Collecting Through Connections
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REVISTA DE HISTÓRIA /03 DA ARTE COLLECTING THROUGH CONNECTIONS GLASS AND STAINED-GLASS COLLECTORS AND THEIR NETWORKS IN THE 19TH CENTURY MAGAZINE DIRECTION (IHA/FCSH/UNL) Raquel Henriques da Silva Joana Cunha Leal Pedro Flor PUBLISHER Instituto de História da Arte SCIENTIFIC COMMITTE (RHA SÉRIE W — 03) Susan Crane University of Arizona, USA Uwe Gast Corpus Vitrearum Deutschland, Freiburg, Germany Sven Hauschke Der Veste Coburg, Corburg, Germany Dedo von Kerssenbrock-Krosigk Museum Kunstpalast, Glasmuseum Hentrich, Düsseldorf, Germany Teresa Medici DHAA/Faculdade de Letras/Universidade de Coimbra and VICARTE, Lisbon, Portugal António Nunes Pereira PSML/National Palace of Pena, Sintra, Portugal Márcia Vilarigues Faculdade de Ciências e Tecnologia/UNL and VICARTE, Lisbon, Portugal 3 4 5 Paul Williamson Victoria & Albert Museum, London, United Kingdom EDITORIAL INTERVIEW DOSSIER ORGANIZING COMMITTEE (RHA SÉRIE W — 03) Bruno A Martinho Parques de Sintra — Monte da Lua, SA / António Ressano Garcia Professor Doutor António National Palace of Pena, Sintra / CHAM, Faculdade de Ciências Sociais Lamas Lamas e Humanas, Universidade Nova de Lisboa, Universidade dos Açores Alexandra Rodrigues VICARTE and Ph.D. fellow, Dep. Conservation and Restoration, Faculdade de Ciências e Tecnologia/ UNL, Lisbon, Portugal António Nunes Pereira Parques de Sintra — Monte da Lua, SA / National Palace of Pena, Sintra, Portugal Márcia Vilarigues Faculdade de Ciências e Tecnologia/UNL and VICARTE, Lisbon, Portugal COORDINATORS Márcia Vilarigues e Bruno A Martinho TRANSLATION Alexandra Rodrigues AUTHORS Daniel Hess | Suzanne Higgott | Márcia Vilarigues Anne-Laure Carré | Paola Cordera Caroline Blondeau-Morizot | Ann Glasscock Bruno A Martinho | Ulrike Müller | Daniel Parello Alexandra Rodrigues | Jayme Yahr | Yao-Fen You REVIEWERS Susan Crane | Uwe Gast | Sven Hauschke Dedo von Kerssenbrock-Krosigk António Pires de Matos | Teresa Medici António Nunes Pereira | Márcia Vilarigues DESIGN José Domingues (Undo) Cover Julius Eugen Rühl (ca. 1855), Project for the Stag Room, Palácio Nacional da Pena, Sintra, Acc. No. PNP387 EDITORIAL ThE STAINED GLAss COLLECTION OF KING D. FERNANDO II erdinand of Saxe-Coburg and Gotha came to Portugal those working in the Palace, these panels were only known ANTÓNIO RESSANO GARCIA LAMAS Fin 1836 to marry the Portuguese Queen Maria II, and to a very few persons but their interest was immediately CEO of Parques de Sintra — Monte da Lua SA (2006 — November 2014) took the title of King D. Fernando II after the birth of their obvious. Stained glass is rare in Portuguese tradition, first son. From a German princely house from which, in the monuments and collections. 19thcentury, several European royal marriages issued, he Their restoration was the purpose of a protocol signed received a careful education and was throughout his life an with the Department of Conservation and Restoration of the art collector and a keen patron of the arts and of heritage Universidade Nova de Lisboa, and the resulting exhibition conservation. at Pena has added to the many interests of this most Among other interests he added to an inherited collection extraordinary Romantic building, which is the second most of stained glass panels from diverse origins, periods ant visited monument in Portugal. The study of the different themes that he applied to decorate windows and interior panels and their origin should follow. doors in a “patchwork” common at the time. The ones Being the custodian of his “beloved Pena”, for which he used at the windows of the Great Hall of his master he his better known, it is the duty of Parques de Sintra to achievement — the Palace of Pena, in Sintra — have always preserve it for future generations and to stimulate research been admired. Less known is the similar set of panels on the life and achievements of D. Fernando II, in particular inserted in the windows and doors of a dining room at his on his artistic interests and collections and his contributions Lisbon residence, the Palace of Necessidades, which were towards the restoration of Portuguese monuments. Besides taken down in 1916 when that Palace was adapted to house the study of the furniture and works of art existing at Pena the Ministry of Foreign Affairs, and transported to Pena in and the revision of their presentation, several projects, one 1949. of which is the study of his glass collections, are under way. When Parques de Sintra, a state owned company that Since he also produced a vast graphic work (drawings and manages the state properties in the Cultural Landscape prints), Parques de Sintra has been collecting and restoring of Sintra, a World Heritage site near Lisbon, became major examples, aiming at another exhibition and the responsible for the Palace of Pena in 2007, I was surprised to shedding of more light on this fascinating King consort. find, stored in a poor state of conservation, the stained glass panels from Necessidades. Probably with the exception of INTERVIEW Professor Doutor António Lamas The interview will be released on the 1st of April 2015 DOSSIER whY what to how to who where to which collect? assemble? displaY? gathers? collect? provenance? 7 29 59 107 119 144 ROMANTIC NEUEBERSTEIN STAINED GLASS COLLECTING SALES, STATUS, FROM THE ATMOSphERE AND CASTLE AND AND THE (RE-) AMERICAN GLASS SHOPS AND CATHEDRAL TO THE INVocATIon IST CollECTIon CREATIon OF AN LouIS COMForT SWAPS THE COLLECTOR OF THE PAST: OF STAINED IDEAL PAST. TIFFANY AND THE AN OVERVIEW THE JOURNEY MoTIFS AND GLASS THE MaYER Van DEN GILDER CIrclE IN OF WAYS OF OF A MEDIEVAL FuncTIonS OF Daniel Parello BERGH COLLEctiON 19TH-CENTurY COLLECTING GLASS... STAINED GLASS... in ANTWERP... SUZanne Higgott Caroline EArlY... NEW York Blondeau‑MoriZot Ulrike MÜller Daniel Hess JAYme Yahr, PH.D. 21 45 76 131 152 ThE STAINED JAMES JACKSON ThE A collECTIon NEW GLASS JARVES: ASSEMBLAGE OF For EDucATIon OBSERVATIONS collECTIon OF COLLECTING A DISTIncT GLASS THE Glass CONCERNING THE KIng FERDINAND VENETIAN GLASS CollECTIon COllEctiON OF STOKE POGES II OF PorTugAL FOR AMERICA THE crEatiON anD THE MusÉE DU WINDOWS Ann Marie Glasscock DISPlaY... COnsERVatOirE DES Yao‑Fen You — ASSEMBLIng... arts ET MÉtiErs... MÁrcia Vilarigues ET AL. AleXandra Rodrigues and Bruno A Martinho Anne‑Laure CarrÉ 94 FORGING THE RENAISSANCE ON THE USE OF GLASS PIECES IN SPITZER’S (IN)FAMOUS COLLECTION Paola Cordera why collect? ROMANTIC ATMOSPHERE AND THE INVOCATION Of thE PAST DANIEL HESS Germanisches Nationalmuseum, MOTIFS AND FUNCTIONS Nuremberg, Germany OF EARLY STAINED GLASS COLLECTIONS AROUND 1800 ABSTRACT RESUMO The article analyses the motifs of early stained glass collectors O artigo analisa os motivos dos primeiros colecionadores de in Europe and the functions of their collections in the context vitrais na Europa e as funções das suas coleções no contexto of cultural history and neo-gothic architectural settings. The da história cultural e configurações arquitetónicas neogóticas. most important stained glass collections as in the Gothic House As coleções de vitrais mais importantes, como na Casa Gótica in Wörlitz or the Franzensburg in Laxenburg near Vienna, in em Wörlitz ou em Franzensburg em Laxenburg, perto de Viena, the Löwenburg in Kassel or in the castle of Erbach were first em Löwenburg, em Kassel, ou no castelo de Erbach, foram, em and foremost used for the decoration of neo-Gothic buildings primeiro lugar e sobretudo, utilizadas para a decoração dos and collection halls. The colourful, faint light conveyed the edifícios neogóticos e salões destinados às coleções. A luz fraca atmosphere of an utmost effective mise-en-scène of venerable e colorida transmitia à atmosfera uma eficazmise-en-scène de history. But the function of these early stained glass collections história venerável. Mas a função destas primeiras coleções de was not limited to a romantic staffage of the English Garden, vitrais não se limitou a um staffage Romântico do Jardim Inglês, they were above all patriotic-dynastic monuments. Noble families elas foram acima de tudo monumentos patriótico-dinásticos. thereby tried to compensate their privileges lost in the wake of As famílias nobres tentaram assim compensar os seus privilégios the Napoleonic reorganization of Europe and to manifest their perdidos na sequência da reorganização napoleónica da Europa cultural leadership. e manifestar a sua liderança cultural. KEywORDS PALAVRAS-ChAVE Neo-Gothic | Goethe | patriotic monuments NeogÓtico | Goethe | Monumentos patriÓticos | WÖrtlitZ | LAXenburg | LÖwenburg | WÖrtlitZ | LAXenburg | LÖwenburg RHA 03 8 DOSSIER ROMANTIC ATMOSPHERE AND THE INVOCATION OF THE PAST... – – – – – – – – – – – – – – short glimpse of the stained-glass collection in the Ernst I of Saxony-Coburg-Saalfeld (1784-1844), Duke of 1 For the translation of this text I have to A famous Romantic monument of the Pena National Saxony-Coburg and Gotha since 1826, the Duke’s building thank Anette Kaufmann, Germanisches Nationalmuseum, Nürnberg. Palace in Sintra reveals an obvious diversity: Apart from a was historically redesigned according to the plans of the The author had the opportunity to see these donor’s panel from the monastery of Seligenthal dating from architect, theoretician and decorator Carl Alexander von windows during the Encontro internacional de vitral in Batalha in 1995 and made a first around 1314/1320, a few excellent Swiss and South German Heideloff (1789-1865). 2 In 1838 and 1840, for the first time attempt of a historical classification in a panels dating from the 15th and early 16th century catch the stained glass-paintings serving as window decoration were manuscript for the collection in Sintra. eye. 1 Beer panels and similar small pieces were used for mentioned. Luther`s room and the room of the roses, used 2 On the history and restauration of Veste Coburg see Schwarz 2003, and on the the framing of the windows, which were equipped with as a dining room, as well as the stairwell were equipped stained-glass paintings Jeutter and Cleef-Roth historical fragments. What kind of concept stands behind with stained glass-paintings as window decorations. These 2003, 14-15, 20-35.