PROPERTY RESTITUTED TO THE ESTATE OF MARGARETE OPPENHEIM
A large continental silver triform salt or stand, possibly circa 1900
拍品已售
3,500 歐元
成交價 (含買家佣金)
拍品詳情
Style : Mobilier, Objets d’art et Orfèvrerie
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巴黎
巴黎
A large continental silver triform salt or stand, possibly circa 1900
embossed and chased with mermaids entwining their hands, on dolphins, interrupted by lobate masks, struck with AV conjoined mark and date letter ? R
17 cm, 610,6 g ; 6 1/2in. high 19oz 12dwt
參閱狀況報告
參閱狀況報告
17 cm, 610,6 g ; 6 1/2in. high 19oz 12dwt
來源
M.G.R collection Berlin, 1906
Collection Margarete Oppenheim
1936 by donation to the Schloßmuseum, Berlin (Kunstgewerbe Museum (Stiftung Preussischer Kulturbesitz))
2017 Restitution to the Margarete Oppenheim heirs.
Collection Margarete Oppenheim
1936 by donation to the Schloßmuseum, Berlin (Kunstgewerbe Museum (Stiftung Preussischer Kulturbesitz))
2017 Restitution to the Margarete Oppenheim heirs.
展覽
Kunstgwerbe Museum, Berlin, (Stiftung Preussischer Kulturbesitz), from 1928
Zeldzaam Zilver uit de Gouden Eeuw, de Utrechtse edelsmeden, Central Museum, Utrecht, 14 December 1984-10 February 1985, no. 141
Zeldzaam Zilver uit de Gouden Eeuw, de Utrechtse edelsmeden, Central Museum, Utrecht, 14 December 1984-10 February 1985, no. 141
出版
Otto von Falke and A.L. Mayer,`Silberarbeiten von Adam van Vianen', in Pantheon, Monatsschrift für Freunde und Sammler der Kunst, vol I, 1928, Jan-June, pp 232 et sec.
J.R Ter Molen, doctoral thesis, Van Vianen een Utrechtse familie van zilversmeden met een internationale faam, University of Leiden, 1984, no. 521
相關資料
The salt now offered for sale can be compared with two designs for salts by Adam van Vianen, in pen and red ink. The designs which include the same three mermaids and dolphins and much of the lobate ornament found on the salt, are in the Nationalmuseum Stockholm (Zeldaam Zilver op. cit. no 92). An engraving after the larger of the two designs by Theodore van Kessel, published by Adam van Vianen’s son Christiaen, in Constighe modellen….around 1640 is included as number 20 in that publication. Many of the Constighe modellen prints relate to items by Adam van Vianen that still exist.
In his article for Pantheon written in 1928 (see literature), Otto van Falke was in no doubt that the salt now offered was a genuine work by Adam van Vianen. At the time of the article, when it was being exhibited in the Schlossmuseum Berlin, the salt was compared to a ewer by Adam van Vianen (ter Molen no. 522), apparently marked for Utrecht, 1610, which the same museum had purchased in 1926 for 8000 reichmarks. Both the salt and the ewer which have been published and exhibited on numerous occasions since 1928 (the salt also on a number of occasions before 1928) are considered by Ter Molen (see literature 1984) to be copies, not original works by Adam van Vianen. In the Utrecht exhibition of 1984/85 the cataloguer of the salt considered it to be a work of around 1900, `Waarschijnlijk door de Haagse Zilversmid T. Saakes’.
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