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拍品专文
The arms are those of Wilhelm Praun or von Praun, of Lower Austria.
SOUTHERN GERMANY AND RENAISSANCE TAZZA
A tazza is a drinking vessel that appears during the Renaissance, and originated in Venice where they were made of glass. These were first and foremost purely ornamental, displayed on the buffet, they were also used as a drinking vessel or as bowl for fruits and sweets as shown in contemporary paintings, notably that of Flemish artist Antoon Claeissens (circa 1536-1613), ‘the Burghers of Bruges’ now in the Groeningemuseum in Bruges (A. no. GRO0023.I). Their function might explain why they were frequently commissioned in sets of at least a dozen, although an exceptionally large group of fifty-four survive in the Museo degli Argenti, Palazzo Pitti in Florence, ordered by Wolf Dietrich von Raitenau, Archibishop of Salzburg (1587-1612) from the most respected Augsburg makers and comprising forty-eight by Paul Hübner and six probably by Kornelius Erb.
Indeed these silver footed bowls were made mainly in Southern Germany, Switzerland and the Netherlands; in Southern Germany it was the Augsburg goldsmiths who excelled in this field. The scenes chased and embossed in the bowls of these tazze are amongst the finest examples of Renaissance goldsmithing and generally depict narrative scenes in a landscape with a preference for the Old Testament, the Twelve Months, the Four Elements or the Cardinal Virtues.
To accommodate the fashion for decorating the whole surface of objects city councils made special efforts to attract competent engravers to fulfil the demand for new ideas or for new interpretations of existing iconography. Nuremberg thus granted honorary citizenship to such engravers including Erasmus Hornick of Antwerp (c. 1524-1583) and Jost Amman (d. 1591) from Zürich. However as the activity of engravers was unrestricted, there is generally no record of them acquiring guild membership and it is through the publication of their designs that their presence is known for example the itinerant Huguenot Daniel Mignot (fl. 1593-1616), published in Augsburg a series of designs for ornament and jewelry between 1593 and 1596 (Y.Hackenbroch, Renaissance Jewellery, London, 1979, pp. 178-180), similarly Etienne Delaune is recorded as living in Augsburg in 1576.
ETIENNE DELAUNE (1518-1583): THE MOST EUROPEAN ARTIST OF THE RENAISSANCE
The bowl of this tazza is embossed and chased with cartouches flanked by fruiting trophies characteristic of European Mannerism and directly inspired by the designs of Etienne Delaune, arguably the most international of Renaissance ornemanistes.
Delaune’s designs were a great source of inspiration not only for craftsmen in general, but especially for goldsmiths, no doubt because he had himself apprenticed as a goldsmith and even worked for a time as a journeyman, however, as he was unable to become a master, he devoted himself entirely to engraving in order to earn a living.
Religious subjects comprise a large portion of his work, with a clear preference for the Old Testament, and especially Genesis, which can be explained by the fact that Delaune, despite claiming he was Catholic, was probably Protestant. Thus following the St Bartholomew's Day massacre on 24 August 1572 and the religious tensions that ensued, he first took refuge in Strasbourg in 1573, a reformed city, where he was granted the right to 'practice his art and trade'(J. Rohou, Graver la Renaissance, Etienne Delaune et les Arts Décoratifs, Paris, 2019, p. 21). From there, Delaune led an itinerant life, taking on commissions from Augsburg and Nuremberg. Certainly in 1575-1576 he was working in Augsburg producing several designs intended for goldsmiths, and which would greatly influence local style. In 1577 Delaune returned to Strasbourg, moving to Paris in 1580, where he died around 1583.
DELAUNE’S ADAPTABLE DESIGNS
Etienne Delaune worked in small formats, making his designs easy to transpose and adapt. One of his most popular series, the Twelve Months, was widely used over the years by silversmiths and artists. The composition here is different from the usual design of a tazza with a large central horizontal scene, but it is made up of five cartouches arranged concentrically and framed by high relief strapwork as developed by the Fontainebleau masters. For the scenes chased in the center of the bowl of this tazza, the goldsmith appears to have taken inspiration from a drawing ‘for the decoration of the underside of a tazza’ (Victoria and Albert Museum Acc. No. E.2488-1929) with its four oval cartouches depicting Faith, Hope, Charity and Divine Inspiration framed by two alternative designs of strapwork for the space in between. For the cartouche scenes, he combined this lay out with two engravings, Pax and Abondantia from the Allegorical Suite which also included Bellum and Invidia’ after Baptiste Pellerin (fl. 1543-1575). The goldsmith included Delaune’s Pax and Abondantia for his depiction of Justice and Temperance, adapting the designs, as was then usual, by cutting the burning armor in Pax and the horn of plenty from Abondantia.
SOUTHERN GERMANY AND RENAISSANCE TAZZA
A tazza is a drinking vessel that appears during the Renaissance, and originated in Venice where they were made of glass. These were first and foremost purely ornamental, displayed on the buffet, they were also used as a drinking vessel or as bowl for fruits and sweets as shown in contemporary paintings, notably that of Flemish artist Antoon Claeissens (circa 1536-1613), ‘the Burghers of Bruges’ now in the Groeningemuseum in Bruges (A. no. GRO0023.I). Their function might explain why they were frequently commissioned in sets of at least a dozen, although an exceptionally large group of fifty-four survive in the Museo degli Argenti, Palazzo Pitti in Florence, ordered by Wolf Dietrich von Raitenau, Archibishop of Salzburg (1587-1612) from the most respected Augsburg makers and comprising forty-eight by Paul Hübner and six probably by Kornelius Erb.
Indeed these silver footed bowls were made mainly in Southern Germany, Switzerland and the Netherlands; in Southern Germany it was the Augsburg goldsmiths who excelled in this field. The scenes chased and embossed in the bowls of these tazze are amongst the finest examples of Renaissance goldsmithing and generally depict narrative scenes in a landscape with a preference for the Old Testament, the Twelve Months, the Four Elements or the Cardinal Virtues.
To accommodate the fashion for decorating the whole surface of objects city councils made special efforts to attract competent engravers to fulfil the demand for new ideas or for new interpretations of existing iconography. Nuremberg thus granted honorary citizenship to such engravers including Erasmus Hornick of Antwerp (c. 1524-1583) and Jost Amman (d. 1591) from Zürich. However as the activity of engravers was unrestricted, there is generally no record of them acquiring guild membership and it is through the publication of their designs that their presence is known for example the itinerant Huguenot Daniel Mignot (fl. 1593-1616), published in Augsburg a series of designs for ornament and jewelry between 1593 and 1596 (Y.Hackenbroch, Renaissance Jewellery, London, 1979, pp. 178-180), similarly Etienne Delaune is recorded as living in Augsburg in 1576.
ETIENNE DELAUNE (1518-1583): THE MOST EUROPEAN ARTIST OF THE RENAISSANCE
The bowl of this tazza is embossed and chased with cartouches flanked by fruiting trophies characteristic of European Mannerism and directly inspired by the designs of Etienne Delaune, arguably the most international of Renaissance ornemanistes.
Delaune’s designs were a great source of inspiration not only for craftsmen in general, but especially for goldsmiths, no doubt because he had himself apprenticed as a goldsmith and even worked for a time as a journeyman, however, as he was unable to become a master, he devoted himself entirely to engraving in order to earn a living.
Religious subjects comprise a large portion of his work, with a clear preference for the Old Testament, and especially Genesis, which can be explained by the fact that Delaune, despite claiming he was Catholic, was probably Protestant. Thus following the St Bartholomew's Day massacre on 24 August 1572 and the religious tensions that ensued, he first took refuge in Strasbourg in 1573, a reformed city, where he was granted the right to 'practice his art and trade'(J. Rohou, Graver la Renaissance, Etienne Delaune et les Arts Décoratifs, Paris, 2019, p. 21). From there, Delaune led an itinerant life, taking on commissions from Augsburg and Nuremberg. Certainly in 1575-1576 he was working in Augsburg producing several designs intended for goldsmiths, and which would greatly influence local style. In 1577 Delaune returned to Strasbourg, moving to Paris in 1580, where he died around 1583.
DELAUNE’S ADAPTABLE DESIGNS
Etienne Delaune worked in small formats, making his designs easy to transpose and adapt. One of his most popular series, the Twelve Months, was widely used over the years by silversmiths and artists. The composition here is different from the usual design of a tazza with a large central horizontal scene, but it is made up of five cartouches arranged concentrically and framed by high relief strapwork as developed by the Fontainebleau masters. For the scenes chased in the center of the bowl of this tazza, the goldsmith appears to have taken inspiration from a drawing ‘for the decoration of the underside of a tazza’ (Victoria and Albert Museum Acc. No. E.2488-1929) with its four oval cartouches depicting Faith, Hope, Charity and Divine Inspiration framed by two alternative designs of strapwork for the space in between. For the cartouche scenes, he combined this lay out with two engravings, Pax and Abondantia from the Allegorical Suite which also included Bellum and Invidia’ after Baptiste Pellerin (fl. 1543-1575). The goldsmith included Delaune’s Pax and Abondantia for his depiction of Justice and Temperance, adapting the designs, as was then usual, by cutting the burning armor in Pax and the horn of plenty from Abondantia.