A magnificent silver-gilt bowl in lobated style, Adam or Christiaen van Vianen , (Utrecht), circa 1630

Anthony Grill, Amsterdam 14. IV. 1728, p. 31, (Goud en Silverwerk) no. 35

Arnout Vosmaer, La Haye, 26. III. 1800, p. 297 (Verzameling van Konstige Zilverwerken) no. 51 (sold for f. 37.10,- to Schuilenburg)

Bibliotheca Schuylenburchiana (coll. M. de Schuylenburgh de Bommende), La Haye, 10. VII.1820, p. 118 (Konstige Zilverwerken door A. van Vianen en anderen beroemde meesters) no. 16 (sold for f. 106,- to Kluijtenaar)

Jan Kluijtenaar, 1820-1847

Wijnand Kluijtenaar, 1847-circa 1880

Collection Elias Fuld, circa 1880-1888

Collection Maximillian Ernst Fuld, 1888-1898

Collection Marianne Elias-Rosenthal, 1898

Private collection

Catalogus der Historische Tentoonstelling, Amsterdam, 1925, no. 685

Provenance

The vessel has been in the possession of various significant collectors and after an extensive investigation its provenance could be traced back to until 1728, beginning with its present owner. It was auctioned in the single-owner sale of Anthony Grill in 1728 and was brought to the hammer again in the Arnout Vosmaer-sale in 1800. The bowl was sold in this auction to another Van Vianen collector, Mr F.P.G. van Schuylenburch van Bommende. It was re-sold as a part of the collection of Van Schuylenburch van Bommende in 1820 to the well-known Amsterdam jeweller Jan Kluijtenaar, Kluijtenaar then passed it on to his son Wijnand. The Amsterdam banker Elias Fuld probably obtained the bowl from Kluijtenaar. Fulds son, Maximilian Ernst most likely inherited the vessel from his father. Maximilian passed it on to his wife Marianne Elias-Rosenthal.

Anthony Grill

Anthony Grill, a collector, was born in Stockholm. He descended from a famous family of silversmiths that originated in Augsburg; his grandfather took up his residence in Amsterdam in the second quarter of the 17th century, together with his brothers. Grill married his father’s niece Elisabeth Grill in Amsterdam. By marrying her he became a wealthy man. Grill, being an assayer of silver and gold, continued the family business of his wife. Through the years he collected a sizeable amount of works of art and other precious objects. He died on 1 November 1727, see Ter Molen I, p. 73. Most of his collection was offered for sale on 14 April 1728 (fig. 1). The silver-gilt bowl was described in the sales catalogue, Grill, 14.IV.1728, nr. 35, as:

''Een dito mede vergult van dezelven weegt 24 ¼ loot, referring to the previous lot number Een drinkschaal met zyn Dekzel vergult door dito Vianen weegt 74 ½ loot.''

This auction contained various works by the Van Vianen family, as well as other precious objects, like minerals, precious stones, silver medals, clocks, watches, and oriental agate sculptures. On the basis of the description and the weight in the catalogue, one can come to the conclusion that it is not unlikely that Grill was in the possession of the vessel, now on offer.

Grill´s nephew, Anthony Grill, also collected various pieces by the Van Vianens. It could be possible that he purchased Van Vianen pieces, which used to be in the possession of his uncle, Anthony Grill. Hypothetically speaking, it is probable that he acquired the vessel, now on offer, as well. Grills collection was sold in 1776, see auction catalogue Grill 10.IV.1776.

Arnout Vosmaer was one of the most important buyers in this auction, see Ter Molen I, p. 73. However, on the basis of the description in the catalogue one may conclude that the vessel was not included in this sale. Although, it might be possible that Grill sold this piece to Vosmaer before the sale, due to his critical financial situation.

Arnout Vosmaer

Arnout Vosmaer can be considered as one of the most important Van Vianen collectors at his time (fig. 2). He was also known for his collection of naturalia. Vosmaer was advisor to stadtholder Prince Willem V and director of the collection of art and natural rarities of the Prince, see Biografisch Woordenboek der Nederlanden, deel XVIII, 1874, p. 400. In March 1800, a year after Vosmaer died, his collection was sold at auction (fig. 3). The description of the silver-gilt bowl in the sales catalogue, Arnout Vosmaer, 26.III.1800, no. 51, reads:

''Een fraay in de ouden smaak gedreeven fauskommetje en dekzel, met hetzelve hoog 4 ½ D. Lang 5 ½ D. Breed 3 ½ D. Op het dekzel is een kindje, op eenen Dolphyn zittende als zwemmende verbeeld, zonder merkteekens of naam, doch waarfchynelyk door A. van Vianen, om dat het in zijn hier vooren no 29 aangehaald werk met weinig verandering op ab. 10. voorkomt. W. 12 Onc. 4 Eng. Het is namelyk aan A. Vosmaer toegefchenen, in der vergelyking der kunstftukken, ook die hier voorkomen, tegens de afbeeldingen derzelven in hunne werken, dat A. van Vianen, Fransis en andere kunftenaars eerst eene tekening voor hun te beginnen werk gemaakt hebben, naar welke de printwerken gefneden zyn, doch dat zy onder het werken veranderingen in het desfein hebben gemaakt.''

The collection included various objects, among which was a large collection of silver by the Van Vianen family. In the Vosmaer catalogue the vessel was described as a sauceboat. However, it is unlikely that the vessel was already re-shaped into a sauceboat in 1800. The most likely explanation of this description is because it was more commercial; vessels at that time were no longer very fashionable. Furthermore, by comparing the weight in the catalogue of Grill to the weight in the catalogue of Van Schuylenburch, the buyer of the Vosmaer bowl, it becomes clear that it has the same weight. Since the weight of the vessel is heavier nowadays, it is improbable that the vessel was re-shaped into a sauceboat at that point.The descriptions in the Vosmaer catalogue are very detailed and earlier remarks by Vosmaer about the objects were added. On the basis of the description of the vessel, it becomes clear that at that point the marks were already scratched out. Furthermore, it says in the description that according to Vosmaer Adam van Vianen made the vessel because of its relation with the design in the book Constighe Modellen (fig. 5/6).

Mr François Pierre Guillaume van Schuylenburch van Bommende

Van Schuylenburgh bought various works by Van Vianen family in the Vosmaer sale, including the vessel, see introduction Adam van Vianen, Modelles Artificiels, reprint. He was born in The Hague in 1767. Van Schuylenburch had office in various public positions. For example, he was member of the States General in the Netherlands. He first married Wilhelmina Bigot de Villandry and had five children. After her death Van Schuylenburch married Johanna Philippina van Herzeele and had four children. Schuylenburch died in 1818, see Biografisch Woordenboek der Nederlanden, deel XVII, 1874, p. 567 and Nederlands Adelsboek, pp. 119-120. His collection was brought to the hammer in July 1820, when the vessel was sold to Jan Kluijtenaar, an important jeweller in Amsterdam (fig. 4). The silver-gilt bowl was described in the sales catalogue, Schuylenburch de Bommende, 10.VII.1820, no. 16, as:

 ''Een fraaij in den ouden smaak gedreven sauskommetje en dekzel, op het dekzel is een kindje op een Dolphijn zittende als zwemmende verbeeld, hoog 5 duim, weegt 12 onc. 3 eng. Waarschijnlijk door A. van Vianen, als in deszelfd werk met weinig verandering op Tab. X voorkomende, vermits van Vianen, Francis en andere konstenaars eerst eene tekening voor hun te beginnen werk gemaakt hebben; naar welke de prentwerken gesneden zijn, doch dat zij onder het werken veranderingen in het dessein hebben gemaakt.''

Jan Kluijtenaar

Jan Kluytenaar was born in 1793 as a son of Jan Kluijtenaar and Adriaantje Floor. He was registered as a silversmith in 1793. In 1799, he married Adriana, daughter of the silversmith Wijnand Warneke. Kluijtenaar also became a goldsmith, kashouder and jeweller. In 1811 his supply consisted of 30.000 pieces, including jewels and silver objects, see Citroen, 1975, p. 97, no. 485.

Kluijtenaar bought various pieces by the Vianen family at the Van Schuylenburch sale in 1820. Kluijtenaar probably decided to re-shape the vessel into a sauceboat. This is underlined by the fact that in that period many vessels and tankards were re-shaped by adding a spout. In addition, the hammering which can be seen at the spout indicates a 19th century way of hammering. Moreover, the rim added to the inside of the cover is obviously a 19th century addition.

In 1829 Jan Kluijtenaar´s son Wijnand took over the business. Wijnand´s daughter Maria Louise Elisabeth married Andries de Roever, a wholesaler in jewels. Andries de Roever was the son of Nicolaas de Roever, archivist in Amsterdam. De Roever family was in all probability the connection with the next owner, Elias Fuld. Nicolaas de Roever used to be co-organiser of the Arti et Amicitiae exhibition in 1880, in which the collection of Elias Fuld had a prominent place (fig. 7). It might be possible that at that point the vessel was still in the possession of Wijnand Kluijtenaar and that Nicolaas de Roever informed Fuld about this piece. (We thank Mr K.A. Citroen for his information on the family history of Kluijtenaar and De Roever)

Elias Fuld and Maximilian Ernst Fuld

Elias Fuld was born in Frankfurt in 1820, as son of Jacob Moses Fuld and Feicke Flörsheim. He married Lina Hecht in 1855. Fuld moved to Amsterdam in 1855 and became an authorised representative of the Rothschild bank and later on director of the bank Becker & Fuld (fig. 10).. He was an important public figure and had office in various public positions. For instance, he was councillor of Amsterdam from 1873 until his death in 1888, see Hoffland, 1998, pp. 52, 166. Fuld was a well-known collector of silver and especially of silver objects by the Van Vianen family. This is shown for example by two important exhibitions, the Arti et Amicitae exhibition and the National Exhibition of Applied Arts in The Hague, see Officieele catalogus der Nationale Tentoonstelling van Oude en Nieuwe Kunstnijverheid in den Koekamp, pp. 52, 53. Maximilian Ernst Fuld, Elias´son, probably inherited part of the collection from his father. This is emphasised by the fact that after the death of Maximilian, his wife Marianne Elias-Rosenthal was in the possession of various pieces that used to be in the collection of Elias Fuld. Some of these objects were shown under her name at the Historische tentoonstelling in the Rijksmuseum in Amsterdam in 1925, see Historische tentoonstelling, 1925. For instance, the famous shell beaker which is now in the Rijksmuseum in Amsterdam (fig. 8). Interesting is that not only Fuld has been the owner of this piece, but it had also been in the collection of Grill (1776), Vosmaer, Van Schuylenburch de Bommende and Kluijtenaar, see Ter Molen II, pp. 86. 87, nr. 425.

Maximilian Ernst Fuld was born in Amsterdam in 1886. Like his father, he was banker at the Becker & Fuld. Unfortunately, he died when he was only forty years old. As a result of his early death the bank Becker & Fuld merged into the bank Lippmann, Rosenthal & Co, not to be confused with the other bank. Merging of these banks was not only a decision from a business point of view, but it also had to do with family matters. Maximalian’s sister married Paul May, who was business partner at the bank Lippmann, Rosenthal & Co. His brother was a well-known art collector, Robert May, who was also business partner at the Lippmann, Rosenthal & Co.

Marianne Elias-Rosenthal

Marianne Elias-Rosenthal was born in Hamburg in 1863 (fig. 11). She was the daughter of Chaim Heinard Elias and Jenny May, and was adopted by Georg Rosenthal and Sophie May. Georg Rosenthal established the bank Lippmann, Rosenthal & Co together with Leo Lippmann. He was also an important public figure and is especially know for his charitable deeds, see Eigen Haard, jr. 34, no. 14, 1908, pp. 212-218. For example, he donated his father´s famous library on Hebraica and Judaica, the Bibliotheca Rosenthaliana, to the University of Amsterdam in 1881, see Ons Amsterdam, jr. 32, no. 11, 1980, pp. 290-294.

Marianne married Maximilian Ernst Fuld in 1886. Unfortunately, Fuld died very young. At that point she probably inherited the vessel from Fuld. In 1903, she remarried with an American, Bertold Nathusius.

Adam and his son Christiaen van Vianen

The Dutch Van Vianen family was probably already registered in Utrecht in the 15th century. Undoubtedly, they originate from a small village near Utrecht called Vianen. The history of the silversmiths within the Van Vianen family starts off with the married couple Willem van Vianen and Elisabeth Pelser in the late 16th century. They had several children, including the two well-know silversmiths Adam and Paulus van Vianen. Christiaen van Vianen, son of Adam van Vianen and Catharina van Wapenvelt, continued the line of silversmiths within the Van Vianen family.

Christiaen van Vianen probably learned his profession from his father Adam van Vianen. One can draw this conclusion not only from a stylistical base by comparing their work, but it is also emphasised by the fact that Christiaen continued his father´s activities in his workshop after his death. This can be shown by means of his maker’s mark, which was composed out of his father´s initials AV and that Christiaen also registered a year after his father’s death. Consignments for Adam van Vianen, which he had received from his patrons before he died, were handed over to his son Christiaen, see Ter Molen I, p. 32.

Whereas Adam spent his whole life in his hometown Utrecht in the middle part of the Netherlands, Christiaen’s career as a silversmith primarily took place in England. Only a few years after his father’s death, Christiaen moved to England and started to work for the English Court of King Charles I and for several members of the higher nobility. Christiaen returned to his home country in circa 1643, as a result of the Civil War in England. However, in 1660, he returned to England again to offer his services to Charles II, the new King of England. Christiaen van Vianen died in England in 1667, see Ter Molen I, pp. 35-40.

Both Adam and Christiaen, received various commissions by important patrons. While Adam’s patrons were primarily of Dutch origin, Christiaen had a more international clientèle. Consequently, Adam’s silver objects did not become part of the important Royal collections of that time, in contrast to the silver objects made by his son. Adam mainly worked for several Dutch guilds, boards of governors, and various private collectors, who were part of circles of stadholders, regents and aristocrats.

Christiaen followed his father’s footsteps in the beginning of his career, but gradually followed his own course; his stay in England expedited this. Nevertheless he did not distance himself from his father’s ideas. This is underlined by the fact that Christiaen collected his father’s designs and published them as Constighe Modellen in 1650. It contains forty-three designs; it is not unlikely that Christiaen made some of these designs. They were etched by Theodor van Kessel and published in a possibly limited edition. On the title page of Constighe Modellen it is says that the majority of the designs have been actually executed. However, only few etches can be linked to silver objects; the silver-gilt bowl that we are offering is one of the few that remained (fig.5/6).

The style of Christiaen van Vianen in relation to the bowl

Characteristic for the bowl on offer is its lobated style. This style first appeared in the Netherlands in the beginning of the 17th century. It was inspired by developments in ornamentation in Italy. The most striking feature of this style is the organic form; artists integrated the structure of nature in their work. Adam and his brother Paulus introduced the lobated style in their work around 1600. Initially, the lobe only had a decorative function, but it did not take long before they started to use it as the base of their work. Christiaen adapted the lobated style from his father and uncle Paulus. Although both Adam and Christiaen integrated the lobated style in their work quite similarly, there are several differences that distinguish their work. These dissimilarities determine the attribution of this bowl. Three stylistic features of the bowl can be recognised that make it likely that it was Christiaen van Vianen, rather than his father Adam, who made this masterpiece. First of all, the waves on the cover of the bowl are typical for Christiaen’s work from this period (see detail above). For example, by comparing this wave pattern with the waves on the dish with the fools´ heads dated 1627, or the ewer and basin from 1632, or with the dish with the dolphin border from 1635, one can see the recurring motif of the waves. Secondly, the way in which the dolphin motif is integrated in the waves, is very similar to the objects mentioned above. Both motifs are not found in Adam’s work. Finally, the projecting tongue of the dolphin on the cover is typical for Christiaen’s method of working; instead of making the head out of one piece, like his father would have done, he attached the tongue (see detail).

There are several other arguments that reinforce this attribution. For instance the gilding of the bowl is a contemporary mercury gilding. At that time gilding was a common practice in England and not in the Netherlands. It is very well possible that Christiaen sold this bowl during his long stay in England. However, it is improbable that Christiaen made this bowl in England, because there are traces of Dutch Guild marks. It is remarkable is that these marks have been scratched out. A trace of a shield can be found, which has been scratched out as well. This shield could be a part of the maker´s mark of Christiaen van Vianen, or a part of a date letter of Utrecht. It is likely that the bowl was made around 1630. This dating is underlined by the fact that Christiaen moved to England in the early thirties of the 17th century. The stylistic features of the bowl mentioned above also emphasise this. It is possible that Christiaen van Vianen made the bowl in Utrecht around 1630 and that he took the bowl to England as a part of his inventory. The bowl might have been gilded by Christiaen van Vianen for the contemporary English market and sold to someone of the wide circle of the English court of King Charles I or to an important person of the higher nobility, since they were his commissioners.

The bowl now offered is probably used as a drinking bowl and is later re-shaped into a sauceboat. Drinking vessels were common utensils at the English court of that time; everyone had his own vessel. The design in Constighe Modellen also shows that it is very likely that the bowl was originally made as a vessel.

Associated Literature:

Auction: Johannes Ratelband, Anthony Grill, La Haye, 14.IV.1728, pp. 29-32; Auction: Anthony Grill, La Haye. 10.IV.1776; Auction: B. Scheurleer, Arnout Vosmaer, La Haye, 26.III.1800, pp. 291-298; Auction: B. Scheurleer, Bibliotheca Schuylenburchiana (coll. De Schuylenburch de Bommenede), La Haye, 10.VII.1820, pp.117-120; Biografisch Woordenboek der Nederlanden, Vol. XVII & XVIII, Haarlem, 1874; Portretten zonder lijnen, aangeboden aan de kiezers voor den Gemeenteraad bij de beoordeling van de 13 afgetreden leden, Amsterdam, 1885; Exh. Cat., Catalogus der Tentoonstelling van Kunstvoorwerpen in vroegere eeuwen uit edele metalen vervaardigd, Arti et Amicitiae, Amsterdam, 1886; Exh. Cat., Officieele catalogus der Nationale Tentoonstelling van Oude en Nieuwe Kunstnijverheid in den Koekamp, ’s-Gravenhage, 1888; Adam van Vianen, Modelles Artificiels, The Hague, 1892, reprint; Nederland’s Adelsboek, The Hague, jrg. 1917; George Rosenthal, 8 April 1828-1908, Eigen Haard, jrg. 34, no. 14, 1908, pp. 212-218; Exh. Cat. Catalogus der Historische Tentoonstelling, Amsterdam, 1925; Nieuw Nederlandsch Biografisch Woordenboek, deel IV, Leiden, 1918; Persoonlijkheden in het Koninkrijk der Nederlanden in woord en beeld, Nederlanders en hun werk, Amsterdam, 1938; J.W. Frederiks, Dutch Silver, Vol. I, The Hague, 1952; M.H. Gans, Memorbook, History of Dutch Jewry from the Renaissance to 1940, Baarn, 1971; Historische Gids van Amsterdam, Vol. II, Amsterdam, 1971; A.M. von Graevenitz, Das niederländische Ohrmuschel-Ornament; Phänomen und Entwicklung dargestellt an der Werken und Entwürfen der Goldschmiedefamilien van Vianen und Lutma, diss. München, 1973; K.A. Citroen, Amsterdamse zilversmeden en hun merken, Amsterdam, 1975; Jubileumtentoonstelling Bibliotheca Rosenthaliana, Ons Amsterdam, jrg. 32, no. 11, 1980, pp. 290-294; Biografisch Woordenboek van Nederland, Vol. III, The Hague, 1983; J.R. ter Molen, Van Vianen, een Utrechtse familie van zilversmeden met een internationale faam, Vol. I & II, Rotterdam, 1984; P. Hofland, Leden van de Raad, de Amsterdamse gemeenteraad 1814-1941, Amsterdam, 1998.