Schlagwort-Archive: Victoria + Albert Museum

Annaberg - Dippoldiswalde Steinzeug Krug mit galantem Paar 17. Jh.

17th Century Dippoldiswalde Stoneware

Dippoldiswalde (formerly Annaberg) pear-shaped Jug ca.1680

The enamelled and gilded decoration on this pear-shaped jug is enhanced by a very dark brown slip that was used to conceal the lighter reddish-brown of the stoneware beneath. The applied relief shows a courtly gentleman and lady. Quite rare as topic with the full figure. Common were the half bust depictions. (see reference objects below)

Attribution: Annaberg | Dippoldiswalde

Speculations on attributions of Dippoldiswalde stoneware since the middle of 19th century have been manifold. Ranging from mere speculations to serious research based on pewter marks and coat of arms to determin a place or origin. At the middle of 20th century Annaberg was most probable as the location of the productions of these ceramic objects. A very good description of the development of the attribution of Dippoldiswalde stoneware since the middle of the 19th century can be obtained by the standard reference Horschik Steinzeug p 217 ff (Horschik, Josef. Steinzeug: 15.-19. Jh.; von Bürgel bis Muskau. Ebeling, 1981.)

So I do not want to go into this any further, as these longstanding discussions came to an end at the turn of the century with excavations that have been taking place in the Dippoldiswalde area and produced finds of “Annaberg type” molds and fragments. As a result the state of research as of today is that Dippoldiswalde is the origin of these stoneware objects formerly attributed to Annaberg.

Characteristics of Dippoldiswalde

The heyday of craftsmanship of Dippoldiswalde Stoneware was the second half of the 17th century.

Annaberg - Dippoldiswalde Steinzeug Krug mit galantem Paar 17. Jh.

Characteristic of Dippoldiswalde that form a unique style are first of all the very darkbrown slip with impressed scale pattern as a contrasting foundation for the
applied relief decoration with
enamel painting mainly in white, red, yellow, blue partly guilded. Further decorative ornaments were palmettos or pomgranates alternating with diagonal bands
to design especially the pear-shaped jugs.

Repertoire of Motifs

The potters had a substantial stock of moulds at their possession to decorate the central relief. Very popular were Elector and Electress mainly as half bust or hunting scenes. As follows a more or less complete overview by Josef Horschik.

Table of moulds for the central relief:

Topics were religious (e.g. Christ or Mary with Child Jesus) secular (e.g. Emperor or Elector), hunting scenes, coat of arms, brewing and viticulture, marriage and chivalrous couples

Josef Horschik, Steinzeug: 15. bis 19. Jahrhundert; von Bűrgel bis Muskau, 1978
p 230.

Museum Reference Victoria & Albert Museum, London

Tankard Made in Annaberg, Germany about 1680-1700 Stoneware with relief decoration painted in enamels, pewter mount
C.301-1921 Given by Mr C.H. Campbell (16/07/2008)

©Victoria & Albert Museum, London
https://collections.vam.ac.uk/item/O162294/tankard-unknown/

Reference Objects – Peter Vogt Munich

Literature

Steinzeug J. Horschik Von Bürgel bis Muskau

Josef Horschik, Steinzeug: 15. bis 19. Jahrhundert; von Bűrgel bis Muskau, 1978
Seiten 217 ff.

Early Stoneware Steins from Les Paul Collection

Adler, B. (2005). Early stoneware steins from the Les Paul Collection: A survey of all German stoneware centers from 1500 to 1850. Beatrix Adler.

Dippoldiswalder Steinzeug - Ein Töpferhandwerk und seine kulturhistorische Bedeutung Anne Barth 2018

 „Anne Barth: Dippoldiswalder Steinzeug. Ein Töpferhandwerk und seine kulturhistorische Bedeutung.“ 2018
Landesamt für Archäologie Sachsen (Verlag).

https://journals.ub.uni-heidelberg.de/index.php/mitt-dgamn/article/view/77935

Detail Maskaron Raeren Mittelfries Steinzeug Krug Jan Emens 16. Jh.

Raeren Mittelfrieskrug Jan Emens 1586 datiert

Raeren Frieze Jug. JAN EMENS MENNICKEN signed and dated 1586, grey saltglazed stoneware with incised, stamped and applied moulded decoration and inscription

Raerener Mittelfrieskrug. JAN EMENS MENNICKEN signiert, 1586 datiert, graues salzglasiertes Steinzeug, kobaltblau staffiert, profiliert und reliefiert, umlaufend Figurenfries und Inschrift“

Jan Emens, wichtiges Mitglied der Töpferfamilie Mennicken datierte Werke 1568-1594 in diversen Museen

Hausmarke: IEM „IJHo IXE M“ 

Töpfermeister, der zwischen 1568 und 1594 in Raeren im Herzogtum Limburg, heute in Belgien gelegen, tätig war. Nach 1594 wanderte er in den Westerwald ab
Quelle: https://de.wikipedia.org/wiki/Jan_Emens_Mennicken

SALICH YST LANT DAER GEWELT EN WIR ET LYCHT YNDEN BANT YAN EMENS DIS WEL GEFONDERT DAER GELOEF ENDEY LYFDEN ENDEY GERECHEIT REGEYRT 1586

Selig ist das Land, dessen Gewalt und Tugenden in einem Band liegen – YAN EMENS – Dieses (Land) ist gut begründet, in dem Glaube Liebe und Gerechtigkeit regieren. – 1586
Quelle: MENNICKEN, Ralph. Raerener Steinzeug. 2013 S. 252 – s.u.

„Blessed is the land whose violence and virtues are in one bond – YAN EMENS – This (land) is well founded, where faith love and justice reign. 1586“

Museum Reference

Staatlichen Kunstsammlungen Dresden online Collection Kunstgewerbemuseum

Enghalskanne Steinzeug Steinzeug, grauer Scherben; Reliefauflagen und Prägedekor; kobaltblaue Bemalung; Salzglasur; Zinnmontierung. Im Dekor (Bauchfries) datiert und signiert: „1587“ und ligiertes Monogramm/ Hausmarke IEM „IJHo IXE M“, Jan Emens Mennicken (um 1587 – um 1623) Töpfer Raeren und Westerwald
copyright: https://skd-online-collection.skd.museum/Details/Index/324852

Victoria and Albert Museum London

Stoneware Jug with incised, stamped and applied moulded decoration from a mould by Jan Emens Mennicken, Raeren, Germany, Grenzhausen ca.1600
inv. 788-1868
copyright
https://collections.vam.ac.uk/item/O161015/jug-mennicken-jan-emens/

Literature

MENNICKEN, Ralph. Raerener Steinzeug. Europäisches Kulturerbe. Grenz-Echo, 2013.
Jan Emens Mennicken S. 226 ff
Inschriften S. 252

Museum Virtual Tour Raeren Museum

Töpfereimuseum Raeren :: Behind the Museum (toepfereimuseum.org)
Das Projekt Behind the Museum ist eine gemeinsame Initiative der belgischen Vereinigungen Musées et Société en Wallonie und Epicentro mit dem Ziel, das Verborgene in Museen zu zeigen, die Erinnerung an einen Ort zu bewahren und auch das kulturelle Erbe für die Zukunft festzuhalten.
Anfang 2021 bekam das Töpfereimuseum Raeren als erstes und bisher einziges Museum der Deutschsprachigen Gemeinschaft die Chance, sich ebenfalls an diesem Projekt zu beteiligen: Das komplette Museum in der Burg Raeren wurde digitalisiert und ist nun in Form eines digitalen Puppenhauses bereit zum Besuch von Zuhause aus.

https://behindthemuseum.be/project/musee-de-la-poterie-de-raeren/
Freiberger Steinzeug Krug um 1670

17th century Freiberg Stoneware

Beispiele aus der Blütezeit des Freiberger Steinzeugs aus dem letzten Drittel des 17. Jahrhunderts

In Freiberg wurde nur im 17. Jahrhundert Steinzeug hergestellt. In der Zeit nach 1660 gelang es mit dem Reduktionsbrand hellgraues Steinzeug herzustellen, das für Freiberg besonders charakteristisch ist. Es wurden häufiger birnförmige Gefäße hergestellt auf denen das feine Netzwerk besonders gut zur Geltung kommt und einen ausdrucksstarken dreidimensionalen Hintergrund für die barocke Verzierung mit Stempeldekoren, wie eingeschnittenen Rosetten oder Blattornamenten, bildet. Dieser Stempelschmuck wurde auch auf dem Henkel angebracht und ist nur bei Freiberger Steinzeug zu finden. Mehrfarbige Bemalung mit Emailfarben dieser Ornamente, teilweise mit leicht goldener Erhöhung, kennzeichnen die Blütezeit der Freiberger Töpfer und ihre eigenständige Gestaltungkraft als Ausdruck ihrer barocken Kustfertigkeit.
Veredelt sind die Stücke teilweise mit prächtigen Originaldeckel aus der Werkstatt des Freiberger Zinngießers Samuel Günther d. Ä., so sie sich erhalten haben.
(vgl. Strauss, K., & Aichele, F. 1992, S.151)

Characeristics of Freiberg Stoneware in the last third of the 17th century at the height of the artistry of the Freiberg potters.

Typical for Freiberg stoneware is the use of small ornaments which the potters placed in bands between the lips and the body. Contrasting with a finely work chip carving is the extensive rosette and palmette decoration accentuated in enamel colors.
(c.f. Scheurleer, D. L. 1972 p. 128)

Decorativ innovations attributed to Freiberg include stamped ornament on handles but most important was the introduction of painted polychrome enamels in conjunction with sparcely applied gilding to highlight the effect. (c.f. Gaimster, D. R., & Hildyard, R. J. 1997 p.279)

Freiberger Steinzeugkrug um 1670, mit farbiger Emailbemalung und Vergoldung

Freiberger Steinzeugkrug um 1670, mit zweifarbiger Emailbemalung und originalem Deckel von Samuel Günther d. Ä.

Freiberger Zinnmontierung von Samuel Günther d.Ä. mit Johann Georg III


Samuel Günther d. Ä. (1659 Meister)
Typisch für Montierungen aus seiner Werkstatt sind der gewellte Rand, Daumenrast mit Engel Maskaron und Reliefschmuck. Sehr selten sind Montierungen mit dem Brustbild Johann Georg des III. Kurfürst in Sachsen.
Pewter lidding workshop of Samuel Günther the elder with Johann Georg III. elector in saxony.
(vgl. Horschik, J. 1981 S. 292)

Freiberger Birnkrug um 1670 mit polychromer Emailbemalung und germarktem Deckel von Samuel Günther d. Ä. (Katalog 2008 Peter Vogt München)

Reference Objects Victoria + Albert Museum London

Literature

Scheurleer, D. L. (1972). Duits steengoed met wapens of portretten van Oranje vorsten. Netherlands Yearbook for History of Art/Nederlands Kunsthistorisch Jaarboek Online, 23(1), 391-405.

Gaimster, D. R., & Hildyard, R. J. (1997). German stoneware, 1200-1900: archaeology and cultural history: containing a guide to the collections of the British Museum, Victoria & Albert Museum, and Museum of London. London: British Museum Press.

Steinzeug J. Horschik Von Bürgel bis Muskau

Horschik, J. (1981). Steinzeug: 15.-19. Jh.; von Bürgel bis Muskau. Ebeling.

Strauss, K., & Aichele, F. (1992). Steinzeug. Battenberg.

Detail Datierung Friedberger Fayence Walzenkrug 1756

Friedberger Walzenkrug 1756 datiert

Ein museales Stück aus der Friedberger Manufaktur

Manufakturmarke Friedberg CB unter Kurhutmit früher Datierung
2
Jahre nach Gründung im Jahr 1754.

Darstellung eines galanten Rokoko Paares
gemeinsam „gärtnernd“ im Orangenhain in
polychromen Scharffeuerfarben.
Die Edeldame begießt ein Orangenbäumchen
mit dem Namen Johannes auf dem Blumentopf.
Die Gießkanne trägt die Datierung 1756.
Der Galan pflückt derselben eine Frucht.
Spruchband „Geliebte nehm sie dies von meinen
treuen Händen und glaub Sie ganz gewiß nichts soll
mein Lieb enden“


Detail Datierung 1756 Friedberger Fayencekrug

Ein Vergleichssstück in
Blaumalerei befindet sich
in London im
Victoria + Albert Museum

Tankard Friedberg 18. JH copyright Victoria Albert Museum

Mit dem link kommen Sie direkt
zum Objekt und der Beschreibung.
Bildrechte Victoria + Albert Museum

 

250-Jahre-Friedberger-Fayencen-Museum-Wittelsbacher-Schloss-S.-11

250-Jahre-Friedberger-Fayencen-Museum-Wittelsbacher-Schloss-S.-11

Das in der Literatur aufgeführte
früheste datierte Stück der
Friedberger Manufaktur aus dem
Jahr 1755 befindet sich in der
Sammlung des
Maximilian Museum
in Augsburg

 

 

 

Literatur:

250-Jahre-Friedberger-Fayencen-Museum-Wittelsbacher-Schloss-S.-18

250-Jahre-Friedberger-Fayencen-Museum-Wittelsbacher-Schloss-S.-18

 

Museum im Wittelsbacher Schloss Friedberg 200 Jahre Friedberger Fayence

200 Jahre Friedberger Fayence – Sonderausstellung zum 250. Gründungsjubiläum der Fayencemanufaktur Friedberg

Museum

Das neue Museum im Wittelsbacher Schloss Friedberg

Seit Mai 2019 wieder geöffnet. Nach mehrjähriger Schließung erstrahlt die Sammlung des Museums im Wittelsbacher Schloss in Friedberg in neuem Glanz.

V+A Highlights | Paul Preuning

Eine Auktionsreise nach London mit Ausflug in das Victoria & Albert Museum

Victoria + Albert Museum London

Nürnberger Hafnerkrug aus der Werkstatt von Paul Preuning ca. 1545-1555
in der Keramik Abteilung des Museums

Victoria + Albert Museum London

Quelle: Weitere Details im online Museumskatalog

  • Descriptive line

    Earthenware jug decorated with coloured glazes and applied moulded decoration depicting the Adoration of the Magi and Massacre of the Innocents, workshop of Paul Preuning, Nuremberg, Germany, about 1545-55

  • Public access description

    This handsome jug was made in the workshop of Paul Preuning of Nuremberg in about 1545-55. It is typical of the brightly-coloured lead-glazed wares decorated with applied moulded relief decoration which were produced at Preuning’s pottery outside the Tiergarten Gate of Nuremberg from the mid-1540s for at most fifty years.
    The distinctive style of Preuning’s pots derives from the traditional local manufacture of stove tiles. At first usually plain green or brownish-black, such tiles decorated stoves which heated grand buildings such as palaces and abbeys. Bright polychrome glazes were introduced from about 1500 and in the 16th century were added relief mouldings after engraved designs and niches containing modelled figures.
    Preuning’s wares were produced in the main for a fairly local market – that is to say, for sale in Nuremberg, throughout Germany and possibly to other lands of the Holy Roman Empire. Their decorative style and subject matter were tailored to German tastes. This vessel, probably intended for display rather than use, is decorated with scenes from the Gospels showing the Adoration of the Magi and the Massacre of the Innocents.

  • Object history note

    This handsome jug was made in Nuremberg, one of the biggest towns of the Holy Roman Empire with a population of about 45,000 by the end of the 16th century. As a Free Imperial City in the centre of Europe, it became very wealthy and fostered artistic endeavour and scientific enterprise. Among Nuremberg’s talented artists in 16th century were Durer (painter and engraver), Veit Stoss (sculptor and wood-carver), and Wenzel Jamnitzer (goldsmith).
    Paul Preuning’s pottery outside the Tiergarten Gate of Nuremberg flourished from the mid-1540s as is deduced from a combination of documentary sources, excavated material from the site and subject-matter used. Pots from his workshop are quite distinctive with their range of bright glazes and repertoire of moulded relief figures. A relief mould (formerly in the possession of Alfred Walcher von Molthein) depicting Prince Elector Johann Friedrich of Saxony was excavated on the Preuning workshop site. It was almost certainly made between 1548 and 1551 as Johann Friedrich is shown as a prisoner in a simple robe without sword or chain (he was released in 1551). Another relief mould with Preuning’s dancing peasants is preserved at the Kunstmuseum, Frankfurt.
    Some later work exists which appears similar to the pots from Preuning’s workshop but this comes from Austria as former apprentices from Preuning’s pottery took their skills and glaze recipes to Salzburg and Upper Austria. However, they could not take the Preuning moulds with them so their use of their own moulds distinguishes the work from that of the Preuning workshop.

    Historical significance: Unlike Rhineland stonewares, Preuning’s wares were not exported in large quantities. The output from his workshop was relatively small and at most of 50 years‘ duration. Nor do the jugs survive in any quantity. Most seem to have been produced for the local i.e. Nuremberg market, for Germany and possibly other lands of the Holy Roman Empire. Their decorative style and subject matter were tailored to German tastes. In France, the market was for the more finely-moulded, less solid and less brightly-glazed wares of Bernard Palissy. Although the moulded figures which Preuning applied to his pots straightforward to make and quite quick to apply, the skill was in the overall design scheme, the placing of the figures, the making of the original moulds and in the glazing with several colours. The master often made variations to the stock moulded figures or varied their glazing scheme. It would have been possible to decorate several pots simultaneously as several employees could each work with copies of the moulds and their own colour supplies.
    Many motifs derived from Mannerist engravings by Italian masters such as by Enea Vico who did vase designs after the antique, metalwork designs by Riccio, Cellini and Giulio Romano, and paintings by Raphael and Rosso Fiorentino.
    Other subjects which appear on important Preuning jugs include:
    – The Electors of the Holy Roman Empire (Walters Art Museum, Baltimore)
    – The town of Nuremberg (Kunstgewerbe Museum, Cologne)
    – Nuremberg buildings (Metropolitan Museum, New York)
    – The Judgement of Paris (on four jugs including one in the Kunstgewerbe Museum,
    Berlin)
    – Adam and a lion with Eve and a deer (V&A)
    – Adam and Eve used in combination with Christ in Gesthemane, the Sacrifice of
    Abraham and the Adoration of the Magi (the latter containing figures used on the V&A
    jug)
    – Crucifixion group including the Virgin and St. John (Mainfraenkisches Museum,
    Wuerzburg).
    – Armed figures each side of a tree (V&A)
    – A stag hunt (V&A, formerly from Coombe Abbey, Coventry – the Countess of
    Craven’s sale at Christies, 11/12 April 1923 lot 6)

  • Historical context note

    Preuning’s pots fall into a category known as „Hafner ware“ which refers to stove tiles made first with green lead glaze and later also in brownish-black. These tiles decorated stoves which heated grand buildings such as palaces and abbeys. Bright polychrome glazes were introduced from about 1500 and in 16th century were added relief mouldings after engravings by the Kleinmeister and niches containing modelled figures. Nuremberg was then one of the most important centres for stove-making in Germany. Preuning’s jugs derived from this work with their bright glazes and applied leaves, stems, threads and relief-moulded figures. Preuning’s jugs were formerly assigned to the engraver and designer Augustin Hirchvogel (1503-c.1553) as he was known to be associated with some Nuremberg potters in 1531, but his wares were later discovered to be too early and he is now thought insteadto have made maiolica plates in the Venetian style.
    Although a large decorated Preuning jug could in theory be used for water, it is far more likely that this splendid luxury item was for display only. Some jugs were specially commissioned. By the 17th century, the status of Hafner ware jugs declined to a „peasant“ craft and with the Thirty Years‘ War, Nuremberg itself declined from its ascendant position.

  • Bibliographic References (Citation, Note/Abstract, NAL no)

    W.B. Honey, European Ceramic Art. Illustrated historical survey, London, 1949, pl.16A, and Dictionary, 1952, p.456.
    Otto von Falke, Das Sigmaringer Museum III: Kunstgewerbe der Renaissance, in Pantheon I, Jan.-June 1928, p.179
    Robin Hildyard, European Ceramics, London: V&A, 1999, pp.11-13
    Alfred Walcher von Molthein, Der Fertiger (Paulus Preuning) der sogenannten Hirschvogelkruege, in Kunst und Kunsthandwerk, 1904, v.7, p.486ff.
    Alfred Walcher von Molthein, Arbeiten der Nurnberger Hafnerfamilie, in Kunst und Kunsthandwerk, 1905, v.8, p.134ff.
    Alfred Walcher von Molthein, Beitraege zur Geschichte Deutscher Keramik: Die Deutschen Hafnerarbeiten der Sammlung Bondy in Wien, in Altes Kunsthandwerk, Band I Heft 1, Vienna, 1927
    Ingolf Bauer, Keramik des 16. Jahrhunderts als Religiöses Zeichen?, in Zeitschrift fuer Bayerische Landesgeschichte, 2005 vol.68, pp.541-553