DOI Artikel:
Nowacki, Dariusz: Recenzja: The Munich exhibition of Augsburg goldsmith's art
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20544#0154
4. Elias I Drentwett (Augsburg), Basin, 1617. Cracow, The Wawel Royal Castle (phot. A. Wierzba)
custom of putting down on the table the crown
taken off the Polish king’s head, as has repeatedly
been suggested in connection with the disk on the
head of the Kremlin Eagle.
The erudite catalogue entry devoted to the ewer
and basin wrought by Elias I Drentwett (Cat. no.
39) might be supplemented by indicating their
closest analogy from the same workshop — a basin
dating from 1617, likewise decorated with represen-
tations of water deities, which was once in the Palffy
in Nuremberg by Heinrich Straub for Krzysztof Radziwiłł,
bearing the identical inscription with that on the ewer and basin
at the Kremlin (see notę 4) — Galerie Jurg Stuker, Auktion
XXXIX [...]: Sammlung A. Riitschi aus dem Kunsthaus Ziirich,
Bern 1954, p. 18, no. 58, and 12 tazzas supported by eagles, with
portraits of Polish kings, madę by Andreas Mackensen I in
collection and today is the pride of the Wawel
Crown Treasury (ill. 4)15. The Wawel piece, not at
all inferior to the Munich exhibit, especially in
respect of the harmony of composition, deserved to
be entered in the catalogue if only as a comparative
materiał. It was an obvious mistake in translating
the inscription on the exhibit to cali the owner of
the basin, Karl von Hapsburg, Bishop of Pressburg,
as it reads that he was the bishop of Wrocław
(Breslau) — in the period 1608 — 162416. It is worth
Gdańsk, probably in 1648 — Court Art..., pp. 198 — 199, nos.
251-252, fig. 89.
15 Inv. no. 1374 — Silber, Mobiliar..., p. 24, no. 123;
Collections of the Royal Castle..., pp. 402 — 403, fig. 172; Seling
1994, p. 31, no. 1312*a* (wrongly given place of storage).
16 K. S u p p e 11, Geschichte des Bistums Breslau, Breslau
150
custom of putting down on the table the crown
taken off the Polish king’s head, as has repeatedly
been suggested in connection with the disk on the
head of the Kremlin Eagle.
The erudite catalogue entry devoted to the ewer
and basin wrought by Elias I Drentwett (Cat. no.
39) might be supplemented by indicating their
closest analogy from the same workshop — a basin
dating from 1617, likewise decorated with represen-
tations of water deities, which was once in the Palffy
in Nuremberg by Heinrich Straub for Krzysztof Radziwiłł,
bearing the identical inscription with that on the ewer and basin
at the Kremlin (see notę 4) — Galerie Jurg Stuker, Auktion
XXXIX [...]: Sammlung A. Riitschi aus dem Kunsthaus Ziirich,
Bern 1954, p. 18, no. 58, and 12 tazzas supported by eagles, with
portraits of Polish kings, madę by Andreas Mackensen I in
collection and today is the pride of the Wawel
Crown Treasury (ill. 4)15. The Wawel piece, not at
all inferior to the Munich exhibit, especially in
respect of the harmony of composition, deserved to
be entered in the catalogue if only as a comparative
materiał. It was an obvious mistake in translating
the inscription on the exhibit to cali the owner of
the basin, Karl von Hapsburg, Bishop of Pressburg,
as it reads that he was the bishop of Wrocław
(Breslau) — in the period 1608 — 162416. It is worth
Gdańsk, probably in 1648 — Court Art..., pp. 198 — 199, nos.
251-252, fig. 89.
15 Inv. no. 1374 — Silber, Mobiliar..., p. 24, no. 123;
Collections of the Royal Castle..., pp. 402 — 403, fig. 172; Seling
1994, p. 31, no. 1312*a* (wrongly given place of storage).
16 K. S u p p e 11, Geschichte des Bistums Breslau, Breslau
150