{"id":13310,"date":"2025-03-05T20:18:38","date_gmt":"2025-03-05T19:18:38","guid":{"rendered":"https:\/\/www.fayence-steinzeug-vogt.de\/de\/?p=13310"},"modified":"2025-03-05T20:18:39","modified_gmt":"2025-03-05T19:18:39","slug":"nuremberg-faience-tankard-dated-1757","status":"publish","type":"post","link":"https:\/\/www.fayence-steinzeug-vogt.de\/de\/nuremberg-faience-tankard-dated-1757\/","title":{"rendered":"Nuremberg Faience Tankard dated 1757"},"content":{"rendered":"\n

The Raising of Lazarus painted by Georg Friedrich Kordenbusch<\/h2>\n\n\n\n
\n
\"Nueremberg-Faience-tankard-kordenbusch-lazarus-dated-1757\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Nuremberg Faience Tankard dated 1757, Nuremberg Pewter Mounts by Johann Georg Marx, H. 23 cm<\/figcaption><\/figure>\n\n\n\n
\"Nueremberg-Faience-tankard-kordenbusch-ressurection-lazarus-dated-1757\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Raising of Lazarus painted by Georg Friedrich Kordenbusch<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

Known for a refined blue and white decorative style inspired by Dutch Delft pottery, this tankard exemplifies the exceptional skill of the painter Georg Friedrich Kordenbusch creating decorations with narrative depth depicting biblical scenes using the blue and white palette in an intricate composition. Sophisticated use of blue pigments, ranging from deep cobalt to softer azure tones and precise, delicate brushwork that captured fine details and emotional nuances are the hallmarks of the Kordenbusch workshop’s distinctive style. <\/p>\n\n\n\n

Kordenbusch Workshop and Georg Friedrich Kordenbusch<\/h4>\n\n\n\n

The heyday of the Nuremberg faience workshop is particularly associated with the name Kordenbusch. Andreas Kordenbusch, who died on March 25, 1754, first appears as an \u201chonorable and artistically experienced painter\u201d. Then the even superior painter Georg Friedrich Kordenbusch, who died on May 20, 1763, is also described in the death register as \u201chonorable and famous for his art\u201d. His works can be identified by the three dots he placed next to his initials or name. (see mark below)<\/p>\n\n\n\n

\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Marks of Georg Friedrich Kordenbusch and his Workshop <\/figcaption><\/figure>\n\n\n\n

Biblical Context<\/h4>\n\n\n\n

John 11:1-44 describes Jesus performing one of his most powerful miracles:
Lazarus, brother of Mary and Martha, had been dead for four days Jesus calls Lazarus out of the tomb, dramatically bringing him back to life.
The Resurrection of Lazarus is a theological narrative with emphasis on the miraculous moment of raising symbolizing hope, divine power, and the promise of salvation.<\/p>\n\n\n\n

Engraving by Matth\u00e4us Merian the Elder:<\/h4>\n\n\n\n
\"\"<\/a><\/figure>
\n

Matthaeus Merian der \u00c4ltere, Radierer
Verlag Lazarus Zetzners Erben, Stra\u00dfburg, Drucker, Verleger
Auferweckung des Lazarus, 1629
In: „ICONES BIBLICAE“; Stra\u00dfburg 1629, Pars IV, S.79 (fol. Kk4 recto)<\/p>\n\n\n\n

Hamburger Kunsthalle, Bibliothek
Inv. Nr.: kb-1915-554-200
https:\/\/online-sammlung.hamburger-kunsthalle.de\/de\/objekt\/kb-1915-554-200<\/a><\/p>\n<\/div><\/div>\n\n\n\n

Reference Object Germanisches Nationalmuseum, N\u00fcrnberg<\/h4>\n\n\n\n
\"\"<\/a><\/figure>
\n


N\u00fcrnberg um 1750
Kordenbusch Werkstatt
Der Krug zeigt die Auferstehung Christi
<\/p>\n\n\n\n

H\u00f6he mit Standring 20,1 cm,
Durchmesser oben 16 cm,
H\u00f6he gesamt 26,7 cm<\/p>\n\n\n\n

Permalink
http:\/\/objektkatalog.gnm.de\/objekt\/Ke5684Copyright Germanisches Nationalmuseum<\/p>\n<\/div><\/div>\n\n\n\n

Reference Object Victoria + Albert Museum, London<\/h4>\n\n\n\n
\"\"<\/a><\/figure>
\n

Blue tinted tin-glazed earthenware painted with an image of the Baptism of Christ. Probably painted in the workshop of Georg Kordenbusch. <\/p>\n\n\n\n

German (Nuremberg), about 1740
Marks and inscriptions
‚K‘<\/p>\n\n\n\n

<\/p>\n\n\n\n

copyright V&A’s collections
https:\/\/collections.vam.ac.uk\/item\/O161651\/tankard-kordenbusch-georg-friedrich\/<\/a><\/p>\n<\/div><\/div>\n\n\n\n

Literature<\/h4>\n\n\n\n
\"Bosch,<\/figure>
\n

Bosch, Helmut: Deutsche Fayencekr\u00fcge des 17. und 18. Jahrhunderts. Sammlungen Hans Cohn, Los Angeles. Siegfried Kramarsky, New York.<\/p>\n\n\n\n

Mainz: Von Zabern 1983.<\/p>\n<\/div><\/div>\n\n\n\n

\"N\u00fcrnberger<\/figure>
\n

GLASER, Silvia. N\u00fcrnberger Fayencen.\u00a0<\/p>\n\n\n\n

Geschichte und Erzeugnisse einer Manufaktur in der Reichsstadt: Bestandskatalog des Germanischen Nationalmuseums<\/em>. <\/p>\n\n\n\n

Germanisches Nationalmuseum Abt. Verlag, 2017.<\/p>\n<\/div><\/div>\n\n\n\n

\"\"<\/figure>
\n

O Riesebieter
Die deutschen Fayencen des 17. und 18. Jahrhunderts.
Klinkhardt & Biermann, Leipzig
1921<\/p>\n\n\n\n

p 73 – 78<\/p>\n\n\n\n

Online Access of this book via Internet Archive<\/p>\n\n\n\n

https:\/\/archive.org\/details\/diedeutschenfaye00ries<\/a><\/p>\n<\/div><\/div>\n","protected":false},"excerpt":{"rendered":"

The Raising of Lazarus painted by Georg Friedrich Kordenbusch Known for a refined blue and white decorative style inspired by Dutch Delft pottery, this tankard exemplifies the exceptional skill of the painter Georg Friedrich Kordenbusch creating decorations with narrative depth depicting biblical scenes using the blue and white palette in an intricate composition. Sophisticated use […]<\/p>\n","protected":false},"author":2,"featured_media":13311,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[28,31],"tags":[42,43,44],"class_list":["post-13310","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-european-ceramics","category-fayence","tag-18-jhd","tag-18th-century","tag-18th-century-works-of-art"],"_links":{"self":[{"href":"https:\/\/www.fayence-steinzeug-vogt.de\/de\/wp-json\/wp\/v2\/posts\/13310","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.fayence-steinzeug-vogt.de\/de\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.fayence-steinzeug-vogt.de\/de\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.fayence-steinzeug-vogt.de\/de\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fayence-steinzeug-vogt.de\/de\/wp-json\/wp\/v2\/comments?post=13310"}],"version-history":[{"count":26,"href":"https:\/\/www.fayence-steinzeug-vogt.de\/de\/wp-json\/wp\/v2\/posts\/13310\/revisions"}],"predecessor-version":[{"id":13343,"href":"https:\/\/www.fayence-steinzeug-vogt.de\/de\/wp-json\/wp\/v2\/posts\/13310\/revisions\/13343"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fayence-steinzeug-vogt.de\/de\/wp-json\/wp\/v2\/media\/13311"}],"wp:attachment":[{"href":"https:\/\/www.fayence-steinzeug-vogt.de\/de\/wp-json\/wp\/v2\/media?parent=13310"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.fayence-steinzeug-vogt.de\/de\/wp-json\/wp\/v2\/categories?post=13310"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.fayence-steinzeug-vogt.de\/de\/wp-json\/wp\/v2\/tags?post=13310"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}