German, probably Berlin or Dresden, early 18th century

with two old paper inventory labels to the underside, the first printed: HISTORISCHES / MUSEUM / MÜNCHEN and inscribed in pen: 37/684; the second printed: * H.E.B. * , inscribed in ink: B[?] and with further illegible ink inscriptions

Emma Budge, Hamburg;
her forced sale Berlin, Paul Graupe, Die Sammlung Frau Emma Budge, Hamburg, 27-29 September 1937, lot 227, pl. 56;
acquired by the Münchner Stadtmuseum, Munich (inv. no. 37 / 684);
restituted to the heirs of Emma Budge in 2012

Y. Hackenbroch and M. Sframeli, I Gioielli dell'elettrice Palatina al Museo degli Argenti. The Jewels of the Electress Palatine in the Museo degli Argenti, Florence, 1988, pp. 132-4, no. 52 (mentioned)

Overall the condition of the group is good. There are glue restorations to the figure, in particular to his legs, the tails of this coat, his apron, hat and proper right arm. There are small losses to the ivory and mother of pearl, including one to the front of the hat. The silver and silver-gilt is oxidized. Some of the ivory panels of the base may be reattached. The figure and parts of the machine are stable but slightly loose. The silver and metal mounts on the base are probably later. The proper right pocket flap is detached but may be easily reattached.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Courtly interest in peasant life flourished towards the end of the 17th century with the introduction of Wirtschaften (or taverns) to the palaces of Saxony and Prussia, in which courtiers, dressed in differing guises, from milkmaids to blacksmiths, would live out idealised pastoral fantasies. Representative of these events was the Scherenschleifer-Wirtschaft (or Grinder's Feast) hosted by Sophie Charlotte, wife of Frederich of Brandenburg, in 1690, at which princes were compared to knife-grinders, bettering their subjects as the grinder sharpens his knife.

The present figure reflects the interest in knife-grinders following Sophie Charlotte's feast. A similar ensemble, adorned with diamonds and other precious materials, but with a youthful knife-grinder, possibly a prince in costume, was acquired by Anna Maria Luisa de' Medici, Electress Palatine and can be found in the Museo degli Argenti, Florence (inv. no. Gemme 1921 no. 2574). An example in the Grünes Gewölbe, Dresden, presents a wisened old man, bent-double, his lank hair dangling over his machine as he peddles (inv. no. VI 188). This less idealised conception of the grinder accords with the present stooped figure, who, squinting, grips his pipe between his teeth. One final comparison is with a knife-grinder, also partly composed of tortoiseshell (machine now lost), in the Staatliches Museum Schwerin (inv. no. KH 2490). A small number of further ivory knife-grinders are recorded, including examples in the Hermitage, formerly at Mentmore (sold Sotheby's, 18-23 May, 1977, lot. 1891) and in the Schatzkammer in Munich (Hackenbroch, op. cit. p. 134).

Hackenbroch and Sframeli conclude that each of these figures would have been specifically commissoned to commemorate Sophie Charlotte's feast (Hackenbroch, op. cit. p. 134). This suggestion is given credence by the rarity of such groups and the fact that they each differ from one another, underscoring their status as bespoke commissions, which were possibly presented as gifts to favoured courtiers.

RELATED LITERATURE
M. Mosco and O. Casazza, The Museo degli Argenti. Collections and Collectors, Florence and Milan, 2004, pp. 192-193, fig. 16; K. A. Möller, Elfenbein. Kunstwerke des Barock, Staatliches Museum Schwerin, 2000, pp. 143-145, nos. 92 and 94