JB Katalog 2022

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

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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

82

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

15

94

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

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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.

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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

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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

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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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Julius Böhler – Collecting Treasures of the Past

161

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

Julius Böhler – Collecting Treasures of the Past

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.

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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

182