DOI Artikel:
Kandt, Kevin E.: Some notes on two allegorical drawings attributed to Andreas Schlüter the Younger from the Jacob Kabrun collection in the National Museum of Gdańsk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.43437#0164
Kevin Schliiter’s oeuvre is itself remarkable as there are very few such works on paper
E. Kandt existing today which can be securely attributed to the master’s hand.
Although I have known of the existence of these drawings since 1995
(thanks to Dr. Jacek Tylicki of Toruń), I opted instead to wait until a more
opportune moment became available to present the works. The numer-
ous uncertainties which have plagued the state of research on the few draw-
ings thought to be most attributable to Schluter’s hand and other somewhat
dubious ones did not, in this author’s opinion, provide sufficient grounds
to engage in any further unnecessary speculation to complicate the issue. Not
all of them are signed and/or dated precisely nor do they share enough com-
monalities in terms of uniform style or distinctive technical execution - a situ-
ation which simply raised more questions than offered satisfactory solutions.7
In the meantime, owing to the publication of some newly-attributed examples
with which one might use for constructive comparison,81 decided to first pub-
lish a reproduction of the Allegory of Astronomy accompanied by a very lim-
ited commentary, with the conscious intention of presenting both works first
in a separate, preliminary article (the present text),9 followed by a more com-
plete, in-depth treatment in the forth-coming second issue of the periodical
7 The previous literature on attributed Schluter drawings includes: Elfried Bock, Die
Zeichnung alter Meister im Kupferstichkabinett. Die Deutschen Meister, text vol., Berlin 1921,
p. 324-325; Wilhelm Boeck, Studien uber Schluter ais Bildhauer, “Jahrbuch der Preufiischen
Kunstsammlungen”, 1933, Bd. 54, p. 61-66; Charles F. Foerster, Eine Zeichnung von Andreas
Schluter, “Sitzungsberichte der Kunstgeschichtlichen Gesellschaft Berlin” 1935-1936, p. 3-4;
Heinz Ladendorf, Der Bildhauer und Baumeister Andreas Schluter - Beitrage zu seiner Biographie
und zur Berliner Kunstgeschichte seiner Zeit, Berlin 1935, p. 30, 42-44, 87-88; Foerster, Schluter
und Matthaus Merian d.J., “Sitzungsberichte der Kunstgeschichtlichen Gesellschaft Berlin” 1939-
1941, p. 3-5; Barock in Deutschland - Residenzen, exhibition catalogue, ed. Ekhart Berckenhagen,
Berlin 1966, p. 101-102; idem, Zwei deutsche Bildhauer-Zeichnungen des Barocks, “Jahrbuch der
Preufiische Kulturbesitz” 1970, Bd. 8, p. 256-260; C. Theuerkauff (ed.), Europaische Barockplastik am
Niederrhein - Grupello und seine Zeit, exhibition catalogue, Dusseldorf 1971, p. 230; Barockplastik
in Norddeutschland, exhibition catalogue, ed. Jorg Rasmussen, Mainz 1977, p. 472-473.
8 Although the most recent attributions have come from the pen of only one writer engaged
in the subject and primarily presented in an often journalistically sensationalist manner, they
nevertheless provide somewhat more material upon which to base more substantial opinions
than were previously available to scholars. See: Sophie Charlotte und Ihre Schlofi, Ein Musenhof
des Barocks in Brandenburg-Preufien, exhibition catalogue, Generalverwaltung der Stiftung
Preufiische Schlofier und Garten Berlin-Brandenburg (ed.), Munich-London-New York 1999,
p. 298-299; Preufien 1701. Eine europaische Geschichte, vol. 1- exhibition catalogue, Deutsches
Historisches Museum and Stiftung Preussische Schlosser und Garten, Berlin-Brandenburg,
Berlin 2001, p. 261; Guido Hinterkeuser, Eine Zeichnungfur das Landhaus Kameke, [in:] Aspekte
der Kunst in Berlin um 1700, eds. Guido Hinterkeuser and Waldemar Stempier, Potsdam 2002,
p. 103-119; Hinterkeuser, Herkules und Minerva, “Weltkunst - Die Zeitschrift fur Kunst und
Antiquitaten” 2005, Bd. 75, Nr. 12, p. 54-55.
9 Kevin E. Kandt, “Le bon gout”: Andreas Schluter and the Use of French Ornament Prints
for the Interiors at the Berlin Royal Palace (1698-1706), Schluteriana I, [in:] Aus Hippcrenes
Quell’ - Ein Album Amicorum kunsthistorischer Beitrage zum 60. Geburtstag von Gerd-Helge Vogel,
eds. Kevin E. Kandt, Hermann Vogel von Vogelstein, Berlin 2011, p. 387 (note 57) and fig. 6.
162
E. Kandt existing today which can be securely attributed to the master’s hand.
Although I have known of the existence of these drawings since 1995
(thanks to Dr. Jacek Tylicki of Toruń), I opted instead to wait until a more
opportune moment became available to present the works. The numer-
ous uncertainties which have plagued the state of research on the few draw-
ings thought to be most attributable to Schluter’s hand and other somewhat
dubious ones did not, in this author’s opinion, provide sufficient grounds
to engage in any further unnecessary speculation to complicate the issue. Not
all of them are signed and/or dated precisely nor do they share enough com-
monalities in terms of uniform style or distinctive technical execution - a situ-
ation which simply raised more questions than offered satisfactory solutions.7
In the meantime, owing to the publication of some newly-attributed examples
with which one might use for constructive comparison,81 decided to first pub-
lish a reproduction of the Allegory of Astronomy accompanied by a very lim-
ited commentary, with the conscious intention of presenting both works first
in a separate, preliminary article (the present text),9 followed by a more com-
plete, in-depth treatment in the forth-coming second issue of the periodical
7 The previous literature on attributed Schluter drawings includes: Elfried Bock, Die
Zeichnung alter Meister im Kupferstichkabinett. Die Deutschen Meister, text vol., Berlin 1921,
p. 324-325; Wilhelm Boeck, Studien uber Schluter ais Bildhauer, “Jahrbuch der Preufiischen
Kunstsammlungen”, 1933, Bd. 54, p. 61-66; Charles F. Foerster, Eine Zeichnung von Andreas
Schluter, “Sitzungsberichte der Kunstgeschichtlichen Gesellschaft Berlin” 1935-1936, p. 3-4;
Heinz Ladendorf, Der Bildhauer und Baumeister Andreas Schluter - Beitrage zu seiner Biographie
und zur Berliner Kunstgeschichte seiner Zeit, Berlin 1935, p. 30, 42-44, 87-88; Foerster, Schluter
und Matthaus Merian d.J., “Sitzungsberichte der Kunstgeschichtlichen Gesellschaft Berlin” 1939-
1941, p. 3-5; Barock in Deutschland - Residenzen, exhibition catalogue, ed. Ekhart Berckenhagen,
Berlin 1966, p. 101-102; idem, Zwei deutsche Bildhauer-Zeichnungen des Barocks, “Jahrbuch der
Preufiische Kulturbesitz” 1970, Bd. 8, p. 256-260; C. Theuerkauff (ed.), Europaische Barockplastik am
Niederrhein - Grupello und seine Zeit, exhibition catalogue, Dusseldorf 1971, p. 230; Barockplastik
in Norddeutschland, exhibition catalogue, ed. Jorg Rasmussen, Mainz 1977, p. 472-473.
8 Although the most recent attributions have come from the pen of only one writer engaged
in the subject and primarily presented in an often journalistically sensationalist manner, they
nevertheless provide somewhat more material upon which to base more substantial opinions
than were previously available to scholars. See: Sophie Charlotte und Ihre Schlofi, Ein Musenhof
des Barocks in Brandenburg-Preufien, exhibition catalogue, Generalverwaltung der Stiftung
Preufiische Schlofier und Garten Berlin-Brandenburg (ed.), Munich-London-New York 1999,
p. 298-299; Preufien 1701. Eine europaische Geschichte, vol. 1- exhibition catalogue, Deutsches
Historisches Museum and Stiftung Preussische Schlosser und Garten, Berlin-Brandenburg,
Berlin 2001, p. 261; Guido Hinterkeuser, Eine Zeichnungfur das Landhaus Kameke, [in:] Aspekte
der Kunst in Berlin um 1700, eds. Guido Hinterkeuser and Waldemar Stempier, Potsdam 2002,
p. 103-119; Hinterkeuser, Herkules und Minerva, “Weltkunst - Die Zeitschrift fur Kunst und
Antiquitaten” 2005, Bd. 75, Nr. 12, p. 54-55.
9 Kevin E. Kandt, “Le bon gout”: Andreas Schluter and the Use of French Ornament Prints
for the Interiors at the Berlin Royal Palace (1698-1706), Schluteriana I, [in:] Aus Hippcrenes
Quell’ - Ein Album Amicorum kunsthistorischer Beitrage zum 60. Geburtstag von Gerd-Helge Vogel,
eds. Kevin E. Kandt, Hermann Vogel von Vogelstein, Berlin 2011, p. 387 (note 57) and fig. 6.
162