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11
Propaganda / War Mongering
« Last post by Henry Scott Goodman on May 18, 2020, 12:54:31 PM »


KRIEGS - HETZE
(War Mongering)

1915, Cast bronze uniface, 50mm, 30.1g, Ernsting WVZ 74, Edge-punch; C.POELLATH SCHROBENH. Henry Scott Goodman Collection

A smooth and slightly concave surface; with raised edge and exergue foreground.

Image of a large head with distorted features, profile right, wearing a flat helmet with spike and chin-strap. The severed head is held above the anxious and gesticulating crowd on a pike, as is a clenched gauntlet. The men and women carry flags and banners. Rim inscription reads KRIEGS - HETZE (War Mongering). The artist’s initials, L·G·, are incised into the exergue.


Number in Museum Collections: 7

Hamburg, Hamburger Kunsthalle (Hamburg Arts Center)
London, British Museum, Department of Coins and Medals
Munich, Staatliche Münzsammlung (National Coin Collection)
New York, American Numismatic Society
Stuttgart, Württembergisches Landesmuseum (Württemberg Regional Museum)
Vienna, Heeresgeschichtliches Museum (Museum of Military History)
Museum examples located in Hamburg, London, Munich, New York, Stuttgart, and Vienna. This is one of three available for private collection


Number known in private collections: 3


The rather ambiguous helmet on the severed head doesn’t provide a clue as to which participating nation it might belong to. The flat nature of the helmet resembles British helmets while at the same time the spike looks like a German military helmet.
 
Gies claimed during the censoring investigation that this medal was made to warn the Italians about the “German God of War” if they followed through with fighting the Austrians. His arguments were unconvincing and the medal was banned by the German High Command soon thereafter. It is likely that Gies created the medal to show the general war-mongering mood evident throughout Europe at the beginning of the war. It was also a subtle jab towards the bellicose German nationalists and state propaganda.

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First WWI Series / Field Hospital
« Last post by Henry Scott Goodman on May 16, 2020, 10:09:09 PM »


FELDLAZARETT
(Field Hospital)

No Date (1914) Cast bronze uniface medal, 66.4mm, 68.1g, Edge-punched: C. POELLATH SCHROBENH. Ernsting WVZ 57  Henry Scott Goodman Collection.

A flat field with a raised, wide border, the lower exergue is raised and set off from the edge; the image motif is raised into nine sculptural overlapping planes.
   
In the middle of hilly terrain five staggered and overlapping tents, the closest two with Red Cross emblems and warming fires within, the tent furthest right with a small flag; in the foreground atop the exergue forming the ground surface and from left to right, two men carry a stretcher with a man lying to the left, head and right arm lowered, to the right are two more wounded in stretchers facing left.  Behind and to the right, two men carry a stretcher with wounded man up stairs to the left and toward the tents; behind a small flag with Red Cross emblem.  Small incuse L.G. near bottom of exergue.

Number in Museum Collections: 6

Brüssel, Koninklijke Bibliotheek, Albert I Penningkabinett (Royal Library)
London, British Museum, Department of Coins and Medals
Munich, Staatliche Münzsammlung (National Coin Collection)
Paris, Musée d’Historie Contemporaine  (Museum of Contemporary History)
Stuttgart, Württembergisches Landesmuseum (Württemberg Regional Museum)
Vienna, Kunsthistoriches Museum (Art History Museum)

Number known in Private Collection: 2


Together with WVZ 55 to WVZ 62 this work was created as one piece within a series of eight probably before December 1914.  Compositionally, it reflects the previous work WVZ 56: foreground and background scenery are separate, the hilly topography allows the visual elements to rise to the upper border, filling the round field.
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First WWI Series / Mortar in Mountain Position
« Last post by Henry Scott Goodman on May 13, 2020, 09:57:59 PM »

MÖRSER IN BERGSTELLUNG
(Mortar in Mountain Position)

No Date (1914) Cast bronze uniface medal, 62.8mm, 90.2g, Edge-punched: C. POELLATH SCHROBENH. Ernsting WVZ 56 
Henry Scott Goodman Collection

The flat field rises slightly towards the raised border, the lower exergue is raised and set off from the edge; the image motif is raised sculpturally.
   
In the middle of hilly terrain three heavy guns protected by large bulwarks; in the foreground from right to left a pair of men pull two wagons stacked full of cannonballs; behind each gun are operating crews, behind the front gun a soldier with telescope.  Small incuse L.G. in exergue.

Number in Museum Collections: 6

Brüssel, Koninklijke Bibliotheek, Albert I Penningkabinett (Royal Library)
London, British Museum, Department of Coins and Medals
Munich, Staatliche Münzsammlung (National Coin Collection)
Paris, Musée d’Historie Contemporaine  (Museum of Contemporary History)
Stuttgart, Württembergisches Landesmuseum (Württemberg Regional Museum)
Vienna, Kunsthistoriches Museum (Art History Museum)

Number known in Private Collection: 2

Provenance: Ex-Steve Pellegrini Collection


ICONOGRAPHY
According to Ernsting; Together with WVZ 55 to WVZ 62 this work was one of a series of eight, probably before December 1914.  Threat and impressive attitude at the same time; which emanated from the mighty guns of the First World War, and whose fascination did not stop even Gies, express the previously introduced character of monumental representations.
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First WWI Series / Theater of War
« Last post by Henry Scott Goodman on May 13, 2020, 11:49:53 AM »

KRIEGS - SCHAUPLATZ
(Theater of War)

No Date (1914) Cast bronze uniface medal, 79.0mm, 122.8g., Edge stamp: C.POELLATH SCHROBENH.  Ernsting WVZ 55
Henry Scott Goodman Collection

The large, flat exergue forming the foreground is thick at the bottom and descends towards the slightly raised border.  The image motif is sculpturally raised.
   

Scenic sequence from left to right: a densely packed group of people, including women, looks up at the drummer in tails and top hat, acting on a stage constructed of wooden beams festooned with garlands, draperies, and a canopy; to the right of the curtain, raised by a monkey in costume and lifted by a rope, a uniformed man with lance and a turban-like headgear descends from the stand to join other marching men to the right.  Above the show booth, a banner with the inscription KRIEGS - SCHAUPLATZ raised on a crossbar; in the exergue a recessed L.G. is inscribed.  Edge stamp: C.POELLATH SCHROBENH.

Number in Museum Collections: 5

Brüssel, Koninklijke Bibliotheek, Albert I Penningkabinett (Royal Library)
Dresden, Staatliche Kunstsammlungen (State Art Collection)
London, British Museum, Department of Coins and Medals
New York, American Numismatic Society
Vienna, Kunsthistoriches Museum (Art History Museum)


Number known in Private Collection: 2

Provenance: Ex-Steve Pellegrini Collection


ICONOGRAPHY
According to Ernsting Bernhart's interpretation of the image, which was handed down in 1914, is only binding to a limited extent: On the one hand, iconographic features such as the costume of the civilian population listening on the left speak against a secure identification of the group of people with Indians.  On the other hand, none of the works created in 1914 in this series context is to be understood as a concrete, contemporary historical illustration.  However, since the piece was also shown in exhibitions under the title “Indians” and Bernhart was also personally known to Gies, there is still the possibility that the artistic imagination was inflamed by the events of the day, without wanting to make them the subject of the medal in a reportage or even satirical sense.  Together with WVZ 56 to WVZ 62, this work was created as one piece within a series of eight, probably from December 1914.
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Patrons / Re: Von Volckamer auf Kirchensittenbach
« Last post by Henry Scott Goodman on May 02, 2020, 04:34:06 PM »
   
   

Anna Tetzel von Kirchensittenbach

1912, Cast bronze Medallion, 92.0 mm, 271.50 g, 'KGoeTz' edge-punch. Ex. Johan Max Böttcher

Obverse: Anna seated with hair drawn back and wearing a flat hat with corded edge, half left, in heavy brocade robe with winged collar over a sheer ruffle collar blouse. A heavy chained necklace descends from both shoulders.  Anna's bust is truncated at the bottom edge of the medallion, just behind, a pearled border encloses all devices and text.  Along inner border; ANNA•TETZEL•VON-KIRCHENSITTENBACH•GEBORNE•V•VOLCKAMER.  Field left; AET•28• (at the age of 28).  Field right; 1514•1573 (the years of her birth and death)

Reverse:  Coat of arms with helmet, mantling and crest.  Pearled border.  SIE•VERMAEHLTE•SICH•1534•MIT•JOBST•TETZEL: U•IST•DIE•MUTTER•DES•JOBST•FRIEDRICH•TETZEL✤ (She married in 1534 Jobst Tetzel and is the mother of Jobst Friedrich Tetzel).  Inside smaller text at bottom: GESTIFTET V. GUIDO V. VOLCKAMER AD 1912 (Endowed by Guido von Volckamer in 1912)

Provenance: KarlGoetz.com Collection
 
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Patrons / Von Volckamer auf Kirchensittenbach
« Last post by Henry Scott Goodman on May 02, 2020, 04:30:30 PM »
A commissioned suite of medals and medallions created early after Goetz' arrival in Munich.  Karl became good friends with Guido and his wife Antonie Volckamer.

The Volckamer family had deep roots reaching back into the German Renaissance period.  Goetz, like all other Secessionist medallists, was deeply interested in reviving the artistic quality of the renaissance period, specifically of the 16th c. German artists.
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New Member Welcome and Check In / Re: New Member
« Last post by Haarmann on April 22, 2020, 10:55:28 PM »
Hello Arie, and welcome aboard!

It is wonderful that an art historian has been moved to join our forum.  You state that you are preparing an exhibition, can you tell us more about it and where the exhibition will occur?
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Pál Patzó / In Treue fest - Korneuburg
« Last post by Rabenauge on April 22, 2020, 03:39:57 PM »

Pál Patzó (Hungarian Patzó Pál).  1915. 

IN / TREUE / FEST / 1915 (in loyalty steadfast).  Cast bronze, 70 x 40 mm, 80.40 g.  Gussfrisch (as cast), minimal casting detritus reverse left edge.

Obverse: On ground-line, warrior in full Gothic-style armor to left, sword in right hand across body, point to ground; four-line title inscription left center in front of image; artist's signature PATZO upper right corner; in raised exergue formed by ground-line globe at center showing Europe in smoke to left and right; scale-pattern decorative panels left and right exergue; raised rim. 

Reverse: City arms of Korneuburg raised relief upper two-thirds field; scaled decorative panels right and left of lower shield; in exergue four-line inscription KORNEUBURGS KRIEGERN / ZU EHR UND GEDACHTNIS / DEREN WITWEN UND WAİSEN / ZUR WOHLFAHRT. (to the honor and memory of Korneuburg's warriors; for the welfare of their widows and orphans).

Cf: Schulman.  1916.  La Guerre Européenne, Catalogue LXV, p. 121: no. 233 ("Wehrmann im Eisen" - iron example).

Cf: Huszár, Lajos, and Béla Procopius. 1932.  Medaillen- und Plakettenkunst in Ungarn, p. 317: no. 3806 (bronze example).


Huszár/Procopius (p. 317) records productions figures: 10 examples in silver, 200 examples in bronze, 200 examples in tombak (brass).  Examples are also known in iron (e.g. Schulman, p. 121).

Plaquette commemorates the nail-figure (Kriegsnagelung) in the Austrian town of Korneuburg, one of many such wooden figures set up in German-speaking communities to solicit war donations, often benefiting war charity work.  For each modest donation, an iron nail was hammered into the figure, which eventually became encrusted with metal.  These plaquettes may have been offered to more generous donors.  A number of these nail-figures have been preserved in German museums, including that of Korneuburg.
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New Member Welcome and Check In / New Member
« Last post by HartogHB on April 19, 2020, 11:35:27 PM »
Hi, I am an art historian working on modern German sculpture. I am not a collector, but I see a lot and when talking about German sculptors active in the 1910s medals are an important and too often neglected medium. For 2024 I am preparing an exhibition on jewish sculptors in Germany until 1937 and doing research on Arnold Zadikow I came to this page. Just browsing I already learned a lot.

Arie
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Theodore Gosen / University of Breslau
« Last post by Rabenauge on April 14, 2020, 03:40:23 AM »

Theodor von Gosen.  1911. 

UNIVERSITAS  /  VRATISLAVIENSIS (University of Beslau).  Cast yellow bronze, light-brown patina, 93.6 mm, 248.8 g.  Edge-punch C.POELLATH  SCHROBENHAUSEN.   Fast gussfrisch (near as-cast), few slight scratches to patina.

Obverse: Kaiser Wilhelm II half-length portrait in Breslauer Kürassierregiment (Breslau Cuirassier Regiment) uniform, head in profile to left; inscription GUILELMUS II  ——  IMP∙REX (William II Emperor) above shoulders, left and right, respectively; four-line inscription in exergue MAGNUS∙AB∙INTEGRO / SAECLORUM∙NASCITUR / ORDO∙TE∙DUCE / MCMXI (we praise the rebirth of a great sequence of the ages 1911); laurel garland surrounding entire edge within raised rim. 

Reverse: Robed female figure, right hand holding sword across lap, open book in left, riding on Red Deer (Cervus elaphus) stag striding to left; in background university building above which sun rises; inscription in field VERUM / SITIO  ——  SCIEN / TIAM / PROVEHO (the site of knowledge promotes truth) left and right, respectively; two-line title inscription in exergue; artists monogram interlaced TG lower center exergue; thick harvest garland encircling entire edge within raised rim.

Cf: Dziallas, Paul.  1971. Theodor von Gosen: Das Medaillenwerk, p. 18, no. 9 ( not illustrated).

Cf: Sakwerda, Jan.  1993. Theodor von Gosen: Medale / Medaillen, pp. 43, 71, no. 11. 

Cf: Heidemann, Martin.  1998.  Medaillenkunst in Deutschland von 1895 bis 1914. Die Kunstmedaille in Deutschland, Band 8, pp. 267, 446: no. 806.


The University of Breslau was founded in 1811 through the union of the University of Frankfurt/Oder with the Breslau Jesuit College.  In the centenary year 1911 it was renamed the Schlesische (Silesian) Friedrich-Wilhelms-Universität (Dziallus, p. 19). 

The image of the deer (or hart) as a symbol of the thirst for salvation represented by Science originates from Psalm 42 (Heidemann, p. 268): "Wie der Hirsch schreiet nach frischem Wasser, So schreiet meine seele Gott zu dir." (Luther Bibel); "As the hart panteth after the water brooks, so panteth my soul after thee, O God." (Authorized Version).
 
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