le demi-dieu des païens. La critique contemporaine de la statue
Neumann (1687 – 1753) on large projects in the Würzburg Residenz,
pédestre de Louis XIV, in: Dubois, Isabelle ; Gady, Alexandre ; Ziegler,
as shown on various invoices. In 1747 Tietz was summoned to Bam-
Hendrik (ed.), Paris 2004, p. 48-65 and 305-309, 343-345.
berg by Prince- Bishop Johann Philipp Anton von Franckenstein (1695 – 1753) who commissioned him to devise a comprehensive plan
Maral, Alexandre. François Giradon (1628–1715). La sculpture
of figures for the park at Schloss Seehof. This project represents the
de Louis XIV, Paris 2015.
highlight of the park’s overall design and Tietz’s artistic breakthrough. Together with his workshop, Tietz – who was appointed court sculptor
Ostrow, Steven F. Pietro Tacca and his quattro Mori.
in 1748 – completed some 400 masterly worked and powerfully mo-
The beauty and identity of the Slaves, Minnesota 2015.
delled sculptures of playfully exuberant figures captured in motion. They were to make the artist famous well beyond the region.1
Pierre Puget, peintre, sculpteur, architecte, 1620 – 1694, In 1754 Tietz was called to Trier by the prince-bishop Franz Georg
exh. cat., Marseille 1995
von Schönborn (1682 – 1756) and did not return to Bamberg until Struck, Christina. Bernini zitiert sich selbst? Die Kunstmöbel
1760 where, in the meantime, Adam Friedrich von Seinsheim
der Gallerie Colonna in Rom, in Römische Historische Mitteilungen,
(1708 – 1779), Prince-Bishop of Würzburg, had taken over the prince-
vol. 47, p. 227-228, Wien 2005.
bishopric office in Bamberg as well, as the position had become vacant.
22
138
Julius Böhler – Collecting Treasures of the Past
In 1765 Seinsheim commissioned Tietz to submit new designs for
His playful style reflecting the zeitgeist of the Rococo period was
the court garden at Veitshöchheim near Würzburg. To accompany
no longer in keeping with the increasingly sobre and seemingly harsh
the architectural plans he devised a comprehensive sculptural agen-
lines of emerging art tastes. Tietz died in 1777 at the age of 69 in
da. The court sculptor made a major contribution to peopling the
Seehof near Bamberg.
garden with allegorical stone figures from mythology between 1765 and 1768. Upon completion in 1776, some 300 figures decorated
Our figurative group is a model that would have been presented to
the garden, of which some 200 have survived. They were originally
the patron who gave the commission, presumably Adam Friedrich
painted à la porcelaine2 that would certainly have made an
von Seinsheim, before work started on the large sculpture in stone.
impressive sight.
A youthful-looking, nude woman is depicted in a dynamic pose standing on an octagonal pedestal with sweeping concave curves
In 1767 Ferdinand Tietz was also appointed court sculptor in
and a central floral relief. A small putto and woman in peasant’s garb
Würzburg. However, after completing his commissions for Würzburg
kneeling at her feet proffering a sheaf of grain, form her entourage.
and Bamberg he did not receive any further work of note.
The ripe corn is an attribute of the Roman goddess Ceres and reveals the sensual beauty as an allegory of summer.
1
Today, only a small number of figures are to be seen.
2
Painted à la porcelaine, the stone sculptures would have had the appearance of painted china figures.
139
The model for a garden figure was most probably once painted. 3
The extreme rotation of Ceres’ body and the crossing of her legs
It is similar to an allegory of summer that Tietz made in 1765/67 for
as if dancing, can similarly be found in the figure of Pan. The god
the court garden at Veitshöchheim in which the motif of the kneeling
of shepherds was one of the figures in Tietz’s cycle of gods that he
peasant woman with a gift of grain also appears. The small putto,
made in 1760 for the Rose Garden in Bamberg. The extreme rotation
however, is not included and the goddess is clothed. The virtuosity
of Ceres’ body and the crossing of her legs as if dancing, can similarly
and dynamism of the small sculpted work are lacking; instead the
be found in the figure of Pan. The god of shepherds was one of the
garden figure exudes a calm majesty. In the case of the garden figure
figures in Tietz’s cycle of gods that he made in 1760 for the Rose
Tietz also eschewed the sensually erotic aesthetic and gleeful
Garden in Bamberg. Due to the work’s high artistic quality and taking
exuberance that characterise the model, presumably at the request
stylistic comparisons into consideration we assume that this model is
of the patron.
a work by Ferdinand Tietz himself. In all probability, the Ceres group served as a model for the Allegory of Summer in the garden at Veitshöchheim.
22
3
140
Hans-Peter Trenschel, the former director of the Mainfränkisches Museum in Würzburg emphasises that, in Tietz’s case, sketches did not play a role in the creative process of a sculpture. Instead, he generally carved small wooden figures immediately before, in preparation for his work on the stone figures (F. Tietz Symposium, Bamberg,
Julius Böhler – Collecting Treasures of the Past
141
Relief of Saint Sebastian, attributed to Christoph Daniel Schenck
23
142
Julius Böhler – Collecting Treasures of the Past
143
Relief of Saint Sebastian, attributed to Christoph Daniel Schenck Christoph Daniel Schenck
St Sebastian, in extreme pain, is bound with his back to a tree; both
Konstanz, 1633 – 1691, attributed to
arms are pulled backwards and are tied to the stumps of branches with ropes. The position of his arms forces the saint, shown only as a
Circa 1680
half-length figure, to twist his naked torso which is covered with bleeding arrow wounds. His head leans to the side and back; his eyes
Fruitwood relief with the original polychromy
look heavenwards. In addition to the martyrdom, conveyed through
Height: 15.5 cm, width: 11.3 cm
the saint’s expressive features, Schenck accentuates the young man’s youthful beauty through the head of curls and the red lips.
Provenance: Private collection, South Germany
Among the works definitively attributed to Christoph Daniel Schenck there are several depictions of St Sebastian. The most important is
Related Literature:
doubtlessly the so-called ‘Stuttgart Sebastian statuette’. The ivory
Christoph Daniel Schenck 1633 – 1691, exh. cat.,
figure is signed by the artist and dated – the blackened engraving on
Sigmaringen 1996
the stone at the saint’s feet reads: C.D. Schenck / inv et sculpt. / 19. Nov. Anno 1675 / Constantiae. The masterly execution of pathos, the expression of suffering borrowed from Laocoön and the full head of hair are striking. Behind this is the artist’s intention to shock the pious viewer to the core when faced with the tormented martyr in his role as the imitatio Christi. To move believers emotionanally and lead them to the ‘true faith’ of the Catholic Church, was an artistic concept of the Counter-Reformation used to great effect. Compared to the so-called ‘Stuttgart Sebastian statuette’ of Sebastian mentioned above, our relief is probably created later. Schenck makes use of the stylistic motifs available with masterly confidence: the martyr’s tree, suggesting a landscape, is set against a blue background covered with punchmarks1 that simultaneously creates a spatial architecture for the pictorial surface. The head, dramatically stretched backwards, is modelled once again on the figure of Laocoön, to which Fritz Fischer and Andrea Tietze refer in their catalogue of works on Christoph Daniel Schenck.2 The motif here, however, is artistically further refined.
23
144
1
Punchmarks are typical of many of Schenck’s works (cf. The Penitent St Peter, 1689, St. Stephen’s Benedictine Abbey, Augsburg)
2
Cf. Christoph Daniel Schenck 1633 – 1691, Rosgartenmuseum Konstanz, p. 116
Julius Böhler – Collecting Treasures of the Past
C. D. Schenck: St Sebastian, signed and dated 1675, Stuttgart, Württembergisches Landesmuseum, inv. no. 1954 – 366
Laocoön Group, detail, Roman marble copy based on Greek prototype, 1st century BC or AD, Vatican Museums
145 145
Get Out „As the figure is relatively small, it was made for private devotional use and would have been placed on a house altar.“ Florian Eitle-Böhler
23
146
Julius Böhler – Collecting Treasures of the Past
147 147
Saint Sebastian
24
148
Julius Böhler – Collecting Treasures of the Past
149
Saint Sebastian
SAINT SEBASTIAN
Saint Sebastian
Southern Germany (Bamberg?)
Saint Sebastian is shown in a marked contrapposto against the tree
Commissioned for the Prince-Bishop of Bamberg,
where he suffered as a martyr after being shot with arrows. His right
Marquard Sebastian Schenk von Stauffenberg
hand is bound above him to a fork in a branch. The anatomy of the
(1644 Eichstätt – 1693 Bamberg;
figure – unclothed except for a loincloth – is depicted in detail and
prince-bishop from 1683) in 1689
the body language expressively heightened.
Fruitwood
The coat of arms on the pedestal refers to the person who commissioned the work or who it was commissioned to – the Prince-Bishop of
The coat of arms on the pedestal with the inscription
Bamberg, Marquard Sebastian Schenk von Stauffenberg (1644 Eich-
‘Vorch’ and the date ‘1689’ Height of figure: 33.5 cm, height
stätt–1693 Bamberg) who held this office from 1683 onwards.
of the original pedestal: 13.5 cm
At the age of nine Marquard Sebastian Schenk von Stauffenberg was already in receipt of a canon’s stipend in Bamberg and Würzburg. He started his studies in Ingolstadt in 1658 and took his vows as a subdeacon in 1672. In 1665 he inherited the so-called ‘Echterhaus’ in Judengasse in Bamberg that has since been known as the ‘Stauffenberghaus’. After his father’s death in 1679 he took on the Amerdingen manorial estate near Nördlingen, together with his two brothers, that had been in the ownership of the Schenk von Stauffenberg family since 1566. Marquard was elected prince-bishop in 1683 but was not ordained as a priest until 1687. He was considered an able diplomat and a benefactor of the order of which he was head. He also successfully managed the family’s estates. By increasing revenue he considerably reduced the debts incurred by his predecessor, Prince-Bishop Peter Philipp von Dernbach and reformed the administrative structure of the bishopric. The improved financial situation put him in a position to be able to commission a number of works of art. He had St Martin’s church in Bamburg built as well as the Franciscan monastery in Forchheim. Plans were drafted in 1685 to convert Seehof Palace into a summer residence for the prince-bishops that, revealingly, has gone down in history as the ‘Marquardsburg’. He contracted the Italian architect Antonio Petrini to carry out the work together with a num-
24
ber of other artists and sought the advice of the Dientzenhofer family of builders and architects from Upper Bavaria.
150
Julius Böhler – Collecting Treasures of the Past
Coat of arms of the Prince-Bishop of Bamberg, Marquard Sebastian Schenk von Stauffenberg: parted quarterly; alternately the coat of arms of the Stauffenberg family (blue lion top and bottom, red bar in the middle) and the coat of arms of the bishopric of Bamberg (black lion diagonally crossed by bar in argent)
The inscription ‘Vorch’ that can be seen on the coat of arms is an abbreviation of the name of the town Forchheim – the most import-
Above the portal of the monastery church that is dedicated to St.
ant fortified settlement within the prince-bishopric of Bamberg. As
Anthony of Padua, the founder’s coat of arms can be seen and the
Bamberg did not offer sufficient protection from enemy attacks, the
Latin form of his name read in the inscription ‘Marquardo Sebastiano’
prince-bishops of Bamberg withdrew to Forchheim in unsettled
on the frieze behind. The coat of arms shows the two lions from the
times together with the cathedral treasure. Erected as an imperial
Stauffenberg family crest as well as a single lion for the bishopric of
stronghold, Forchheim became a seat of the prince-bishops in the
Bamberg in keeping with the arms of alliance at Schloss Seehof.
late 14th century. Prince-Bishop Marquard’s sister, Katharina Sophie von Eyb, had a large residence built there in 1685 with her brother’s help that, from 1694 onwards, was used as an official seat of the
As already mentioned, the coat of arms of the Schenk von Stauffen-
prince-bishops.
berg family, with an imperial crown above, decorates the pedestal on which our figure of Sebastian stands. This symbolises the diocese of
The foundation stone for the Franciscan monastery in Forchheim was
Bamberg as an imperial prince-bishopric. By reason of the inclusion
laid in 1684 on behalf of the Prince-Bishop of Bamberg, Marquard
of the family coat of arms, this figure of the prince-bishop’s namesake
Sebastian Schenk von Stauffenberg. On 6 April the following year,
was probably intended for Marquard’s private apartments although a
building work on the monastery church began in the presence of the
place on an altar in the Sebastian Chapel would also be plausible.
prince-bishop himself. Marquard Sebastian was also the benefactor of the Sebastiani Chapel that was dedicated to his namesake. The
The name of the artist who carved this figure of the saint with such
completed monastery church and the chapel were inaugurated on 9
masterly skill is unknown. Prince-Bishop Marquard would certainly
October 1693, five months before the prince-bishop’s death. On his
not have commissioned artists from Bamberg or Forchheim alone. He
death-bed Marquard Sebastian stipulated that his heart be interred in
maintained close contact with his family’s roots in Swabia, so it is
the monastery church.
equally possible that it was made by an unknown sculptor from that region.
1
Today, only a small number of figures are to be seen.
2
Painted à la porcelaine, the stone sculptures would have had the appearance of painted china figures.
151
24
3
152
Hans-Peter Trenschel, the former director of the Mainfränkisches Museum in Würzburg emphasises that, in Tietz’s case, sketches did not play a role in the creative process of a sculpture. Instead, he generally carved small wooden figures immediately before, in preparation for his work on the stone figures (F. Tietz Symposium, Bamberg,
Julius Böhler – Collecting Treasures of the Past
153
Ceres, Allegory of Summer, by Ferdinand Tietz
25
154
Julius Böhler – Collecting Treasures of the Past
155
Ceres, Allegory of Summer by Ferdinand Tietz
Ferdinand Tietz
Not far from Bamberg is the former summer residence of the prince-bishops, the beautiful palace known as Schloss Seehof. It is
Holešice, Bohemia 1708 – 1777 Seehof near Bamberg,
an impressive testimony to the once so impressive court upheld by
Germany
the bishopric and, at the same time, it is the artistic legacy of one of the greatest Rococo artists of southern Germany, Ferdinand Tietz,
Circa 1760
who originally came from Bohemia.
Bozzetto, linden wood with the original polychromy to imitate sandstone
Born in Holešice, probably in 1708, as Ferdinand Dietz, he later
Height: 30 cm
changed the spelling of his surname to ‘Tietz’. He came from a family of craftsmen; his father was a sculptor and had a workshop in Jezeří.
Related Literature:
Although Ferdinand was later to become a successful sculptor there
Lindemann, Bernd Wolfgang. Ferdinand Tietz 1708 – 1777,
is no documentary evidence covering the first third of the artist’s
Weißenhorn 1989, cf. fig. 14 (Allegory of Summer), 109 (Pan),
lifetime. He most probably went to Vienna where he met the sculptor
342 (Mercury)
Johann Wolfgang von der Auwera (1708 – 1756), as stylistic parallels reveal. Is is not until 1736, when he was twenty-eight years old, that
Trenschel, Hans-Peter. Die Bozzetti-Sammlung – Kleinbildwerke
the artist is mentioned in archival records. He worked under Balthasar
des 18. Jahrhunderts im Mainfränkischen Museum Würzburg,
Neumann (1687 – 1753) on large projects in the Würzburg Residenz,
Würzburg 1987
as shown on various invoices. In 1747 Tietz was summoned to Bamberg by Prince-Bishop Johann Philipp Anton von Franckenstein (1695 – 1753) who commissioned him to devise a comprehensive plan of figures for the park at Schloss Seehof. This project represents the highlight of the park’s overall design and Tietz’s artistic breakthrough. Together with his workshop, Tietz – who was appointed court sculptor in 1748 – completed some 400 masterly worked and powerfully modelled sculptures of playfully exuberant figures captured in motion. They were to make the artist famous well beyond the region.1
25
156
Julius Böhler – Collecting Treasures of the Past
Front and back side
In 1754 Tietz was called to Trier by the prince-bishop Franz Georg
In 1767 Ferdinand Tietz was also appointed court sculptor in
von Schönborn (1682 – 1756) and did not return to Bamberg until
Würzburg. However, after completing his commissions for Würzburg
1760 where, in the meantime, Adam Friedrich von Seinsheim (1708
and Bamberg he did not receive any further work of note. His playful
– 1779), Prince-Bishop of Würzburg, had taken over the prince-bisho-
style reflecting the zeitgeist of the Rococo period was no longer in
pric office in Bamberg as well, as the position had become vacant.
keeping with the increasingly sobre and seemingly harsh lines of emerging art tastes. Tietz died in 1777 at the age of 69 in Seehof
In 1765 Seinsheim commissioned Tietz to submit new designs for
near Bamberg.
the court garden at Veitshöchheim near Würzburg. To accompany the architectural plans he devised a comprehensive sculptural
Our figurative group is a so-called bozzetto, a small sculptural
agenda. The court sculptor made a major contribution to peopling
work made of lindenwood used as a model that would have been
the garden with allegorical stone figures from mythology between
presented to the patron who gave the commission, presumably
1765 and 1768. Upon completion in 1776, some 300 figures decorated
Adam Friedrich von Seinsheim, before work started on the large
the garden, of which some 200 have survived. They were originally
sculpture in stone.
painted à la porcelaine that would certainly have made an 2
impressive sight.
1
Today, only a small number of figures are to be seen.
2
Painted à la porcelaine, the stone sculptures would have had the appearance of painted china figures.
157
A youthful-looking, nude woman is depicted in a dynamic pose standing on an octagonal pedestal with sweeping concave curves and a central floral relief. A small putto and woman in peasant’s garb kneeling at her feet proffering a sheaf of grain, form her entourage. The ripe corn is an attribute of the Roman goddess Ceres and reveals the sensual beauty as an allegory of summer. The bozzetto was the model for a garden figure and was most pro-bably once painted.3 It is similar to an allegory of summer that Tietz made in 1765/67 for the court garden at Veitshöchheim in which the motif of the kneeling peasant woman with a gift of grain also appears. The small putto, however, is not included and the goddess
Pan, Bamberg, 1760/61, showing the figure in 1968; today, only the torso has survived. Private collection B. W. Lindemann, Ferdinand Tietz, fig. 109, p. 109
is clothed. The virtuosity and dynamism of the small sculpted work are lacking; instead the garden figure exudes a calm majesty. In the case of the garden figure Tietz also eschewed the sensually erotic aesthetic and gleeful exuberance that characterise the bozzetto, presumably at the request of the patron. The bozzetto serves to explain the work’s formal artistic language. Due to the work’s high artistic quality and taking stylistic comparisons into consideration we assume that this bozzetto is a work by Ferdinand Tietz himself. In all probability, the Ceres group served as a model for the Allegory of Summer in the garden at Veitshöchheim.
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158
Hans-Peter Trenschel, the former director of the Mainfränkisches Museum in Würzburg emphasises that, in Tietz’s case, sketches did not play a role in the creative process of a sculpture. Instead, he generally carved small wooden figures immediately before, in preparation for his work on the stone figures (F. Tietz Symposium, Bamberg, 2008).
Julius Böhler – Collecting Treasures of the Past
159
Relief of the Lamentation
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Relief of the Lamentation
R E L I E F O F T H E L A M E N TAT I O N Balthasar Permoser Kammer bei Traunstein 1651 – 1732 Dresden Um 1680 Height: 17.4 cm, width: 11 cm, depth: 2.5 cm Related Literature: Asche, Sigfrid. Balthasar Permoser, Leben und Werk, Berlin 1978
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Julius Böhler – Collecting Treasures of the Past
Pan, Bamberg, 1760/61, showing the figure in 1968; today, only the torso has survived. Private collection B. W. Lindemann, Ferdinand Tietz, fig. 109, p. 109
163
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164
Hans-Peter Trenschel, the former director of the Mainfränkisches Museum in Würzburg emphasises that, in Tietz’s case, sketches did not play a role in the creative process of a sculpture. Instead, he generally carved small wooden figures immediately before, in preparation for his work on the stone figures (F. Tietz Symposium, Bamberg,
Julius Böhler – Collecting Treasures of the Past
165
Relief of the Rape of Europa
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166
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167
Relief of the Rape of Europa
R E L I E F O F T H E R A P E O F E U R O PA
Europa was a Phoenician princess with whom Zeus fell in love. While playing with her companions on the beach of Sidon the god changed
Dominikus Stainhardt
his appearance into that of a white bull and approached the maiden,
Weilheim 1655 – 1712 München
laid down and let himself be stroked. After Europa had climbed, quite unsuspectingly, onto the bull’s back he ran off with her into the water
Last quarter of the 17th century
and swam away. He reached the island of Crete where he revealed his
Ivory
true identity. She bore him three sons: Sarpedon, Minos, the later
Height: 8 cm, width: 17.4 cm, depth: 6.8 cm
king of Crete, and Rhadamanthus, the judge of the dead. Stainhart chose the dramatic moment of the abduction: Zeus, in the form of the mighty bull, carries the beautiful young princess over the stormy seas. Stainhart shows Europa’s distraught, gesticulating companions at the front of the composition in an extremely convincing manner. The relief is characterised by the composition of its pictorial narrative. The dynamic, animated figures in the foreground are carved virtually in the round. By contrast, the execution of the middle ground, with the depiction of Europa and the bull, as well as the background, is almost flat. These compositional features are typical of the ivory carver Dominikus Stainhart (1655 – 1712) who signed the relief, below right, with his monogram ‘DS’. The faces with straight noses, the hairstyles with plaits and ribbons, the draping of the garments and the furrows in the surface of the tree and water all point to the style of the sculptor from Weilheim.
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Julius Böhler – Collecting Treasures of the Past
Dominikus Stainhart, Raub der Sabinerinnen, Stiftssammlungen von St. Florian bei Linz, Inv. Pl65, 11,5 x 16,8 cm
Dominikus Stainhart (1655 – 1712) came from a family of carvers from
his monogram ‘DS’ or his signature ‘D. Stainhart’: The Rape of the
Upper Bavaria. From 1674 until 1682 he travelled around Italy with his
Sabine Women, Diana and her Nymphs Surprised by Satyrs, Venus
brother, Franz (1651 – 1695). Evidence exists that he was in Rome from
and the Dead Adonis, Apollo Slaying Coronis, and Apollo and Daphne
1678 until 1680 where he worked for the princely families of Colonna
– all originally from the ‘Stroganov Collection, Leningrad’ that was
and Radziwill. A display cabinet that Dominikus decorated with ivory
acquired by the Bayerisches Nationalmuseum in 1931.
reliefs can still be seen in the Palazzo Colonna. It comprises a large, arched relief with a sculpted depiction of Michelangelo’s ‘Last Judg-
Apart from the reliefs in Munich and the one presented here, no
ment’ and twenty-seven, small-format reliefs showing scenes from
other works are signed or have a monogram. The attribution of the
the Old and the New Testament. The overall composition for the
majority of works to Stainhart is based on stylistic criteria.
display cabinet was designed by the architect Carlo Fontana who presumably specified the reliefs to be selected.
It would seem that Dominikus Stainhart was successful in selling works from his workshop in Munich. Unfortunately, little archival
In 1682 the brothers returned home to Weilheim. In early 1683 Domi-
material has been found to date that documents his activities and
nikus sought a position at the Bavarian Court in Munich but without
sales. Only in 1705 is he mentioned by name as being on the commit-
success. At the beginning of that century, another sculptor from
tee of the Guild of Sculptors in Munich. This not only suggests that he
Weilheim, Christof Angermair, had been given the post as Ivory
was a member but also testifies to his standing as a sculptor.
Sculptor to the Court. He created the famous coin cabinet for Maximilian I of Bavaria around 1625. Dominikus nevertheless moved to Munich in 1690 where he hoped to acquire more commissions. And, as it happened, he sold a series of six reliefs depicting tales from the Book of Moses to the Elector of Bavaria, Max Emanuel. Some of those are now in the Bayerisches Nationalmuseum/Munich. Several other works by Stainhart are also housed there, including four reliefs with
1
Today, only a small number of figures are to be seen.
2
Painted à la porcelaine, the stone sculptures would have had the appearance of painted china figures.
169
The model for a garden figure was most probably once painted. 3
The extreme rotation of Ceres’ body and the crossing of her legs
It is similar to an allegory of summer that Tietz made in 1765/67 for
as if dancing, can similarly be found in the figure of Pan. The god
the court garden at Veitshöchheim in which the motif of the kneeling
of shepherds was one of the figures in Tietz’s cycle of gods that he
peasant woman with a gift of grain also appears. The small putto,
made in 1760 for the Rose Garden in Bamberg. The extreme rotation
however, is not included and the goddess is clothed. The virtuosity
of Ceres’ body and the crossing of her legs as if dancing, can similarly
and dynamism of the small sculpted work are lacking; instead the
be found in the figure of Pan. The god of shepherds was one of the
garden figure exudes a calm majesty. In the case of the garden figure
figures in Tietz’s cycle of gods that he made in 1760 for the Rose
Tietz also eschewed the sensually erotic aesthetic and gleeful
Garden in Bamberg. Due to the work’s high artistic quality and taking
exuberance that characterise the model, presumably at the request
stylistic comparisons into consideration we assume that this model is
of the patron.
a work by Ferdinand Tietz himself. In all probability, the Ceres group served as a model for the Allegory of Summer in the garden at Veitshöchheim.
27
3
170
Hans-Peter Trenschel, the former director of the Mainfränkisches Museum in Würzburg emphasises that, in Tietz’s case, sketches did not play a role in the creative process of a sculpture. Instead, he generally carved small wooden figures immediately before, in preparation for his work on the stone figures (F. Tietz Symposium, Bamberg,
Julius Böhler – Collecting Treasures of the Past
171
Frederik V. King of Denmark and Norway
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172
Julius Böhler – Collecting Treasures of the Past
173
Frederik V. King of Denmark and Norway
F R E D E R I K V. K I N G O F D E N M A R K A N D N O R WAY
Not far from Bamberg is the former summer residence of the prince- bishops, the beautiful palace known as Schloss Seehof. It is
Johann Christoph Ludwig Lücke
an impressive testimony to the once so impressive court upheld by
Dresden 1705 – 1780 Danzig
the bishopric and, at the same time, it is the artistic legacy of one of the greatest Rococo artists of southern Germany, Ferdinand Tietz,
Circa 1752 – 54, Copenhagen
who originally came from Bohemia.
Signed ‘Lŭdewig von Lücke.Fe:’ on the right side of the base,
Born in Holešice, probably in 1708, as Ferdinand Dietz, he later
the hand guard of the sword Monogrammed interlaced ‘F5’
changed the spelling of his surname to ‘Tietz’. He came from a family
Ivory
of craftsmen; his father was a sculptor and had a workshop in Jezerí.
Height 26 cm
Although Ferdinand was later to become a successful sculptor there is no documentary evidence covering the first third of the artist’s
Provenance:
lifetime. He most probably went to Vienna where he met the sculptor
Collection Henry Makins, London, 1930s; thence by descent;
Johann Wolfgang von der Auwera (1708 – 1756), as stylistic parallels
sold at Christie’s London, 2. July 1997, lot 159 (erroneously as
reveal. It is not until 1736, when he was twenty-eight years old, that
Friedrich Christian Kurfürst of Saxony); Collection Emminger,
the artist is mentioned in archival records. He worked under Balthasar
Garmisch-Partenkirchen
Neumann (1687 – 1753) on large projects in the Würzburg Residenz, as shown on various invoices. In 1747 Tietz was summoned to Bamberg by Prince- Bishop Johann Philipp Anton von Franckenstein (1695 – 1753) who commissioned him to devise a comprehensive plan of figures for the park at Schloss Seehof. This project represents the highlight of the park’s overall design and Tietz’s artistic breakthrough. Together with his workshop, Tietz – who was appointed court sculptor in 1748 – completed some 400 masterly worked and powerfully modelled sculptures of playfully exuberant figures captured in motion. They were to make the artist famous well beyond the region.1 In 1754 Tietz was called to Trier by the prince-bishop Franz Georg von Schönborn (1682 – 1756) and did not return to Bamberg until 1760 where, in the meantime, Adam Friedrich von Seinsheim (1708 – 1779), Prince-Bishop of Würzburg, had taken over the princebishopric office in Bamberg as well, as the position had become vacant.
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Julius Böhler – Collecting Treasures of the Past
In 1765 Seinsheim commissioned Tietz to submit new designs for
His playful style reflecting the zeitgeist of the Rococo period was
the court garden at Veitshöchheim near Würzburg. To accompany
no longer in keeping with the increasingly sobre and seemingly harsh
the architectural plans he devised a comprehensive sculptural agen-
lines of emerging art tastes. Tietz died in 1777 at the age of 69 in
da. The court sculptor made a major contribution to peopling the
Seehof near Bamberg.
garden with allegorical stone figures from mythology between 1765 and 1768. Upon completion in 1776, some 300 figures decorated
Our figurative group is a model that would have been presented to
the garden, of which some 200 have survived. They were originally
the patron who gave the commission, presumably Adam Friedrich
painted à la porcelaine2 that would certainly have made an
von Seinsheim, before work started on the large sculpture in stone.
impressive sight.
A youthful-looking, nude woman is depicted in a dynamic pose standing on an octagonal pedestal with sweeping concave curves
In 1767 Ferdinand Tietz was also appointed court sculptor in
and a central floral relief. A small putto and woman in peasant’s garb
Würzburg. However, after completing his commissions for Würzburg
kneeling at her feet proffering a sheaf of grain, form her entourage.
and Bamberg he did not receive any further work of note.
The ripe corn is an attribute of the Roman goddess Ceres and reveals the sensual beauty as an allegory of summer.
1
Today, only a small number of figures are to be seen.
2
Painted à la porcelaine, the stone sculptures would have had the appearance of painted china figures.
175
The model for a garden figure was most probably once painted. 3
The extreme rotation of Ceres’ body and the crossing of her legs
It is similar to an allegory of summer that Tietz made in 1765/67 for
as if dancing, can similarly be found in the figure of Pan. The god
the court garden at Veitshöchheim in which the motif of the kneeling
of shepherds was one of the figures in Tietz’s cycle of gods that he
peasant woman with a gift of grain also appears. The small putto,
made in 1760 for the Rose Garden in Bamberg. The extreme rotation
however, is not included and the goddess is clothed. The virtuosity
of Ceres’ body and the crossing of her legs as if dancing, can similarly
and dynamism of the small sculpted work are lacking; instead the
be found in the figure of Pan. The god of shepherds was one of the
garden figure exudes a calm majesty. In the case of the garden figure
figures in Tietz’s cycle of gods that he made in 1760 for the Rose
Tietz also eschewed the sensually erotic aesthetic and gleeful
Garden in Bamberg. Due to the work’s high artistic quality and taking
exuberance that characterise the model, presumably at the request
stylistic comparisons into consideration we assume that this model is
of the patron.
a work by Ferdinand Tietz himself. In all probability, the Ceres group served as a model for the Allegory of Summer in the garden at Veitshöchheim.
28
3
176
Hans-Peter Trenschel, the former director of the Mainfränkisches Museum in Würzburg emphasises that, in Tietz’s case, sketches did not play a role in the creative process of a sculpture. Instead, he generally carved small wooden figures immediately before, in preparation for his work on the stone figures (F. Tietz Symposium, Bamberg,
Julius Böhler – Collecting Treasures of the Past
177
Index
Documented in Lorem More than eighteen years ago I discovered a couple of angels in flight at a sculpture sale held by an auction house in London. The catalogue entry read: ‘Pair of gilded angels, Italian, 18th century’. Together with Tony Blumka, who was not able to be in London at that time, I discussed the purchase of the two figures at great length on the phone. We decided to bid for them. It was a risk as, due to the thick layer of gesso that was not original and the gilding that had been added on top, I could not judge their artistic quality exactly. However, we were convinced that the attribution ‘Italian, 18th century’ was wrong. Even at that time we suspected that the angels were by a sculptor in the close circle of the Landshut woodcarver Hans Leinberger. After their purchase came the thrilling part that demanded a lot of patience from both of us. My restorer at that time, Benno Gantner sen., since deceased, with whom
Lorem Ipsum Abb. 02 — Abb. 04
our company. Since its foundation in 1880, the name Julius Böhler has stood for works of art of the highest quality, testified by its appointment as
In 2002 we wanted to present the two figures at a joint show in Tony’s
purveyor to the ‘Royal-Prussian and Royal Bavarian courts. While the
gallery for the first time. A private collector in New York, however, had
circle of collectors has meanwhile expanded and become inter-
already seen the angels in our exhibition catalogue and was so fascinated
national, our service with regard to quality and provenance remains
that he bought them before the opening, after seeing them briefly, and
unaltered. Thanks to the long family tradition, Florian Eitle-Böhler has
took them home with him.
close contact to major international museum and private collections. In 2002 we wanted to present the two figures at a joint show in Tony’s Discovering the exceptional through our profound expertise is both
gallery for the first time. A private collector in New York, however, had
responsibility and a pleasure for us as art dealers and has contributed
already seen the angels in our exhibition catalogue and was so fascinated
into making the gallery an international leader in its specialist fields.
that he bought them before the opening, after seeing them briefly, and took them home with him.
In 2002 we wanted to present the two figures at a joint show in Tony’s gallery for the first time. A private collector in New York, however, had
However, we were convinced that the attribution ‘Italian, 18th century’
already seen the angels in our exhibition catalogue and was so fascina-
was wrong. Even at that time we suspected that the angels were by a
ted that he bought them before the opening, after seeing them briefly,
sculptor in the close circle of the Landshut woodcarver Hans Leinberger.
and took them home with him.
After their purchase came the thrilling part that demanded a lot of patience from both of us. My restorer at that time, Benno Gantner sen., since deceased, with whom our company.
178
Julius Böhler – Collecting Treasures of the Past
In 2002 we wanted to present the two figures at a joint show in Tony’s
More than eighteen years ago I discovered a couple of angels in flight
gallery for the first time. A private collector in New York, however, had
at a sculpture sale held by an auction house in London. The catalogue
already seen the angels in our exhibition catalogue and was so fascinated
entry read: ‘Pair of gilded angels, Italian, 18th century’. Together with
that he bought them before the opening, after seeing them briefly, and
Tony Blumka, who was not able to be in London at that time, I discussed
took them home with him.
the purchase of the two figures at great length on the phone. We decided to bid for them. It was a risk as, due to the thick layer of gesso
For Tony Blumka and me it is a great pleasure to be able to show you
that was not original and the gilding that had been added on top, I
these magnificent sculptures now, for the first time on the public stage,
could not judge their artistic quality exactly. However, we were
at TEFAF. They testify to the masterly skill of this unique sculptor who
convinced that the attribution ‘Italian, 18th century’ was wrong. Even at
was way ahead of his time. The catalogue in hand is an appreciation of
that time we suspected that the angels were by a sculptor in the close
the two heavenly Putti and places them within the context of the work
circle of the Landshut woodcarver Hans Leinberger. After their purchase
of the important artist about whom little information has been handed
came the thrilling part that demanded a lot of patience from both of us.
down.
My restorer at that time, Benno Gantner sen., since deceased, with whom our company.
A special thank-you goes to Dr. Matthias Weniger whose profound knowledge of Hans Leinberger helped us enormously. He also kindly
A special thank-you goes to Dr. Matthias Weniger whose profound
provided us with comprehensive photographic material, as did Markus
knowledge of Hans Leinberger helped us enormously. He also kindly
T. Huber.
provided us with comprehensive photographic material, as did Markus T. Huber.
More than eighteen years ago I discovered a couple of angels in flight at a sculpture sale held by an auction house in London. The catalogue
Paul M. Arnold, who has been researching Leinberger for several decades,
entry read: ‘Pair of gilded angels, Italian, 18th century’. Together with
assisted us and gave advice at all times. A big thank-you is due to Andreas
Tony Blumka, who was not able to be in London at that time, I discussed
Huber, our exceptionally skilled photographer. Through the intensive study of
the purchase of the two figures at great length on the phone. We
works of art during hour-long photo sessions with him I have often gained
decided to bid for them. It was a risk as, due to the thick layer of gesso
new and important insights – as was also the case with the Leinberger angels.
that was not original and the gilding that had been added on top, I could not judge their artistic quality exactly. However, we were convinced that the attribution ‘Italian, 18th century’ was wrong. Even at that time we suspected that the angels were by a sculptor in the close circle of the Landshut woodcarver Hans Leinberger. After their purchase came the thrilling part that demanded a lot of patience from both of us. My restorer at that time, Benno Gantner sen., since deceased, with whom our company.
179
1/01 JULIUS BÖHLER BLUMK A GALLERY
W W W. B O E H L E R -A R T. CO M
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Julius Böhler – Collecting Treasures of the Past
Portrait of an Idealized Woman, attributed to Simone di Bianco
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