Salome with the Head of St. John the Baptist
Lucas Cranach the Elder
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Tag Archives: German
Meissen Vase
Porcelain, Mid-19th century
Ernst August Leuteritz
German, 1818 – 1893
Augustus II was elector of Saxony, King of Poland, and Grand Duke of Lithuania. In the early 1700s he established Saxony as one of the most economically advanced areas of Europe and built himself a magnificent residence in Dresden where he maintained a lavish court. He was obsessed with the highly fashionable porcelain pieces imported from China and had a large collection of “white gold” (an appropriate name, for some of the more desirable pieces of Chinese porcelain were virtually worth their weight in gold). His collection not only impressed guests, it depleted his treasury. He was in constant need of the metallic variety of gold.
About 1700 in Prussia, a bright young apothecary’s apprentice, Johann Böttger, was bragging that he had found the goldmachertinktur (translation: gold maker tincture), a concoction that could convert base metals into gold. In an attempt to put the lad in his place, the apothecary asked Böttger to demonstrate the transmutation. The procedure was done under close supervision, and it worked! It produced several ounces of highly refined gold. (Böttger never revealed how he performed the trick, nor was it ever repeated.) The Prussian king learned of the success at making gold and seeing a way to fill his treasury, had Böttger put in “protective custody.” Knowing what happened to alchemists who failed to produce gold for their royal masters, Böttger panicked, escaped, and fled.
Böttger made it to Saxony. There his Prussian pursuers would not have authority to apprehend him. However, Augustus II learned of Böttger’s transmutation and had him captured and placed in a dungeon-like, medieval fortress. He could purchase his freedom with gold. Eventually the quantity demanded would not only fill the treasury, but also add some significant white gold pieces to Augustus’ collection. At one point Augustus even alerted the mint to be ready to strike coins with the gold that would soon be arriving. It never came.
Ehrenfried von Tschirnhaus, an educated German mathematician and scientist, was trying to make porcelain by heating various white materials to high temperatures. His experiments either failed or made a type of glass. Since Böttger did not seem to be progressing in producing a goldmachertinktur, Augustus hired Tschirnhaus to supervise Böttger’s work. Originally Böttger looked down on Tschirnhaus’ experiments but realizing that perhaps white gold might spare his life, Böttger took interest in Tschirnhaus’ work.
A white clay mined near Meissen, a small town 16 miles from Dresden, contained kaolin and when mixed with various other materials, produced porcelain. Experimentation refined the recipe and eventually a porcelain equal to that imported from China, was made.
Augusts named Tschirnhaus director of the porcelain factory he planned to establish in Meissen. The white clay mines were nearby, and Meissen was on a major river so the wood needed for the kilns could be easily delivered. In 1708, before the factory could be built, Tschimhaus died suddenly. A few months later Böttger was named head of the Saxon Royal Porcelain Manufactory, the first factory to produce hard-paste porcelain in Europe.
Sculptors were hired to mimic the shapes of oriental pieces, and chemists were brought in to develop colored and clear glazes. The Meissen manufactory, as it came to be known, became highly profitable. Böttger’s living conditions greatly improved, but he did not completely regain his freedom. He remained director of Augustus’ manufactory until his death in 1719.
In the following 300 years, the Meissen manufactory constantly produced porcelain pieces. Sometimes the company was well managed and produced high quality, fashionable, and much sought after works. At other times, Meissen struggled under a variety of challenges including contaminants in the clay, export tariffs, limited production, outdated designs, and political turmoil (such as Napoleon and, later Hitler). Once Sèvres in France and both Minton and Wedgewood in England perfected porcelain production, Meissen’s bottom line suffered.
As mass manufacturing methods of porcelain and decoration became perfected, Meissen faced a decision: use modern methods to produce quantities of inexpensive pieces or continue with handcrafted and hand painted pieces. The company decided to produce only high quality, handmade and hand-decorated pieces. Present day Meissen pieces can be as valuable as the very old ones.
Ernst August Leuteritz and M&G’s Schlangenhenkelvase
Ernst August Leuteritz was born in Fischergasse (city near Meissen) in 1818 and became an apprentice in the Meissen manufactory at 18 years of age. He immediately demonstrated exceptional abilities in modeling and embossing. The next year he was given a stipend for a year’s leave of absence to study under Rietschels at the Art Academy in Dresden. Being very timid, he found the experience extremely difficult and returned to Meissen after a short stay; however, he was convinced to complete his training. His artistic growth and refinement of skills led Meissen to extend his leave for further studies. After several years he returned to the manufactory and was promoted to the position of “Modeler.” In 1849 he became Meissen’s “Head of Design,” a position he held until his retirement in 1886. He died in 1893.
During his tenure with Meissen, Leuteritz designed hundreds of ornate figurines, centerpieces, candlesticks, serving dishes, vases and virtually every other type of porcelain piece imaginable. Today his works are found in many museums and personal collections and fetch high prices at auctions.
Leuteritz designed several vases adorned with serpents. In 1853 he designed the schlangenhenkelvase (translation: snake-handled vase) in M&G’s collection. It is an amphora shaped vase on an ornately-sculpted, round pedestal. On each side a pair of snakes emerge from acanthus leaves, forming a loop and resting their heads on the rim. The schlangenhenkelvase in M&G’s collection was very popular in the second half of the 19th century and came in different sizes. M&G’s vase is 19 inches high and 13 inches wide.
The body of M&G’s vase is a deep garnet with accents of gold and white. The gold on the leaves and snakes appears worn in areas. The vase, however, still maintains its original gold application.
The Meissen Hallmark
The secret formula for making porcelain was protected by Meissen, until it was leaked to Austria through corporate espionage. By 1717, a factory in Vienna began producing porcelain; and by 1760, there were thirty European porcelain manufactories. In order to identify Meissen pieces, blue underglaze markings were added.
By 1720, the crossed swords from the Elector of Saxony’s coat of arms were introduced and by official decree in 1731, was required to appear on all Meissen porcelain. Meissen’s crossed-swords logo is among the oldest and longest used trademarks, as well as being among the most often forged. Variations of the sword’s curvature, hilt placement as well as other embellishments help to date the pieces. Since the hallmark was hand painted, there is considerable variety even among authentic logos.
Under the base of M&G’s schlangenhenkelvase is the blue underglaze Meissen crossed-sword logo. Experts recognize it as genuine. The mark indicates that this vase was possibly made in the late 19th or first quarter of the 20th century. The underglaze “67” identifies the garnet painter, and the gold “2” indicates either the painter of the gold or that M&G’s vase may be one of a set.
Now the good news: you can have your own authentic schlangenhenkelvase without having to search the internet or attend an art auction where fake vases have been known to exist. Meissen still manufactures schlangenhenkelvase as part of their Masterworks Collection. They are not stock items; each one is produced to order and includes hand painted floral bouquets on the amphora. View the strikingly beautiful vase you could own by clicking on the Purchase a Vase link below. However, be prepared for a bit of a shock.
William Pinkston, Retired Educator and M&G volunteer
References
Video of the discovery of how to manufacture porcelain
Video of Meissen manufacture of porcelain, including a schlangenhenkelvase being painted
The Book of Meissen (Schiffer Book for Collectors) by Robert D. Rontgen
Meissen Porcelain Identification and Value Guide by Jim and Susan Harran
Published 2024
Christ Blessing is an intriguing 19th-century image revealing the sovereignty of the risen Christ.
Visit HERE for the next video to consider those things that are Lovely.
Victorian artist, Eyre Crowe does a masterful job of recreating that moment in the town of Wittenberg, Germany that set in motion the Protestant Reformation.
Schrank
Walnut and pine
German, 17th century
Storage has been one of humanity’s challenges through the ages. “Where do I put this?” is a question many of us may ask numerous times a day. In the digital world it can be more challenging: “Which folder do I store this in?”
The schrank is an evolution of the storage chests from the Middle Ages. When it was discovered that chests placed on top of each other with front-opening doors were more useful, the schrank in miniature was introduced. At that time, it was called a cupboard. Later modifications of enlarging them gave us what is commonly called an armoire, which normally contained more compartments in the top section than a schrank.
For practical purposes, both the schrank and armoire are used for storage, and the word is used interchangeably by many people. However, the difference between the two is more technical and geographical. Initially used to store armor, the French named the cabinet an armoire. The schrank was so named by the Germans. The term is still part of several words used to describe a storage item, most notably a kuhlschrank or what is known to us Americans as a refrigerator.
M&G’s Schrank joined the collection in 1964. It may have originated in southern Germany and was constructed in the 17th century or later. The last owner prior to M&G was A. S. W. Rosenbach, an antique book collector and dealer living in Philadelphia during the last half of the 19th century into the mid-20th century. His aggressive skill and vast knowledge of books made him “The Terror of the Auction Room.”
The Schrank’s upper carcass is constructed with a single pine board for each side, top, and bottom. The lower carcass uses a single pine board for each side as well as the back and bottom—the lower portion doesn’t need a top since the upper section rests on it. Finely detailed, hand-sawn dovetail joints can be seen on the top of the upper carcass. Carved walnut is used for the decorative ornamentation for the front.
The left door panel displays a common 17th-century scene of Michael the Archangel overcoming Satan, in the form of a dragon. The other door depicts the apocryphal characters of the archangel Raphael with Tobias. The Book of Tobit from the Apocrypha gives detail to the legend presented. Other aspects of the ornamentation have been described in technical terms by Joseph Aronson in his catalog Furniture in the Bob Jones Collection. “The base cupboard features low doors paneled with wave-mouldings framing lion-heads, and its corners are embellished with panels framing scrolls. The astragal is a caryatid figure like the upper. The base mold, like the other horizontals, is quiet and rests on bun feet.”
Though the original craftsman is unknown, this piece of furniture represents well the skilled carving and furniture making from an era that no longer exists. Considering this Schrank was also part of a well-known bibliophile’s furnishings adds intrigue as to what treasures it may have stored more than a century ago.
John Good, Security Manager
Published in 2019
The Last Supper
Polychrome and giltwood walnut
Hans Waldburger (attr. to)
Austrian, 1570-1630
One of Scripture’s more commonly depicted stories in art is the Last Supper. This event is represented repeatedly in M&G’s own collection in at least three paintings (on both canvas and panel), a Greek icon, book engravings, Sitzendorf porcelain, and wood sculpture.
Created around 1625, M&G’s sculptural Last Supper is attributed to Hans Waldburger, an Austrian artist in both wood and stone. Little is recorded about him, but he learned his craft from his father, Hans Leonhard Waldburger, while growing up in Innsbruck, Austria. Hans was later guided by Alexander Colin and Hubert Gerhard, a northern follower of the influential Michelangelo-emulator, Giovanni Bologna (or Giambologna).
During Waldburger’s life and work, there was a cultural shift through the influence of both the Protestant Reformation and the Roman Catholic Counter Reformation. Artistically, that transition was expressed through the Mannerist style briefly bridging the movement of the simple, idealized forms of the Renaissance to the busy, dynamic embellishment of the Baroque. This developing ornamentation was articulated in a highly decorative, theatrical style often combining painted imagery with sculptural elements giving the illusion of the story emerging from the flat surface—almost coming to life.
Early in Hans’ career he was commissioned by Archbishop Wolf Dietrich von Raitenau to Salzburg, where he essentially spent the rest of his life. Much of his known work is represented in Austria including such fine examples as the High Altar at both the Basilica Mondsee and Salzburg Cathedral.
M&G acquired The Last Supper in 1963. It is roughly 400 years old and still retains much of its painted color (polychrome) and gold leaf (gilding) in places. Hans’ mannerist style is noticeable in the extended physical features of the apostles as they are seated around the table. The possible supper conversation may be the point in the story when Christ reveals that one of the twelve disciples would betray Him. Their response was, “Is it I?” as recorded in the gospels (Matthew 26:22; Mark 14:19). Though it is known in the culture of Palestine that the partakers would have reclined during the meal, here the group is seated around a table. The sculpture measures approximately 4 feet wide by 4 feet high, and it is almost 1 ½ feet thick! Remarkably, the figures’ distinctive details including curling beards, facial features, and gesturing hands are still intact.
Dealer Edward R. Lubin summarizes the beauty and impact of Waldburger’s Last Supper, “A monumental, virtually in-the-round sculptural group of such quality and scale in this period of German art is truly exceptional.”
John Good, Security Manager
Published in 2019
The Visitation
Johann Friedrich Overbeck
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Praying Hands
Albrecht Dürer
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The Visitation
Oil on canvas
Johann Friedrich Overbeck
German, 1789-1869
Friedrich Overbeck began art instruction at age 15 under the tutelage of Joseph Nikolaus Peroux. He then learned from artists in Hamburg and through close study of Italian Renaissance works on display. The move to Vienna in 1806 enabled him to study at the Akademie and learn the principles of drawing in the academic tradition. This traditional approach, however, led him to reject those principles and adopt the teachings of Eberhard Wächter, particularly in the area of moral tone. One of the fascinating concepts about the sister arts (writing, drawing, music, and sculpture) is that principles from one art often apply to another. So, the idea of moral tone, usually applied to literature, is quite appropriate to discuss in the area of painting. Overbeck infused his religious beliefs into his beginning work in oils, an emphasis which became a hallmark of his work, especially following his 1813 conversion to Roman Catholicism. His family heritage was religious as well; the three previous generations of men in his family were ministers. It was Friedrich who broke with the family calling.
Although, it would be wrong to say that he abandoned the ministry; his works “preach” in merely another medium. In 1809 he and friends began the group Brotherhood of St. Luke, also known as the Nazarenes. Living in an abandoned monastery and adopting a biblical style of hair and dress led to “Nazarene” becoming a derogatory term. The Brotherhood’s motivation to reject the sensuality and artistic virtuosity of artists beginning in the sixteenth century was accompanied by a belief that all art should serve a moral purpose. Their work emphasizes Christian symbolism and bright clear colors which are hallmarks of the later Pre-Raphaelite Brotherhood members such as William Holman Hunt and Frederic James Shields.
While Overbeck embraced the art before Raphael, he also admired Raphael’s style. A look at The Visitation drawn c. 1517 by Raphael (in the Prado since 1837), suggests that Overbeck may have seen the master’s composition. The headdress of Elizabeth is strikingly similar to that in Overbeck’s painting as is the hairstyle of the Virgin. But there are purposeful differences as well. Raphael’s Virgin has no ornamentation on her dress; however, Overbeck chooses to give Mary a gold band of ribbon or lace, contrasting her gown with the matronly garb of her elderly cousin, Elizabeth, and showing her superiority.
Overbeck also indicates Mary’s elevated position as the mother of the Lord Jesus Christ through the physical positioning of the figures. Though Elizabeth is heavily pregnant at the time of Mary’s visit, she is positioned kneeling toward her younger relative. Luke 1:39-56 details the interaction between the women. Filled with the Holy Spirit, Elizabeth proclaims a three-fold blessing on Mary: she is blessed as a chosen woman, she is carrying the blessing of mankind’s Savior, and she is blessed for her faith in the promise of the Lord through Gabriel. Then Luke records Mary’s praise of the Lord, the Magnificat. Appropriately enough, Elizabeth gazes into the distance while Mary looks heavenward in a sign of her understanding of the privilege and position she has been accorded by God. John’s movement in Elizabeth’s womb at the arrival of his Lord is undoubtedly one of those things that Mary will keep and “ponder in her heart.”
In another work, Overbeck features Mary and her cousin, Mary and Elizabeth with Jesus and John the Baptist. The title indicates the characters in the painting; yet the accepted iconography and religious symbolism of the time provides clear and immediate identification. Mary is found in her blue robe holding her missal. John the Baptist wears his clothing of camel’s hair and grasps a sheep, signifying his task of proclaiming that his cousin Christ is the “Lamb of God.” Christ, sitting on the lamb, could not be more closely identified as that “Lamb.” In addition, He holds John’s cross-shaped staff indicating the manner in which the “Lamb of God” will be sacrificed for the sins of the world. The background of this painting is more reminiscent of Raphael’s work with its Italian landscape; such scenery suits this family portrait. However, Mary’s Magnificat focuses on the Lord God, so this portrait-like composition of The Visitation directs the viewer’s attention to her message by eliminating a distracting setting.
Overbeck’s biographer, Joseph Beavington Atkinson (1822-1886) records the artist’s mission in life: “Art to me is as a harp of David, whereupon I would desire that psalms should at all times be sounded to the praise of the Lord.” The sacred mood and expression of Christian piety, the beautiful colors, and the clean lines found in The Visitation fulfill his mission well.
Dr. Karen Rowe, M&G Board Member and Volunteer Membership Coordinator
Suggested Reading: Overbeck by Joseph Beavington Atkinson
Published in 2018
Wittenberg, October 31, 1517
Eyre Crowe, A. R. A.
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