973
An unusual earthenware tankard with a figural reliefSlightly tapering tankard with green glazed
Das Auktionshaus hat für dieses Los keine Ergebnisse veröffentlicht
Köln
Beschreibung
Außergewöhnlicher Humpen mit Frauenreigen
Irdenware, innen grün glasiert, außen polychromer Kaltdekor in Ölfarben mit Vergoldung. Leicht konisch, umlaufend ein reliefierter Fries aus sechs sich an den Händen fassenden Frauen vor Tuchdraperien. Der Henkel wohl nach Brandverlust wieder angesetzt, vertikaler Brandriss im Henkelbereich, Boden restauriert, Fassung punktuell retuschiert. Vergoldete und bronzierte Zinnmontierung bestehend aus Klappdeckel und Fußring. H 20,8 cm.
Südwestdeutschland oder Schweiz, zweite Hälfte 17. Jh., Umkreis Johann Georg Kern.
Johann Georg Kern (1622 - 1698) war Neffe und, wie Lise Lotte Möller belegt, auch Nachfolger Leonhardt Kerns. Genau wie dieser auf die Verarbeitung von Elfenbein spezialisiert, gibt es einige preziöse Trinkgefäße, deren Gestaltung auf ihn zurückzuführen ist. Das Motiv des Frauenreigens vor der Tuchdraperie hat er wohl mehrfach verwendet mit variierenden individuellen Details, z.B. für die Ikonographie „Die Sieben Freien Künste“ (der Elfenbeinkrug von 1658 im Württembergischen Landesmuseum) als auch für die sechs weiblichen Akte, die nicht nur den hier vorgestellten Krug aus Irdenware umfassen sondern auch einen Elfenbeinhumpen in der Sammlung des Badischen Landesmuseums Karlsruhe. Es wird vermutet, dass die weiblichen Akte möglicherweise die Titaniden darstellen, die Töchter von Uranos und Gaia und die sechs Schwestern der Titanen. Sie sind Symbolträger für menschliche Fähigkeiten: Thaia für das Sehen, Rhea für weibliche Fruchtbarkeit, Themis für instinktiven Ordnungssinn, Mnemosyne für Gedächtnis und Wissen, Phoibe für Verstand und Thetis für Mütterlichkeit.
Der hier vorgestellte außergewöhnliche Humpen lässt vermuten, dass Johann Georg Kern oder einer seiner Mitarbeiter an Hafnerware interessiert war und ein Model nach dem Vorbild des Elfenbeinhumpens geschaffen hat. Die polychrome Lackbemalung geschah nach dem Brand und ist eine zusätzliche künstlerische Leitung, die nicht in der Manufaktur entstanden sein muss. Sie betont die Räumlichkeit des Reliefs und schafft einen größeren Bezug zur Realität. Die Körper tragen ein individuelles Inkarnat, die hinterfangende Tuchdraperie ist dreifarbig, in Gold, Grün und Dunkelrot. Diese Farbdimension wird vom Elfenbeinobjekt nicht geboten, und sie steht in einem deutlichen Kontrast zu dessen Monochromie.
Literatur
Zu Johann Georg Kern s. Möller, Trinkgeschirre von Johann Georg Kern und Johann Jacob Betzoldt, in: Siebenmorgen (Hg.), Leonhard Kern (1588 - 1662) Meisterwerke der Bildhauerei für die Kunstkammern Europas, Sigmaringen 1988, S. 73 ff.
Vgl. einen Humpen mit ähnlicher Architektur, Reliefauflagen und Tupfenglasur aus der zweiten Hälfte des 17. Jahrhunderts bei Wyss, Winterthurer Keramik. Hafnerware aus dem 17. Jahrhundert, Bern 1973, Taf. VIII.
An unusual earthenware tankard with a figural relief
Slightly tapering tankard with green glazed interior and polychrome decor to the relief of six women holding hands amidst draperies on the exterior. The handle presumably reattached after firing, a vertical firing crack to the area around the handle, the polychromy partially retouched. With gilt and bronze coloured pewter lid and basal ring. H 20.8 cm.
South Germany or Switzerland, late 16th / 17th C.
Johann Georg Kern (1622 - 1698) was a nephew and, as Lise Lotte Möller proves, also the successor of Leonhardt Kern. Just like Leonhardt Kern, who specialized in the processing of ivory, there are some precious drinking vessels whose design can be traced back to him. He probably used the motif of the women's circle before the cloth drapery several times with varying individual details, e.g. for the iconography "Die Sieben Freien Künste" (the ivory jug from 1658 in the Württembergische Landesmuseum) as well as for the six female nudes, which include not only the earthenware jug presented here but also an ivory tankard in the collection of the Badisches Landesmuseum Karlsruhe. It is assumed that the female nudes possibly represent the Titanids, the daughters of Uranos and Gaia and the six sisters of the Titans. They are symbolic carriers of human abilities: Thaia for sight, Rhea for female fertility, Themis for instinctive sense of order, Mnemosyne for memory and knowledge, Phoibe for reason and Thetis for motherhood.
The unusual beaker presented here suggests that Johann Georg Kern or one of his colleagues was interested in pottery and created a model based on the ivory hump. The polychrome lacquer painting was done after the fire and is an additional artistic direction, which must not have been created in the manufactory. It emphasizes the spatiality of the relief and creates a greater reference to reality. The bodies carry an individual incarnate body, the drapery of cloth behind is in three colours, gold, green and dark red. This dimension of colour is not offered by the ivory object, and it stands in clear contrast to its monochrome appearance.
Literature
Cf. a tankard with a similar form, relief appliques and stippled glaze from the latter half of the 17th century in: Wyss, Winterthurer Keramik. Hafnerware aus dem 17. Jahrhundert, Bern 1973, pl. VIII. The polychromy of this tankard is thought to be earlier.
Auktionsdetails
Versand
AGB & Wichtige Informationen
Stellen Sie dem Verkäufer eine Frage
Außergewöhnlicher Humpen mit Frauenreigen
Irdenware, innen grün glasiert, außen polychromer Kaltdekor in Ölfarben mit Vergoldung. Leicht konisch, umlaufend ein reliefierter Fries aus sechs sich an den Händen fassenden Frauen vor Tuchdraperien. Der Henkel wohl nach Brandverlust wieder angesetzt, vertikaler Brandriss im Henkelbereich, Boden restauriert, Fassung punktuell retuschiert. Vergoldete und bronzierte Zinnmontierung bestehend aus Klappdeckel und Fußring. H 20,8 cm.
Südwestdeutschland oder Schweiz, zweite Hälfte 17. Jh., Umkreis Johann Georg Kern.
Johann Georg Kern (1622 - 1698) war Neffe und, wie Lise Lotte Möller belegt, auch Nachfolger Leonhardt Kerns. Genau wie dieser auf die Verarbeitung von Elfenbein spezialisiert, gibt es einige preziöse Trinkgefäße, deren Gestaltung auf ihn zurückzuführen ist. Das Motiv des Frauenreigens vor der Tuchdraperie hat er wohl mehrfach verwendet mit variierenden individuellen Details, z.B. für die Ikonographie „Die Sieben Freien Künste“ (der Elfenbeinkrug von 1658 im Württembergischen Landesmuseum) als auch für die sechs weiblichen Akte, die nicht nur den hier vorgestellten Krug aus Irdenware umfassen sondern auch einen Elfenbeinhumpen in der Sammlung des Badischen Landesmuseums Karlsruhe. Es wird vermutet, dass die weiblichen Akte möglicherweise die Titaniden darstellen, die Töchter von Uranos und Gaia und die sechs Schwestern der Titanen. Sie sind Symbolträger für menschliche Fähigkeiten: Thaia für das Sehen, Rhea für weibliche Fruchtbarkeit, Themis für instinktiven Ordnungssinn, Mnemosyne für Gedächtnis und Wissen, Phoibe für Verstand und Thetis für Mütterlichkeit.
Der hier vorgestellte außergewöhnliche Humpen lässt vermuten, dass Johann Georg Kern oder einer seiner Mitarbeiter an Hafnerware interessiert war und ein Model nach dem Vorbild des Elfenbeinhumpens geschaffen hat. Die polychrome Lackbemalung geschah nach dem Brand und ist eine zusätzliche künstlerische Leitung, die nicht in der Manufaktur entstanden sein muss. Sie betont die Räumlichkeit des Reliefs und schafft einen größeren Bezug zur Realität. Die Körper tragen ein individuelles Inkarnat, die hinterfangende Tuchdraperie ist dreifarbig, in Gold, Grün und Dunkelrot. Diese Farbdimension wird vom Elfenbeinobjekt nicht geboten, und sie steht in einem deutlichen Kontrast zu dessen Monochromie.
Literatur
Zu Johann Georg Kern s. Möller, Trinkgeschirre von Johann Georg Kern und Johann Jacob Betzoldt, in: Siebenmorgen (Hg.), Leonhard Kern (1588 - 1662) Meisterwerke der Bildhauerei für die Kunstkammern Europas, Sigmaringen 1988, S. 73 ff.
Vgl. einen Humpen mit ähnlicher Architektur, Reliefauflagen und Tupfenglasur aus der zweiten Hälfte des 17. Jahrhunderts bei Wyss, Winterthurer Keramik. Hafnerware aus dem 17. Jahrhundert, Bern 1973, Taf. VIII.
An unusual earthenware tankard with a figural relief
Slightly tapering tankard with green glazed interior and polychrome decor to the relief of six women holding hands amidst draperies on the exterior. The handle presumably reattached after firing, a vertical firing crack to the area around the handle, the polychromy partially retouched. With gilt and bronze coloured pewter lid and basal ring. H 20.8 cm.
South Germany or Switzerland, late 16th / 17th C.
Johann Georg Kern (1622 - 1698) was a nephew and, as Lise Lotte Möller proves, also the successor of Leonhardt Kern. Just like Leonhardt Kern, who specialized in the processing of ivory, there are some precious drinking vessels whose design can be traced back to him. He probably used the motif of the women's circle before the cloth drapery several times with varying individual details, e.g. for the iconography "Die Sieben Freien Künste" (the ivory jug from 1658 in the Württembergische Landesmuseum) as well as for the six female nudes, which include not only the earthenware jug presented here but also an ivory tankard in the collection of the Badisches Landesmuseum Karlsruhe. It is assumed that the female nudes possibly represent the Titanids, the daughters of Uranos and Gaia and the six sisters of the Titans. They are symbolic carriers of human abilities: Thaia for sight, Rhea for female fertility, Themis for instinctive sense of order, Mnemosyne for memory and knowledge, Phoibe for reason and Thetis for motherhood.
The unusual beaker presented here suggests that Johann Georg Kern or one of his colleagues was interested in pottery and created a model based on the ivory hump. The polychrome lacquer painting was done after the fire and is an additional artistic direction, which must not have been created in the manufactory. It emphasizes the spatiality of the relief and creates a greater reference to reality. The bodies carry an individual incarnate body, the drapery of cloth behind is in three colours, gold, green and dark red. This dimension of colour is not offered by the ivory object, and it stands in clear contrast to its monochrome appearance.
Literature
Cf. a tankard with a similar form, relief appliques and stippled glaze from the latter half of the 17th century in: Wyss, Winterthurer Keramik. Hafnerware aus dem 17. Jahrhundert, Bern 1973, pl. VIII. The polychromy of this tankard is thought to be earlier.
Decorative Kunst
Auktionsdatum
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany
Für Kunsthaus Lempertz Versandinformtation bitte wählen Sie +49 (0)221 9257290.
Wichtige Informationen
Nothing important.
AGB
standard | standard
Conditions of Sale
1. The art auction house, Kunsthaus Lempertz KG (henceforth referred to as Lempertz), conducts public auctions in terms of § 383 paragraph 3 sentence 1 of the Civil Code as commissioning agent on behalf of the accounts of submitters, who remain anonymous. With regard to its auctioneering terms and conditions drawn up in other languages, the German version remains the official one.
2. The auctioneer reserves the right to divide or combine any catalogue lots or, if it has special reason to do so, to offer any lot for sale in an order different from that given in the catalogue or to withdraw any lot from the sale.
3. All lots put up for sale may be viewed and inspected prior to the auction. The catalogue specifications and related specifications appearing on the internet, which have both been compiled in good conscience, do not form part of the contractually agreed to conditions. These specifications have been derived from the status of the information available at the time of compiling the catalogue. They do not serve as a guarantee in legal terms and their purpose is purely in the information they provide. The same applies to any reports on an item’s condition or any other information, either in oral or written form. Certificates or certifications from artists, their estates or experts relevant to each case only form a contractual part of the agreement if they are specifically mentioned in the catalogue text. The state of the item is generally not mentioned in the catalogue. Likewise missing specifications do not constitute an agreement on quality. All items are used goods.
4. Warranty claims are excluded. In the event of variances from the catalogue descriptions, which result in negation or substantial diminution of value or suitability, and which are reported with due justification within one year after handover, Lempertz nevertheless undertakes to pursue its rights against the seller through the courts; in the event of a successful claim against the seller, Lempertz will reimburse the buyer only the total purchase price paid. Over and above this, Lempertz undertakes to reimburse its commission within a given period of three years after the date of the sale if the object in question proves not to be authentic.
5. Claims for compensation as the result of a fault or defect in the object auctioned or damage to it or its loss, regardless of the legal grounds, or as the result of variances from the catalogue description or statements made elsewhere are excluded unless Lempertz acted with wilful intent or gross negligence; the liability for bodily injury or damages caused to health or life remains unaffected. In other regards, point 4 applies.
6. Submission of bids. Bids in attendance: The floor bidder receives a bidding number on presentation of a photo ID. Lempertz reserves the right to grant entry to the auction. If the bidder is not known to Lempertz, registration must take place 24 hours before the auction is due to begin in writing on presentation of a current bank reference. Bids in absentia: Bids can also be submitted either in writing, telephonically or via the internet. The placing of bids in absentia must reach Lempertz 24 hours before the auction to ensure the proper processing thereof. The item must be mentioned in the bid placed, together with the lot number and item description. In the event of ambiguities, the listed lot number becomes applicable. The placement of a bid must be signed by the applicant. The regulations regarding revocations and the right to return the goods in the case of long distance agreements (§ 312b-d of the Civil Code) do not apply. Telephone bids: Establishing and maintaining a connection cannot be vouched for. In submitting a bid placement, the bidder declares that he agrees to the recording of the bidding process. Bids via the internet: They will only be accepted by Lempertz if the bidder registered himself on the internet website beforehand. Lempertz will treat such bids in the same way as bids in writing.
7. Carrying out the auction: The hammer will come down when no higher bids are submitted after three calls for a bid. In extenuating circumstances, the auctioneer reserves the right to bring down the hammer or he can refuse to accept a bid. If several individuals make the same bid at the same time, and after the third call, no higher bid ensues, then the ticket becomes the deciding factor. The auctioneer can retract his acceptance of the bid and auction the item once more if a higher bid that was submitted on time, was erroneously overlooked and immediately queried by the bidder, or if any doubts regarding its acceptance arise. Written bids are only played to an absolute maximum by Lempertz if this is deemed necessary to outbid
another bid. The auctioneer can bid on behalf of the submitter up to the agreed limit, without revealing this and irrespective of whether other bids are submitted. Even if bids have been placed and the hammer has not come down, the auctioneer is only liable to the bidder in the event of premeditation or gross negligence.
8. Once a lot has been knocked down, the successful bidder is obliged to buy it. If a bid is accepted conditionally, the bidder is bound by his bid until four weeks after the auction unless he immediately withdraws from the conditionally accepted bid. From the fall of the hammer, possession and risk pass directly to the buyer, while ownership passes to the buyer only after full payment has been received.
9. Up to a hammer price of € 400,000 a premium of 24 % calculated on the hammer price plus 19 % value added tax (VAT) calculated on the premium only is levied. The premium will be reduced to 20 % (plus VAT) on any amount surpassing € 400,000 (margin scheme). On lots which are characterized by N, an additional 7 % for import tax will be charged. On lots which are characterized by an D, 35% is calculated on the hammer price (24% buyer´s premium + 19% VAT on the premium only + import tax). 31% is calculated on the amount surpassing € 400.000. The D objects contain all taxes, and tehy can not be carried away immediately. On lots which are characterized by an R, the buyer shall pay a premium of 24 % on the hammer price up to € 400,000 and 20 % on the surpassing amount; onto this (hammer price and premium) the statutory VAT of 19 % will be added (regular scheme). Exports to third (i.e. non-EU) countries will be exempt from VAT, and so will be exports made by companies from other EU member states if they state their VAT identification number. For original works of art, whose authors are either still alive or died after 31.12.1948, a charge of 1.8 % on the hammer price will be levied for the droit de suite. The maximum charge is € 12,500. If a buyer exports an object to a third country personally, the VAT will be refunded, as soon as Lempertz receives the export and import papers. All invoices issued on the day of auction or soon after remain under provision.
10. Successful bidders attending the auction in person shall forthwith upon the purchase pay to Lempertz the final price (hammer price plus premium and VAT) in Euro. Payments by foreign buyers who have bid in writing or by proxy shall also be due forthwith upon the purchase, but will not be deemed to have been delayed if received within ten days of the invoice date. Bank transfers are to be exclusively in Euros. The request for an alteration of an auction invoice to a person other than the bidder has to be made immediately after the auction. Lempertz however reserves the right to refuse such a request if it is deemed appropriate.
11. In the case of payment default, Lempertz will charge 1% interest on the outstanding amount of the gross price per month.. If the buyer defaults in payment, Lempertz may at its discretion insist on performance of the purchase contract or, after allowing a period of grace, claim damages for non-performance. In the latter case, Lempertz may determine the amount of the damages by putting the lot or lots up for auction again, in which case the defaulting buyer will bear the amount of any reduction in the proceeds compared with the earlier auction, plus the cost of resale, including the premium.
12. Buyers must take charge of their purchases immediately after the auction. Once a lot has been sold, the auctioneer is liable only for wilful intent or gross negligence. Lots will not, however, be surrendered to buyers until full payment has been received. Without exception, shipment will be at the expense and risk of the buyer. Purchases which are not collected within four weeks after the auction may be stored and insured by Lempertz on behalf of the buyer and at its expense in the premises of a freight agent. If Lempertz stores such items itself, it will charge 1 % of the hammer price for insurance and storage costs.
13. As far as this can be agreed, the place of performance and jurisdiction is Cologne. German law applies; the German law for the protection of cultural goods applies; the provisions of the United Nations Convention on Contracts for the International Sale of Goods (CISG) are not applicable. Should any provision herein be wholly or partially ineffective, this will not affect the validity of the remaining provisions.
Henrik Hanstein, sworn public auctioneer
Takuro Ito, Kilian Jay von Seldeneck, auctioneers
