Deutsche Kunst- und Antiquitätenmesse [Hrsg.]: Die Weltkunst (4.1930)

Jahrg. IV, Nr. 39 vom 28. September 1930

WELTKUNST

29

ficate, by a society composed of prominent
triembers of his calling, perhaps a measure
of caution will appear, to fhe disadvantage
sometimes of many an individual prejudice, or
of "good Connections”, but, and that is after
all fhe principle thing, it will profit the
authority of the scientific experts.
Professor Friedländer
sends us the following comment:
As far as "scientific foundation is con-
cerned, my personal opinion is, that not even
in books, let alone certificates, should one
expert to’ find conclusive evidence in support
of art-judgements. The value of an art-
expert’s certificate stands in inverse ratio to
fhe extent of its contents. When I feel, that

The only power for restraint, which limits
the number of errors, which bridles excentri-
cities, is and remains the constant atmosphere
of risk which surrounds the "connaiseur”.
Sometimes his verdicts are incorrect, subjec-
tive, diffuse, perhaps also not too. His
errors, and, even more, doubts of his
objectivity, lessen his authority, sooner or
later, and make his certificates inefectual.
Sir C. J. Holmes:
Dear Dr. von Saxe!
I have read with great interest Dr. Lapp-
Rottmann’s arficle and Geheimrat Fried-
länder’s comments upon it. I regret that
owing to the pressure of ofher work, I am
unable to send you any lengthy and con-


Adriaen Isenbrant
L’annonciation ■— Verkündigung — Announcement
Holz, 6o : 16 cm
Galerie Sanct Lucas, Wien

fhe "connaiseur” in guestion, is seeking for
reasons in support of his verdict, then I am
already convinced that he is uncertain, that
he does not trust the sum of his own im-
Pressions: somehow fears that perhaps his
judgement will not be accepted. The lengthiest
art-certificates — full of imposing and learned
arguments —, that I have ever cast eyes on,
relatcd to Madonnas by Raphael, and these
Madonnas remained unsold.
As far as the Committee of Supervision
's concerned, I fear that those "connaiseurs”
Who come in guestion, those whose opinion
about Works of art is in demand, cannot be
forced to submif to the judgement of a higher
eourt. No “connaiseur” will acknowledge the
F'Shf of another person, let alone a court, to
|udge him. This is inherant in the nature of
jhe thing. The opinion of Mr. A. is required
because, rightly or wrongly, it 's believed
'hat he is in a beiter Position than anyone
e>se to judge correctly. Were a Mr. B. available
9nd were he permitted to judge Mr. A.’s ver-
biet, then one might as well go to Mr. B. in
;he first instance. And it is most unlikely
'hat anyone seriously believes that it is
"ossible to reach a verdict about a work of
9rf by means of a majority decision. More
er, the ten or twelve men who are capable
aiving adequate certificates are not material
t which one could form an Organisation,
'*? .’ 'n so far as they have the same spheres
int 'n^erest »hey are little inclined to coalesce
'o an “association”. Were they to associate
jJflen'selves, to organise a “club”, this would
e most disadvantageous for the market, the
°Hector and for Science.

sidered confribution to your discussion: but
there are one or two points by which 1 have,
of late, been strongly impressed, so 1 send
you this short note upon them.
Questions of experfise seem to me to fall
into three classes, each of which calls for
separate treatment.
Class I. includes works attributed to fhe
great masters, whose authentic products are
accessible to every student and have been
recorded by photography. Here where
materials for comparison are available, the
best judgement will be made by the best
trained eye, and I have always feit that some
regulär course of education in drawing and
painting is a most helpful Supplement to a
student’s natural powers, especially when an
important decision has to be made at short
notice. An occasional genius may have such
natural gifts of eyesight that he can dispense
with such training, but such exceptions are
rare.
Class II. includes all pictures which have
been much repainted, or are suspected of
being copies or forgeries. For these the ideal
critical bureau needs a trained man of
science. 1 have no experience of work with
the ultra-violet rays, but Röntgen rays in many
cases give very clear indications of the
painted substructure, and I have found the
microscope invaluable for distinguishing
between old and modern pigments. I may
perhaps add that a greatly extended use of
microphotographs of details would be an im-
mense help in studying painters fhe those of
the early Netherlandish School, who were
accustomed to work on a miniature scale.

Class III. includes pictures either by minor
artisfs, or by painters of countnies where the
histories and catalogues of pictures are
incomplete. No central critical bureau in any
one country can hope to solve the questions
which arise in the case of such pictures. Thev
can only be settled, even provisionally, by
trusting the judgement of those who have spe-
cial or local knowledge. If I may judge by the
difficulfies and doubts which constantly arise
in the case of paintings of fhe English School
(difficulties even for those who have lived
with it and studied it intensively for many
years) it is essential that even the most gifted
expert should check his own opinion by con-
sultation with someone who has made these
less known schools and painters the main
business of his life. The ideal critical bureau
would thus have its correspondents or special
students in each of the art-producing foreign
countries, to whom these special and local
questions could be referred by the central
authority. Much of the art of France, of
Spain and of Central Europe during the eigh-
leenth Century, for example, calls for the
Service of special students to do what is now
done so admirably for Germany, the Nether-

owing to continually increasing expan-
sion has long ago out-grown the limits of
its title. Comprising the whole world of
art andaccordingtoitsinterestsand con-
tents the „Kunstauktion“ will, front the
Ist of October, 1930
continue without a break under the new
title of
»ART..M.WRLD«

lands and for Italy, that the intelligent Outsider
need no longer despair of finding a trusf-
worthy guide.
Yours truly
C. ]. Holmes

TheTreasure of theGuelphs

It is difficult to appreciate properly this
unique collection of the goldsmith’s art, either
from the religio-esthetic stand-point or with
icgard to its significance as an example of
artisiic handywork. Now that it has been
bought by the three Frankfurth art dealers,
J. and S. Goldschmidt, Hackenbroch and Ro-
senbaum, it has been exhibited for the first
time since 1869, in various of the rooms and
cases of the Städelschen Institute. The
characteristics of the
collection are over-
whelmed by the strong
Impression given that
here ist something of
organic growth, that
the personal has fused
with the symbolic soul
of an epoch, that here
lies a fragment of the
fundamental spirit of
old Germany, wherein
its thoughts and aspi-
rations found a con-
crete expression. Pro-
fessor Swarzenski, who
has so perfectly ar-
ranged this collection,
in his speech at the
opening ceremony,
emphasized fhe magi-
cal influence of these
ireasures of art, these
amazing bibelois, wiiich
technically considered
represent such an
astounding achieve-
ment, that they would
almost transcend the
realms of practica!
art-work, did one not
remember that in the
Middle Ages this
I brauch of art was the
expression of the ar-
tistic thoughts and de-
sires of an entire
epoch. This Treasure
represents the peak of
a great period of ger-
man culture, which lent
its Inspiration to each
separate work.
The treasure of the
Guelphs, connected with
the name of the lordly
house of Guelph for
eight centuries, is not-
hing eise than the old
treasure of the Cathe-
dral of Brunswick, slowly
growing, like a coral
island, through out the
centuries. Henry the
Lion, the mighty oponenf of Frederick Barba-
rossa, at his death in 1195, left to his son,
Otto IV., those pieces which he, in his turn left
to the Cathedra! of St. Blaise, in Brunswick,
and these were the foundation of the treasure.
The ancestral estates of the younger branch of
fhe Guelphs, since 1235 composed the Duke-
dom of Brunswick-Liineburg, which was in
fhe hands of the descendants of Henry. In
1691 it became the Kurfiirstdom, in 1814 the
Kingdom of Hanover, which was absorbed
by Prussia, where upon the Cathedra! Trea-
sure, which had already been transfered to
the Castle chapel at Hanover in 1671, was
finally allowed to be the personal property
of the dethroned king, George V, whose son,
Ernst August, assumed the tdle of Duke of
Cumberland. The Treasure was taken to
Castle Penzing near Vienna, later, for a
short period, exhibited in The Museum for art
and industry, then brought to Gmunden, and,
since 1918, has led an inglorious existance
in a swiss bank.
The unique significance of the Treasure
of the Guelphs in the history of art, is well
explained by the book, which has just been
published by fhe Frankfurter Verlagsanstalt,
of Falke, Schmidt and Swarzenski, which far
surpasses the wonderful, though much older,

publication of W. A. Neumann (Vienna) and
gives much more scientific material. The re-
sults of the researches in the province of the
Romanic goldworkers art have been particu-
larly fruitful; researches in connection with
some of the Principal examples, such as the
portable altar by the Cologn goldsmith Eil-
bertus (see reproduction in no. 32 of the
"Kunstauktion”) which Falke has proved to
have had its origin in the famous town of

Bernwards in Hildesheim. According to this
evidence, the object, which to judge by its
form, was probably a Walpurgis ehest, and
also the portable altar, with reliefs of the
Apostles on the sides and Abraham and
Mclchisedec on the lid, must be ascribed to
one follower of the Master Eilbertus; while
the Principal item of this treasure, the famous
domed reliquary in the form of a byzantyne
church, doubtless of Cologne origin, which
was made shortly after the return of Henry,
fhe Lion, from the Orient, in 1173, must be
attributed to another disciple. To the Master
of the Hildesheim St. Oswald’s reliquary,
Falke attributes not only the Bernward paten,
which is part of the Treasure of the Welfs,
but also another marvel, the wonderful en-
amelled reliquary of St. Bartholomy, which
was made for Henry the Lion, in 1173, in
Hildesheim. As one can already see from
this short apercue, the latest researches show
that this Treasure of the Guelphs ist closely
connected with some of the most important
towns, with regard to Creative art, of Ger-
many during the Middle Ages, and gives a
good picture of one of the most important
periods of artistic development.
When we come to mention some of the
other pieces of this collection, we must not


Büste des heiligen Cosmas. 13. Jahrhundert
Weifenschatz, Silber, getrieben. H. 31 cm
Büste defSaint Cosme. XIIlerne siede
~ Argent, H. 31 cent.
Tresor des Guelfes
Bust of St. Cosmas. XIIIth Century
Silver, 31 cent high
Guelph Treasure