Museum Schwerin Staatliches EN
Contents Foreword 7 Art for the Present: On the History of the Collection and the Museum 8 Modern & Contemporary Prologue: When Courtly Art Meets the Present 32 From the Court to the Stock Exchange 36 The Modern Age: A New Dawn 42 Modernism 48 Tobias Rehberger 54 East German Perspectives 58 Altar Room – AI in the Museum 64 Marcel Duchamp: Driving Force of 20th and 21st Century Art 68 Colour, Light and Space 74 1 2 3 4 5 6 7 8 9
10 11 12 13 14 15 Old Masters Interiors and Still Lifes 86 Cabinet Pictures 90 Histories and People 96 Landscapes 100 The Christoph Müller Collection 104 Menageries 110 Treasury 116 The Art of Painting Is Female 124 Early German Art 128 The Schwerin Department of Prints, Drawings and Photographs 134 A Place for Everyone to Discover, Experience and Enjoy 140 Picture Credits 143 Colophon 144 16 17 18 19
4 1 Modern & Contemporary KunstBau Side entrance Studio Café/ Shop The View Side entrance
5 2 Old Masters Main entrance via staircase
7 Foreword After four years of renovation, the moment finally arrived: as of October 2025 we are open to the public again. The art has once more returned to our refurbished rooms, offering new ways of experiencing and appreciating the artworks. In our newly expanded exhibition space you are now invited to explore the collection thematically, draw connections across different eras and see the works from fresh angles. A particular highlight is the immersive installation by Tobias Rehberger, created especially for the museum. Blending architecture, design, painting and sculpture, it stimulates the senses while inviting playful exploration. Those who look more closely will be richly rewarded. The Staatliches Museum Schwerin is now more vibrant and active than ever – only for the people of Schwerin and Mecklenburg-Vorpommern, but even further afield. Our aim is to spark enthusiasm for art and encourage discovery and new thoughts, inspiring visitors to linger, marvel and exchange ideas. The museum is now more child-friendly, more digital and more interactive – with almost complete step-free access. The café and shop have also been refurbished. We are especially grateful to the Dorit & Alexander Otto Stiftung, whose generous support has enabled us to restore our historic 1882 building in keeping with its heritage status, and to share this new beginning with you. This book is your compact companion to our collection and exhibition spaces. We wish you a wonderful time exploring the museum! Dr Pirko Kristin Zinnow Director and the entire team of the Staatliches Museum Schwerin
8 What began as one duke’s passion for art has become a jewel in the crown of Germany’s cultural landscape. Among German museums, the Staatliches Museum Schwerin has always enjoyed an excellent reputation for its remarkable collection of Netherlandish paintings from the 17th century. Just as remarkable among the Old Masters is the group of animal paintings by the 18th-century French painter Jean-Baptiste Oudry, the largest such group worldwide. To this day, to some degree the museum’s holdings retain the encyclopaedic character of a princely collection, for, in addition to paintings, they also encompass outstanding works of decorative art, drawings, prints as well as coins and medals. Since the inauguration of the museum building in the late 19th century, the collection has steadily continued to grow – always with a focus on the art of the day. This allows one to trace the various trends and ‘isms’ of modern art right up to the present time – showcasing, for example, the Schwaan and Ahrenshoop artists’ colonies, which were influenced by Impressionism and Expressionism, and the diverse art scene in the GDR. Art for the Present: History of the Collection and the Museum
9 Since German reunification, the Staatliches Museum Schwerin has emerged as a foremost site of Conceptual Art in the country. The superb collection of works by Marcel Duchamp is not only one of the largest in Europe, it is also perfectly complemented by extensive holdings of objects from the Fluxus movement and Mail Art. The Ducal Collections Much of the extensive collection of Old Masters in Schwerin can be traced back to Duke Christian Ludwig II. He installed many of his acquisitions in the Picture Gallery, a specially built extension to the old schloss, where he displayed paintings alongside a wide range of works of art and various other objects: small-format sculptures, porcelain figurines, ivory carvings, goldsmiths’ work, chinoiseries, ethnographic and natural objects (naturalia), his collection of engravings and much more. Further to his direct contact with several artists, Christian Ludwig II also cultivated contacts with art dealers and agents in cities such as Amsterdam, The Hague, Paris, Berlin, Dresden and elsewhere, who kept him informed about sales and auctions of works of art. Family members and court officials, among Oudry Gallery on the upper floor
them his court artists, were often also actively involved in the acquisition of works of fine and decorative art when they travelled abroad. His youngest son Ludwig, for example, collected coins and medals, which became an important building block for the incipient coin cabinet. After Christian Ludwig’s death, his eldest son and successor Friedrich II, who had been involved in art purchases as crown prince, scaled back the acquisitions to timepieces, and paintings by the court portraitists. His particular interest was architecture, and he brought his ideas to bear on the design of the buildings he commissioned. These included the Ludwigslust Court Church and Ludwigslust Palace, which replaced his father’s small hunting lodge. The Picture Gallery in Schwerin’s old schloss fell dormant, not least because the princely family now spent most of its time at Ludwigslust. Friedrich II’s son, Friedrich Franz I, acquired an extensive collection of Old Master drawings and prints from the collection of the late Elector Maximilian of Cologne, which belong to the core holdings of today’s Department of Prints, Drawings and Photographs. It was not until 1837 that the new Grand Duke Paul Friedrich decided to restore Schwerin to the status of a true princely residence. Instead of being just the administrative seat, it once again became a city where the prince and his court resided, investing it with a certain lustre and stately 10 Georg Weissmann (1706–1760) Portrait of Christian Ludwig II of Mecklenburg-Schwerin, 1731 Oil on canvas SSGK-MV, inv. no. 3757
appeal. To mark this reversal in Schwerin’s fortunes, construction work began on a modern princely palace. However, Paul Friedrich did not live to see it finished. At the time of his death at the age of just 41 in 1842, only the foundations of the building had been completed. His son, Friedrich Franz II, had different ideas and embarked on a radical remodelling of the old schloss of Schwerin. The art collections had to be moved into two specially rented houses on the Pfaffenteich lake, where they were now open to the public for the first time. During this period, numerous works of Italian, early German and early Netherlandish art were acquired, evidently with the aim of transforming the princely collections into a museum informed by the ideals of educated middle-class citizens. The driving force behind these efforts was Eduard Prosch, the Grand Duke’s ‘superintendent of art’ (or surveyor of the Grand Ducal Collections), who was in contact with numerous art dealers. He was also responsible for the large-scale transfer of older works of art from churches in the region. Much of the collection of early German paintings and sculptures – for example, the Tempzin Altarpiece of 1411 and the altarpiece from Lübeck’s Jakobikirche from 1435, better known as the Neustädter Altarpiece – goes back to these divestures. 11 Theodor Schloepke (1812–1878) View of the Approach Beneath the Picture Gallery, 1845 Pencil, watercolour SSGK-MV, inv. no. 2691 Hz
32 1 Prologue: When Courtly Art Meets the Present The art created for, or acquired by, the Mecklenburg court forms the foundation of the Schwerin collection. It offers insight into a period of lively artistic and intellectual exchange that left a lasting mark on the European artistic landscape. Artists associated with the court of Mecklenburg, such as Georg David Matthieu (1737–1778), Theodor Schloepke (1812–1878), Johann Heinrich Suhrlandt (1742– 1827), Rudolf Suhrlandt (1781–1862) and Johann Alexander Thiele (1685–1752), were actors in a wide-reaching network of artistic production and reception. Their works reflect the continually shifting aesthetic and political expectations of their courtly patrons. By adopting innovative techniques, fashionable styles and new subjects from leading German and European art centres, these artists significantly enhanced the prestige of the ducal family. The prologue brings art from past and present into direct dialogue, generating fresh insights into both historical and contemporary works. Through unexpected juxtapositions, it becomes clear how the impulses of Baroque and Rococo art continue to resonate today – whether through reinterpretation, reimagining or critical reframing. This exploration addresses not only aesthetic and technical concerns but also social and political themes, including courtly representation and the use of art as a tool to shape identity and to project power. _ SaS
Connections between individual works and groups of works emerge at times immediately and overtly, at other times subtly and understatedly. Alongside objects from the museum’s own collection – such as the chantournés (from the French chantourner, ‘to saw out’) by Georg David Matthieu and ‘Cutouts’ by Alex Katz (b. 1927) – outstanding loans are presented to reveal both formal and thematic continuities and ruptures. These juxtapositions demonstrate how historical works reflect the ideas and ideals of their time, while also offering impulses for contemporary art-making. What relevance does the art of the past hold for the present? How do tradition and innovation intersect in these works? And what new interpretations emerge from their encounter? _ SaS Georg David Matthieu (1737–1778) Ulrike Sophie, Duchess of Mecklenburg- Schwerin, 1769 Oil on panel 145 × 94 × 14 cm Inv. no. G 211 34
35 Alex Katz (b. 1927) Black Dress 3 (Oona), 2018 Cutout from shaped powder-coated aluminium 61 × 19 × 8 cm, Inv. no. Pl. 661
36 From the Court to the Stock Exchange At the turn of the 12th century in Mecklenburg, the Counts of Schwerin started to issue coins, followed soon after by the Dukes of Mecklenburg. These early coins were bracteates – thin silver pieces struck on one side only – sometimes referred to as Hohlpfennige or ‘hollow pennies’. Larger denominations, such as the ‘Witten’, were introduced later. By the early modern period, the thaler had become one of the most widely recognised large silver coins, and its name survives today in the word ‘dollar’. Mints also struck gold coins, though their high material value meant they were rarely used for everyday transactions. Medals, though similar in appearance to coins, served a different purpose. Rather than functioning as currency, they commemorated significant events and were intended to preserve these for posterity. Whether marking a ducal wedding in Mecklenburg or the construction of Schloss Schwerin in the early modern period, medals were created as lasting tokens of remembrance. Coins have played a central role in commerce for more than 2,000 years. From the Greek drachma and Roman denarius – both precursors to the penny – to the early-modern thaler, coins were the main medium of monetary exchange. Well into the 19th century, coinage made of gold, silver or copper remained the dominant form of currency. One currency eventually rose to global prominence: the US dollar. Legend has it that its symbol, $, originated from the superimposed letters U and S, with one vertical stroke omitted. This sign became an unrivalled emblem of economic power and wealth. Unsurprisingly, it has become a recurring motif in contemporary art. Today, cashless payments, online banking and mobile transactions are part of everyday life. Growing public attention is now focused on Bitcoin (₿), a decentralised digital currency, marking a new chapter in the evolving history of money. _TF 2
38 Albrecht von Wallenstein, Duke of Mecklenburg, Friedland and Sagan, 1632 Thaler, mint of Gitschin (Jičín), silver, inv. no. Mü 18181 Albrecht von Wallenstein (1583–1634), the renowned military commander of the Thirty Years’ War, was granted the Duchy of Mecklenburg by the Holy Roman Emperor in 1629. He introduced a variety of reforms to modernise the territory and planned extensive renovations to Schloss Güstrow, his official residence. However, many of these measures were reversed when the Dukes of Mecklenburg returned from exile. Wallenstein also launched a largescale coinage programme. His motto was: ‘Let us mint boldly’, and he justified his actions with the words: ‘Yet I do this not for profit, but for reputation.’ In line with this, he ensured that his imperial title, Herzog von Mecklenburg (‘Duke of Mecklenburg’), was displayed prominently on the coins. This thaler was acquired in September 2024 with the generous support of Fritz Rudolf Künker GmbH & Co. KG, Osnabrück. _TF
39 Barthold Meyer († 1702) Duke Friedrich Wilhelm of Mecklenburg-Schwerin, 1701 Medal commemorating the Treaty of Hamburg silver, inv. no. Mü 9966 The Treaty of Hamburg of 1701 formally established the two principalities of Mecklenburg-Schwerin and Mecklenburg-Strelitz. As Duke Friedrich Wilhelm of MecklenburgSchwerin (r. 1692–1713) received the larger and more influential share of the territory, including most of the former Mecklenburg-Güstrow, he regarded himself as the clear victor. This shift in the balance of power was soon reflected in a series of state-affirming medals. On the obverse, Friedrich Wilhelm is shown in a pose that asserts his sovereign authority. The reverse conveys the message that the duke had reunited the land. Schloss Schwerin (right) and Schloss Güstrow (left), representing the formerly separate centres of power, are deliberately included as symbols of the newly reconfigured ducal order. Yet the design goes beyond architectural representation: the two buildings are linked by chains to the nose ring of a crowned bull’s head at the centre – a potent emblem of Mecklenburg and its princely dynasty. _TF
58 East German Perspectives The collection of the Staatliches Museum Schwerin offers a richly nuanced account of the development of East German art from 1945 through to German reunification in 1990 and beyond. Despite the cultural and political constraints of the GDR, the works reflect a striking diversity of styles and themes. Common subjects include landscapes, still lifes, portraits and mythological figures. Many incorporate metaphorical or allegorical layers that, at times, express a veiled critique of prevailing political and social conditions. Even during the GDR period, the museum acquired works that deviated from the state-sanctioned imagery showing only the material-based conditions of life. These acquisitions, by artists like Willy Wolff (1905–1985) and René Graetz (1908–1974), helped foreground artistic approaches that stood apart from Socialist Realism, which remained the state-prescribed ideal until the end of the GDR. The collection places particular emphasis on Mail Art, a movement that emerged in the 1960s and functioned as a subversive communication network until 1989. Highlights include prints by the artist couple Robert Rehfeldt (1931–1993) and Ruth Wolf-Rehfeldt (1932– 2024). The collection continues to grow, with new acquisitions from both the GDR period and the years following reunification. Its aim is to reflect the multifaceted nature of East German art and to highlight artistic responses to the far-reaching transformations that have taken place since 1990. One of the most recent additions is the 2022 painting And Then the Sky Was Red by Cornelia Schleime (b. 1953). _SaS 6
60 René Graetz (1908–1974) Inborn Power, 1970 Bronze cast, 73 × 44 × 35 cm Inv. no. Pl. 529 René Graetz’s Inborn Power resembles an organic form emanating energy from within. The sculpture reflects the influence of British artist Henry Moore (1898–1986), whom Graetz had met in London 25 years earlier. While Graetz focused on realistic depictions of the human body in the early stages of his career (see opposite), he turned to a more abstract visual language towards the end of his life. Inborn Power marks the beginning of the Upright Figures series, featuring vertical, biomorphic forms that stood in stark contrast to the officially sanctioned aesthetic of Socialist Realism in the GDR. Even the English title that Graetz gave to the work can be seen as a subtle act of dissent. Another version of the sculpture, this time cast in white concrete, is installed in the Skulpturenpark Magdeburg. _SaS
61 René Graetz Standing Nude, 1957 Bronze cast, 71 × 19 × 15 cm Inv. no. Pl. 475
62 Bernhard Heisig (1925–2011) Learning to Fly in the Courtyard, 1996 Oil on canvas, 215 × 200 cm Inv. no. G 3785 In Learning to Fly in the Courtyard, Bernhard Heisig revisits the figure of Icarus from Greek mythology, a recurring theme in East German art. The painting depicts a couple’s failed attempt to fly out into the wider world in a contraption reminiscent of Otto Lilienthal’s early flying machines. Their endeavour ends in disaster when they crash to the ground. Heisig pushes the futility of escaping the tenement-house courtyard to the point of grotesque exaggeration. The aircraft appears to be made of umbrellas, the woman’s skirt has ridden up and although both have already fallen, the man still clings to the controls. Residents of the surrounding block leer at the scene with voyeuristic glee. The raw, at times coarse visual language is intensified by the thick impasto of the brushwork. By invoking Icarus, Heisig reflects on the experience of many in the GDR who lived under political and artistic constraints and could escape only through their imagination. Painted after the reunification, the courtyard can also be read as a broader symbol of confinement, as well as an allusion to the challenges faced by many East Germans in navigating their newfound freedom after 1990. _PP
63 Cornelia Schleime (b. 1953) And Then the Sky Was Red, 2022 Acrylic, asphaltum varnish and shellac on canvas 160 × 120 cm, inv. no. G 4142 The protagonist’s intense gaze draws us into Cornelia Schleime’s surreal pictorial world. The eponymous red sky lends the scene an unsettling, charged atmosphere. In front of the young woman lies a dead bird, its eyes open. Her black clothing, upturned collar and piercing stare give her an ominous presence. Is she responsible for the bird’s death? Or does its colourful plumage, faintly reflected in her hair, symbolise her own mortality and a looming loss of freedom? Birds are a recurring motif in Schleime’s work. She frequently pairs human and animal forms, evoking a fusion of inner and outer worlds that gives rise to shadowy, poetic narratives. In this painting, she applies materials such as asphaltum varnish and shellac with control and deliberation. Yet these substances dry overnight in unpredictable ways, producing blistering and discolouration that form a distinctive patina. Schleime conceals the resulting cracks beneath thick layers of paint, subtly underscoring the fragility of her figures. _PP
90 Cabinet Pictures The staggering volume of paintings produced in the Netherlands during the 17th century mostly ended up in bourgeois homes, typically in the form of small or miniature works. Although likely exaggerated, travel accounts from the period describe paintings even hanging in the humblest of utility rooms. Over time, the contrast between the monumental works by the Italian Old Masters and the small-scale Netherlandish paintings became increasingly pronounced. Princely collections responded by structuring their galleries accordingly, with grand halls reserved for the former, and smaller side rooms for the latter. The Picture Gallery at Sanssouci Palace is a perfect example of this. The ruler of Mecklenburg, a region with comparatively modest resources, focused from the outset on the more affordable art from the Low Countries. As a result, the Schwerin collection contains an unusually high proportion of cabinet pictures. The museum presents these in their own gallery, enabling visitors to appreciate their thematic range. The hanging scheme makes no distinction between Flemish and Dutch works, a division that only emerged in the 19th century with the rise of modern nation-states. Among these modestly scaled works are some of the collection’s most prized treasures, including the world- famous The Sentry by Carel Fabritius. However, with its open brushwork, it appealed far less to 18th-century tastes than the charming The Duet by Frans van Mieris. This small panel by the renowned artist was the most expensive work ever purchased by Duke Christian Ludwig, costing a substantial 3,000 guilders. _GS 11
92 Carel Fabritius (1622–1654) The Sentry, 1654 Oil on canvas, 67.5 × 58 cm Inv. no. G 2477 The treatment of light, the complex spatial arrangement, and the way colour is handled – both for its luminous qualities and textural physicality – anticipate characteristics later seen in other Delft School painters, most notably Johannes Vermeer. Alongside The Goldfinch, The Sentry is regarded as Carel Fabritius’s most beautiful and famous painting. It is arguably also his most enigmatic work. A dozing soldier might suggest a peaceful scene, yet isn’t that someone sneaking past the gate? The composition raises more questions than it answers: why is there a column in front of the gate and a wall behind it? Where does the staircase lead, disappearing as it does into darkness? Why is a gate in the middle of the city being guarded? And why does the painter conceal every face, including that of the figure on the relief? The use of spatial proportions and perspective is so vexing that the painting has been interpreted as a visual manifesto of art theory – a defence for the autonomy of the work of art. Sadly, the artist died in the same year that he completed the work, at the age of just 32, so the world was left without answers. A powder magazine explosion destroyed his house and a third of Delft. _GS
94 Frans van Mieris the Elder (1635–1681) The Duet, 1658 Oil on wood, 31.6 × 24.9 cm Inv. no. G 82 A young woman stands at a harpsichord, absorbed in her playing. Beside her, a gentleman strums a lute. Although little of the interior is visible, the viewer’s gaze is drawn to the woman’s magnificent gown. Despite the introverted demeanour of both figures, the colours appear sumptuous yet remarkably refined. The stillness, delicacy and fleeting quality of the moment evoke the idealised portrayals of cultivated domestic life found in the works of Gerard ter Borch and Johannes Vermeer from the 1660s and 1670s. The painting exudes a sense of utmost elegance, making us fall silent to watch the couple play – as if we were their invited audience, hanging on to every note their fingers produce. And as to the painter’s fingers: he leaves no trace of the workings of his own hand. Frans van Mieris, the foremost master of the Leiden School, cultivated so fine a manner that there is no sign of the brush. The creative act behind this exquisite masterpiece thus remains the secret of his studio. _GS
95 Jan Claudius de Cock (1667–1735) Venus and Cupid, 1715 Marble, 59.5 × 31.3 × 24.7 cm Inv. no. Pl. 183 Among the sculptures in the collection, this is the only one from the Low Countries that can be definitively traced to Duke Christian Ludwig II, making it especially significant. Created by one of Antwerp’s most sought-after sculptors, it was certainly no casual acquisition – although no documentation of its purchase has yet been found. By 1752, it was recorded in the Picture Gallery in the old schloss. Such tenderness is expressed in the portrayal of the goddess of beauty as the mother of the god of love that the mythological context becomes almost secondary. The artist focuses entirely on the intimate exchange between the two figures. Cupid holds a shell – typically an attribute of Venus – and turns it towards his divine mother. She inclines her head, her right hand resting lightly on his forearm as he holds the quiver. This gesture may allude to the familiar theme of Cupid’s disarmament, as the mischievous boy is known to release his arrows indiscriminately. Even the gods and goddesses are far from immune to the irresistible power of love. _GS
116 Treasury When the Grand Ducal Museum opened in 1882, this room was used for the display of designs for the stained-glass windows that had been installed in the cathedral and remodelled palace a few decades earlier. Since the removal of extensive fixtures and fittings in 1912, the room has frequently served as the venue for small exhibitions. Due to its intimate, cabinet-like character and circular floorplan, it is particularly suitable for the presentation of decorative-art objects. The Treasury is now home to a selection of outstanding works dating from the 17th and 18th century, from the museum’s wide-ranging collections of the decorative arts. Thanks to the rapid expansion of trade from the Renaissance onwards, precious materials and exotic objects from across the world arrived in Europe in ever-increasing numbers. Princes and wealthy burghers alike sought to demonstrate their sophistication by putting together collections of rare and intriguing objects – either drawn from the natural world or exquisitely made by highly specialised decorative artists. These cabinets of curiosities, also known as Kunstkammer, allowed their owners to systematise and study their highly prized objects and to present them to selected guests. Most of the treasures on display here, among them this magnificent tankard, the Dragon Cup and the Florentine cabinet, once formed part of the Ducal Collections and have been in Mecklenburg for centuries. The objects invite the viewer to marvel at their splendour; at the same time, the use of materials such as rare shells and ivory, the trade in which is now banned in many countries, asks us to take a closer look at the price of displaying such status and power. _KAM 17
118 Tankard with images of Old-Testament heroines, c. 1610 Reverse glass painting: Hans Jakob Sprüngli Metal mount: Christoph Jamnitzer Double-walled reverse glass painting, silver, gilded, inv. no. KH 879 This ceremonial tankard (Humpen) with a magnificent gilded silver mount by Christoph Jamnitzer was created around 1610 and is one of the most remarkable works of decorative art in the Schwerin collection. The glass painting, executed by Hans Jakob Sprüngli in an elaborate double- wall technique, shows three Old Testament heroines: Judith with a sword and the head of Holofernes, the unnamed woman from Thebez with the rock with which she slew Abimelech, and Jael with a hammer and the tent peg she drove into Sisera’s skull. Sprüngli skilfully heightened the spatial illusion of the interiors, which offer views of the landscape beyond, by giving emphasis to architectural details such as a foreshortened tiled floor. He executed the figure panels in oil paint, working in the reverseglass technique – in which the paint layers are applied in reverse order, with the highlights painted first, for example. For the bodies of the figures, he added finely painted parchment, which he inserted with great precision, a process that has since come to be known as ‘deceptive reverse glass painting’. Only four tankards by Sprüngli using this sophisticated technique are known worldwide. _PP
119 Knifegrinder at Work, c. 1710–1720 Goldsmith: Johann Heinrich Köhler (1669–1736) Ivory carving: probably Dresden Ivory, silver, gilded, enamelled, baroque pearl, diamonds, coloured glass, wood Inv. no. KH 1914 Johann Heinrich Köhler, court jeweller to Augustus the Strong in Dresden, created several precious objects of this type, each of them exquisitely fashioned. The ivory figurine of the knifegrinder, however, was made by a different artist. Like peddlers, itinerant knifegrinders made a meagre living, plying their trade door to door. By the 16th and 17th century, the figure of the hawker, often dressed in outlandish rags, began to feature in works of art, above all in prints. In the Baroque period, courtly society affected a romanticising interest in the customs of the common people. In an effort to temporarily loosen the stays of the rigid court ceremonial, courtiers organised costume parties to mark holidays and special events, disguising themselves as common labourers, peasants or gardeners. Elaborate goldsmith-made figurines such as this, which combined a wealth of precious materials and complex techniques, found their way into the princely treasuries, where mirrors enhanced their splendid effect. Their subject matter was echoed a little later in numerous, equally jewel-like figurines of artisans and market traders made by the famous Meissen porcelain manufactory. _KAM
Autor: XxxxxYyyyyyy 120 Turban snail cup, known as the ‘Dragon Cup’ Mount: Nuremberg (?), c. 1600 Base: Johann Joachim Busch (1720–1802), 1752 Green Turban snail (Turbo marmoratus), silver and brass, gilding Inv. no. KH 887 The body of this impressive cup is formed by the asymmetrically coiled shell of a sea snail. Native to the tropical Indo-Pacific Ocean, the Green Turban snail can reach a diameter of more than 20 centimetres. To achieve the splendid iridescent effect, the green outer surface of the shell was sanded down to reveal the lustrous shimmer of the mother-of-pearl layer beneath. This magnificent Kunstkammer piece was created in two stages separated by some 150 years. Around 1600, a goldsmith, perhaps in Nuremberg, transformed the rare natural shell into an ornate cup, using the shell’s spiral to suggest a coiled serpentine body. Archival documents from the 18th century refer to it as a ‘dragon’. The profiles and trims from this time are extremely finely engraved and decorated with relief friezes of fantastical creatures, masks and fruit. And then in 1752, Duke Christian Ludwig II commissioned court sculptor Johann Joachim Busch to fit the precious object with a sturdy gilt-brass foot in the then-fashionable Rococo style. _KAM
9 783954 988914
RkJQdWJsaXNoZXIy MTMyNjA1