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Studies in European Arms and Armor:The C. Otto Von Kienbusch

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Studies in European Arms and Armor:The C. Otto Von Kienbusch s and Armor Claude Blair • Lionello G. Boccia • Everett Fahy • Helmut Nickel A.V.B. Norman • Stuart W. Pyhrr Donald J. La Rocca Studies in European Arms and Armor The C. Otto von Kienbusch Collection in the Philadelphia Museum of Art Claude Blair, Lionello G. Boccia, Everett Fahy, Helmut Nickel, A.V.B. Norman, Stuart W. Pyhrr, Donald J. LaRocca This book examines one of the eminent holdings of medieval and Renaissance armor and arms in the United States. Between the years 1982 and 1986, a distin- guished group of five internationally respected scholars of armor and arms conducted research on the collection under the National Endowment for the Arts Visiting Specialists Program. Studies in European Arms and Armor presents and disseminates the results of this research. Each scholar chose one area within his field of expertise to write about in detail: three survey cohesive groups of objects within the collection and three concentrate on individual objects of exceptional merit. Varied and origi- nal in approach, the essays collectively emphasize the consummate craftsmanship and stylistic development in such areas as goldsmith's work, engraving, embossing, and painting, all integral to the creation of fine arms and armor. The essays present current scholarship on aspects of the collection in a readable and lively style in a sub- stantial contribution to the field. Helmut Nickel is Curator Emeritus of Arms and Armor at The Metropolitan Museum of Art. Lionello G. Boccia is Director of the Stibbert Museum in Florence, Italy. A. V. B. Norman is former Master ofthe Armouries at H. M. Tower of London. Stuart W. Pyhrr is Curator of Arms and Armor at The Metropolitan Museum ofArt. Everett Fahy is John Pope- Hennessy Chairman ofthe Department of European Paintings at The Metropolitan Museum of Art. Claude Blair is former Keeper of the Department of Metalwork at the Victoria and Albert Museum in London. Donald J. LaRocca is former Assistant Curator ofMedieval and Renaissance Decorative Arts and the Kienbusch Collection at the Philadelphia Museum of Art. He is currently Assistant Curator of Arms and Armor at The Metropolitan Museum of Art. Distributed for the Philadelphia Museum of Art. University of Pennsylvania Press Blockley Hall. 418 Service Drive Philadelphia, Pennsylvania 19104-6097 Studies in European Arms and Armor This publication was supported by grants from the National Endowment for the Arts, a Federal agency, an endowment fund for scholarly publications established by grants from CIGNA Foundation Detail of pageant shield. Italian, c. 1535 (see fig. 71). Studies in European Amis and Armor THE C. OTTO VON KIENBUSCH COLLECTION IN THE PHILADELPHIA MUSEUM OF ART Claude Blair Lionello G. Boccia Everett Fahy Helmut Nickel A.V B. Norman Stuart W. Pyhrr Donald J. La Rocca Philadelphia Museum of Art DISTRIBUTED BY THE UNIVERSITY OF PENNSYLVANIA PRESS — Edited by Jane Watkins Designed by Greer Allen Composition by Pagesetters, Inc., Brattleboro, Vermont Printed in Great Britain by Balding + Mansell, Wisbech, Cambs. © 1992 by the Philadelphia Museum of Art, Box 7646, Philadelphia, Pennsylvania 19101 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior permission, in writing, of the Philadelphia Museum of Art. Library of Congress Cataloging-in-Publication Data Studies in European arms and armor : the C. Otto von Kienbusch collection in the Philadelphia Museum of Art / Claude Blair . [et al.]. 208 p. cm. Includes bibliographical references. ISBN 0-8122-7963-8: $49.95 (est.).— ISBN 0-87633-088-X (pb.) $25.00 (est.) 1. Armor— Europe. 2. Von Kienbusch, Carl Otto Kretzschmar, 1884-1976— Art collections. 3. Armor— Private collections Pennsylvania — Philadelphia. 4. Armor— Pennsylvania— Philadelphia. 5. Philadelphia Museum of Art. I. Blair, Claude. II. Philadelphia Museum of An. NK6642.S78 1992 823.4'41'0940747481 1—dc20 91-47037 CIP Contents 7 Preface Anne d'Harnoncourt 10 Parade Armor for Three Prince Electors of Saxony in the Kienbusch Collection Helmut Nickel 33 Ancient Italian Pieces in the Kienbusch Collection Lionello G. Boccia 66 Small-Swords and Court-Swords in the Kienbusch Collection A.V.B. Norman 96 A Renaissance Painted Shield Attributed to Girolamo da Treviso 96 Part I: The Kienbusch Shield and Related Examples Stuart W. Pyhrr 135 Part II: An Attribution to Girolamo da Treviso Everett Fahy 141 Appendix: Technical Note Melissa S. Meighan 152 Crediton: The Story of Two Helmets Claude Blair 178 Appendix: Comments on the Helmet in Crediton Church C. A. Ralegh Radford 184 Sorting Out Simonin: Pattern Books for Decorated Firearms, 1684-1705 Donald J. La Rocca Preface Since 1977, when it was bequeathed to the Museum, the Carl Otto Kretzschmar von Kienbusch Collection of Anns and Armor has been a source of delight to countless visitors to the Philadelphia Museum of Art. This splendid installation, crowning the Museum's monumental staircase, is the first that many people see, and few resist its fascination. Assiduously gathered over a period of seventy years by Mr. von Kienbusch (1884-1976), the collection comprises over fourteen hundred objects, many of remarkable quality, including European annor, edged weapons, and firearms. The fonnation of his vast collection inevitably owed much to the particular opportunities afforded in this century, but the caliber of the acquisitions depended equally on Mr. von Kienbusch's impressive connoisseurship and his relentless study of this complex field. What was to be a lifelong passion was first signaled by the purchase of a small group of swords in 1906, the year Kienbusch graduated with honors from Princeton University, where he had demonstrated a lively interest in history and art. After returning to his home in New York City, he entered his family's tobacco business. His true career as an arms and armor collector began in earnest in 1910, when he met Dr. Bashford Dean (1867-1928). The first curator of The Metropolitan Museum of Art's Department of Anns and Annor and a major private collector and gentleman dealer, Dean was the acknowledged head of the American fraternity of arms and armor afficionados. In the years after 1900, during sojourns in Japan, Dean amassed the most encyclopedic collection of Japanese arms and armor ever assembled by a westerner. By 1914 Dean had donated his Japanese collection to the Metropolitan Museum and was devoting himself exclusively to European arms and annor. Following Dean's example, Kienbusch became a serious collector of tsuba, Japanese sword-guards. After presenting this collection to Princeton University in 1914, Kienbusch, too, concentrated on European material. During the First World War, Kienbusch was commissioned as a lieutenant and served as Dean's chief assistant in the army's specially created Helmets and Body Armor Division. The two men engaged in the research and development of prototypes of ballistic armor based on their knowledge of historic examples. After the war, Dean acted as Kienbusch's mentor and regularly purchased modest items on his behalf at overseas auctions; other objects were acquired from auctions held in New York and from a few well-established dealers. In 1923 Kienbusch made his first extended trip to Europe. Traveling for six months, he and his wife Mildred (1887-1968) visited public and private collections and dealers in principal cities from London to Madrid, making purchases along the way. Kienbusch's next large group of acquisitions came as a result of Dean's A N N F. D'HARNONCOURT 6 unexpected death in 1928. While the majority of Dean's collection was bequeathed to the Metropolitan Museum, Kienbusch obtained many important pieces from the hundreds of items remaining in the estate of the connoisseur he so admired. Kienbusch matured as a collector in the 1930s and 1940s. The aftermath of the Depres- sion and World War II brought arms and annor onto the art market in large numbers, including the holdings of Clarence H. Mackay and William Randolph Hearst, who possessed the two finest private collections then in existence. Along with the Royal Armouries of H. M. Tower of London and the Metropolitan Museum, a principal beneficiary of the dispersal of these treasure troves was Carl Otto von Kienbusch. By the mid-1950s, Kienbusch was established as the foremost American collector of European arms and armor, and over nine hundred objects filled the armory, which occupied the second floor of his New York townhouse at 12 East 74th Street. Determined to document his holdings, he commissioned a catalogue from a distinguished international team of scholars: Hans Schedelmann, John F. Hayward, Richard H. Randall, and Anita Reinhard. Published in 1963, as a deluxe, cased quarto, now itself a collector's item, The Kretzschmar von Kienbusch Collection of Armor and Arms was distributed free to major institutions and libraries around the world. The catalogue was also an expression of Kienbusch's concern for the eventual disposition of his collection. He had witnessed, and often benefited from, the dispersal of dozens of private arms and armor collections, but he did not wish a similar fate for his own armory. Courted by several museums that hoped to receive the collection as a bequest, the prize was won by the Philadelphia Museum of Art, led in its bid by R. Sturgis Ingersoll, then president of the Museum and, like Kienbusch, a graduate of Princeton. An enlightened Philadelphia city government played a crucial role by agreeing to fund the renovations needed to convert several galleries into a grand armory that Kienbusch simply could not refuse. For the inaugural installation of arms and armor in 1972, Kienbusch lent a selection of more than one hundred of his finest treasures. By the time of his death in 1976, at the age of ninety-two, Kienbusch had assembled a distinguished and comprehensive collection modeled after the ancestral armories of Europe and the great European and American private collections of the nineteenth and early twentieth centuries.
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