doc. in Landshut 1510-1530
Two Welsch Putti c. 1515, lindenwood, height 30 and 36 cm IMAGES Dossier Tapestry with St. John the Baptist
late 15th century, Southern Netherlands or Ferrara Wool and silk, 113 x 63 cm IMAGES Dossier Simone di Niccolo Bianco, attr.
Loro Ciuffenna/Arezzo ? - 1553 Venice
Idealised Portrait of a woman in profile Venice, c. 1520/30, marble, 30 x 32,5 x 8.5 cm IMAGES Dossier Adam Diercks and workshop
Netherlands, c. 1520 Boxwood, 6.5 x 2.4 cm IMAGES Dossier Ornate Frame
Flanders (Antwerp), c. 1550-70 Oak, later polychromy, 156 x 90 cm IMAGES Dossier Schenck, Christoph Daniel, attr.
Constanze, Germany, 1633-1691
Saint Sebastian Constanze, 1680, fruitwood relief with polychromy, 15.5 x 11.3 cm IMAGES Dossier MASTER I.C., prob. Jean de Court
Ewer with Bacchanal and Procession France, Limoges, third quarter of the 16th century, h. 27 cm IMAGES Dossier ART DEALERS WITH PASSION IN THE FIFTH GENERATION
Since its foundation in 1880, the name Julius Böhler has stood for works of art of the highest quality. As an art dealer in the fifth generation, Florian Eitle-Böhler has close contact to major international as well as private collections. As an experienced connoisseur he would be pleased to advise you on the purchase and sale of exceptional works of art.
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Via dei Sette Ponti, the ‘Road of Seven Bridges’, that leads to Arezzo 30km (18mi) away, begins in Loro Ciuffenna. The first bridge that arches the river Ciuffenna in the centre of the little town has existed since the Middle Ages. Records show that a mill was constructed there back in the 11 th century. It is certainly possible that Simone di Niccolò Bianco travelled along the ‘Road of Seven Bridges’ to Venice, some 300km (186mi) away – a long distance in those days.
Simone di Niccolò Bianco, whose exact date of birth is unknown, was first mentioned in a document in 1521 from Venice. At this time Leonardo Loredan was the Doge of Venice. It was under his rule that the War of the League of Cambrai was fought against Venice by an alliance between King Louis XII of France, Pope Julius II, the Holy Roman Emperor Maximilian I, Ferdinand of Aragón and several small Italian states. Although, under Loredan, Venice did not actually lose the war and managed to keep possession of large swathes of its lands, Venice’s omnipotence was broken. By the time the Doge died, Venice’s political heyday had passed.
The imaginative coiffure of the unknown beauty reflects the hairstyle of the Italian Renaissance that, in turn, was influenced by Antiquity. The artistically plaited braids and delicate curls are decorated with gems, ribbons and pearls. Lighter shades were very much
en vogue and, if not natural, were created by bleaching in the sun or with lemon juice. Men’s hairstyles were essentially very simple in comparison to women’s and no differentiation was made with regard to a man’s social standing.
Danger coming from the sea
In this artwork, we are referring to Laocoön: In his myth, the
Aeneid (1 st century BC), Virgil reports how Laocoön, a priest of Apollo, warned the Trojans about pulling the Greek’s wooden horse into their beleaguered city. He was the only one to suspect that the supposed Christmas present from the Greeks could conceal Greek warriors. Hera and Athena, who had sided with the Greeks, sent two serpents from the sea to strangle Laocoön and his two sons. The Trojans took this to be a punishment from the gods for the sacrilege of their present and dragged the wooden horse into the city, thus sealing their own fate. Catholics and Protestants
The response of the Catholic Church to the end of the Reformation initiated by Martin Luther is referred to as the Counter-Reformation. After the Council of Trent in 1545, Rome attempted to repress Protestantism by force with the support of the Catholic Habsburg emperors. The Jesuit order, founded in 1534 by Ignatius of Loyola, was at the vanguard of the Counter-Reformation. The threat of Protestantism, however, did have its positive side: the Catholic Church examined its greatest shortcomings, reformed the training of priests and regulated the benefices and indulgences that had been grossly misappropriated.
In 1633, the year Christoph Daniel Schenck was born, Swedish troops still held on to the city of Konstanz, then in its second year, under the leadership of Field Marshal Gustav Horn. Thanks, however, to the strong defence under the command of Maximilian Willibald prince of Waldburg-Wolfegg, the enemy forces ultimately suffered considerable losses and retreated in October that year. Maximilian Willibald was an educated aesthete with wide-ranging interests. He survived the Thirty Years’ War and entered his second marriage in 1648, this time to the Flemish Duchess Clara Isabella from the House of Arenberg, who had a strong love of art.
The Dionysia or Bacchanalia were ecstatic festivals celebrating the god and the fertility cult, frequently heightened through alcohol or hallucinogenic fungi. Although basically adopted from Greece, the tradition of the spring festival combined Roman religious and Etruscan cultural elements. Every year, this exceptional period of festivity certainly brought many Romans great pleasure, similar in some respects to Carnival celebrations today. The ‘imported’ festival, therefore, enjoyed considerable popularity.
Plants and mushrooms, the consumption of which induced a state of ecstasy, played an important role in furthering the development of certain religions in a number of different societies worldwide. The first indications of the use of psychoactive fungi can be found in rock drawings (c. 5000 BC) on the Tassili plateau in present-day Algeria that show deities with mushrooms. Germanic peoples, for example, consumed the fly agaric species of fungi before communicating with their ancestors and spirits. The correct dose, however, certainly played an existential role.
Enamel is the name given to a material generally made of silicates (powdered glass) and oxides (pigments) that are applied to a substrate and melted at a high temperature over a short firing period. Over the course of the centuries, craftsmen developed a variety of different techniques and produced works of high artistic quality. The so-called
émail peint technique – painted enamel – is typical of the Renaissance. Our decorative vessel is a prime example of the mastery of this process.