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Lot Essay
LORENZ BILLER I
The Biller family were one of the most important goldsmithing dynasties in Augsburg. The family’s patriarch, Lorenz I (fl. c. 1664-1685), established his name by supplying Emperor Leopold I with silver, including a 1680-84 ewer formed as a rearing horse and rider and a 1684 basin chased with scenes celebrating the combined forces of Austria and her allies, which formed part of an ambassadorial gift to Tsar Feodor III (see B. Shifman and G. Walton, Gifts to the Tsars 1500-1700, New York, 2019, pp. 225-227). Most recently an impressive 1663 casket inset with plaques by Lorenz I was sold Sotheby’s, Paris, 12 October 2022, lot 273 as part of the Hôtel Lambert Collection. Lorenz I’s sons Johann Ludwig I (1656-1732), Albrecht (1653-1720) and Lorenz II (1649-1726), and his grandsons Johann Ludwig II (1696-1746) and Johannes (1692-1746) were all important makers.
Various members of the Biller family supplied elements of the great silver-gilt buffet in the Berlin Schloss. In Dresden there survive four gueridons by Johan Ludwig and the superbly chased firescreen made by Albrecht and his brother Lorenz II around 1710. Albrecht, who in 1703 published engravings of ornaments, provided silver tables, vases and mirrors for Augustus the Strong, which are preserved today at the Munich Residence and the Green Vaults in Dresden. A large silver mirror, mark of Albrecht, was sold Christie’s, London, 17 March 1999, lot 114, and returned to Charlottenberg Palace, Berlin. A pair of standing figures after the antique, known as the Mentmore Venus and Antinuous figures, attributed to Lorenz Biller II, were sold Christie’s, London, 10 June 2010, lot 277.
The Biller family’s surviving work is testament to the artistic ability and technical skill of their workshop in the late 17th and early 18th centuries and demonstrates the firm’s importance in suppling the leading families of Europe with silver representative of their princely magnificence.
SCENES
Starting with the central plaque and moving counter-clockwise from the 5 o’clock position, the dish depicts the following the biblical scenes from Genesis and Exodus:
Abraham’s Sacrifice (Genesis 22), depicting the moment an angel intervenes as Abraham prepares to prove his faith to God by sacrificing his son, Isaac, who is seated on an altar.
Rebekah at the Well (Genesis 24), portraying Rebekah offering Abraham’s servant, Nahor, water from her jug. On a mission to Mesopotamia to find a bride for Abraham’s son, Isaac, Nahor had prayed that that they first woman to offer him water at the well would be Isaac’s intended bride. This depiction of Rebekah at the Well appears to be based on a print attributed to Adriaen Collaert after Maerten de Vos, 1643.
Isaac meeting Rebekah (Genesis 24), depicts a veiled Rebekah preparing to enter Isaac’s tent to marry him in Cannan.
Jacob’s Ladder (Genesis 29), Jacob, the son of Isaac and Rebekah, while asleep against boulders underneath a tree, dreams of angels traversing a ladder ascending to heaven, and of God declaring the land should belong to his descendants.
Jacob meeting Rachel (Genesis 29), depicting a compilation of several moments, this plaque is centered by Jacob and Rachel embracing, flanked on the right with Rachel and her sister at the well, and on the left with Jacob speaking with Rachel’s father with sheep in the foreground. Rachel’s father would only permit the marriage of the couple if Jacob worked as his herdsman for a period of seven years.
Jacob fighting the Angel (Genesis 32), showing Jacob engaged in physical combat with an angel, a tree, mountains and onlookers in the distance. Following the altercation, the angel informs Jacob that he will be known as Israel going forward; the name meaning ‘he has striven with God.’ The angel pronounces ‘for as a prince has thou power with God and with men, and has prevailed.’
Moses striking the Rock (Exodus 17), depicting Moses with staff raised to strike a boulder, surrounded by his followers suffering from thirst. After leading the Israelites through the desert, Moses begs God to relieve their thirst. God instructs Moses to use his staff to strike a rock, from which water then streams.
BILLER AND LATER
The plaques portraying Jabob’s Ladder and Jacob fighting with the Angel are both clearly marked for Lorenz Biller I. As all seven plaques are of analogous size, quality and depict related biblical narratives, it is very possible that they were all created by Biller, or in the same workshop. The circular shape of the plaques suggest that they may have been removed from a series of tazze before being mounted in the present sideboard dish. Two slightly oval plates centered by plaques chased with allegories of the senses, mark of Lorenz Biller I (hearing) and Albrecht Biller (taste), were sold Christie’s, Paris, 4 May 2016, lots 557 and 558, and are representative of such scenes created as part of larger sets. While the dish itself is unmarked, it is stylistically related to those created in the early 19th century. This assertion is strengthened by the presence of Austrian control marks dating to 1806-07 struck on all of the plaques. The early 19th century fashion for incorporating and enhancing the antique was lead by illustrious connoisseurs including William Beckford and George IV. In 1826, the king purchased a circa 1700 nautilus shell cup by Lorenz Biller II with later embellishments from royal goldsmiths Rundell, Bridge & Rundell. This was one of two nautilus cups purchased from Rundell, and was among the Kunstkammer objects on display in the King’s audience room at Windsor Castle. A 1710 beaker also by Lorenz Biller II, and featuring later enhancements by Rundell, was sold Sotheby’s, London, 5 July 2022, lot 5.
The Biller family were one of the most important goldsmithing dynasties in Augsburg. The family’s patriarch, Lorenz I (fl. c. 1664-1685), established his name by supplying Emperor Leopold I with silver, including a 1680-84 ewer formed as a rearing horse and rider and a 1684 basin chased with scenes celebrating the combined forces of Austria and her allies, which formed part of an ambassadorial gift to Tsar Feodor III (see B. Shifman and G. Walton, Gifts to the Tsars 1500-1700, New York, 2019, pp. 225-227). Most recently an impressive 1663 casket inset with plaques by Lorenz I was sold Sotheby’s, Paris, 12 October 2022, lot 273 as part of the Hôtel Lambert Collection. Lorenz I’s sons Johann Ludwig I (1656-1732), Albrecht (1653-1720) and Lorenz II (1649-1726), and his grandsons Johann Ludwig II (1696-1746) and Johannes (1692-1746) were all important makers.
Various members of the Biller family supplied elements of the great silver-gilt buffet in the Berlin Schloss. In Dresden there survive four gueridons by Johan Ludwig and the superbly chased firescreen made by Albrecht and his brother Lorenz II around 1710. Albrecht, who in 1703 published engravings of ornaments, provided silver tables, vases and mirrors for Augustus the Strong, which are preserved today at the Munich Residence and the Green Vaults in Dresden. A large silver mirror, mark of Albrecht, was sold Christie’s, London, 17 March 1999, lot 114, and returned to Charlottenberg Palace, Berlin. A pair of standing figures after the antique, known as the Mentmore Venus and Antinuous figures, attributed to Lorenz Biller II, were sold Christie’s, London, 10 June 2010, lot 277.
The Biller family’s surviving work is testament to the artistic ability and technical skill of their workshop in the late 17th and early 18th centuries and demonstrates the firm’s importance in suppling the leading families of Europe with silver representative of their princely magnificence.
SCENES
Starting with the central plaque and moving counter-clockwise from the 5 o’clock position, the dish depicts the following the biblical scenes from Genesis and Exodus:
Abraham’s Sacrifice (Genesis 22), depicting the moment an angel intervenes as Abraham prepares to prove his faith to God by sacrificing his son, Isaac, who is seated on an altar.
Rebekah at the Well (Genesis 24), portraying Rebekah offering Abraham’s servant, Nahor, water from her jug. On a mission to Mesopotamia to find a bride for Abraham’s son, Isaac, Nahor had prayed that that they first woman to offer him water at the well would be Isaac’s intended bride. This depiction of Rebekah at the Well appears to be based on a print attributed to Adriaen Collaert after Maerten de Vos, 1643.
Isaac meeting Rebekah (Genesis 24), depicts a veiled Rebekah preparing to enter Isaac’s tent to marry him in Cannan.
Jacob’s Ladder (Genesis 29), Jacob, the son of Isaac and Rebekah, while asleep against boulders underneath a tree, dreams of angels traversing a ladder ascending to heaven, and of God declaring the land should belong to his descendants.
Jacob meeting Rachel (Genesis 29), depicting a compilation of several moments, this plaque is centered by Jacob and Rachel embracing, flanked on the right with Rachel and her sister at the well, and on the left with Jacob speaking with Rachel’s father with sheep in the foreground. Rachel’s father would only permit the marriage of the couple if Jacob worked as his herdsman for a period of seven years.
Jacob fighting the Angel (Genesis 32), showing Jacob engaged in physical combat with an angel, a tree, mountains and onlookers in the distance. Following the altercation, the angel informs Jacob that he will be known as Israel going forward; the name meaning ‘he has striven with God.’ The angel pronounces ‘for as a prince has thou power with God and with men, and has prevailed.’
Moses striking the Rock (Exodus 17), depicting Moses with staff raised to strike a boulder, surrounded by his followers suffering from thirst. After leading the Israelites through the desert, Moses begs God to relieve their thirst. God instructs Moses to use his staff to strike a rock, from which water then streams.
BILLER AND LATER
The plaques portraying Jabob’s Ladder and Jacob fighting with the Angel are both clearly marked for Lorenz Biller I. As all seven plaques are of analogous size, quality and depict related biblical narratives, it is very possible that they were all created by Biller, or in the same workshop. The circular shape of the plaques suggest that they may have been removed from a series of tazze before being mounted in the present sideboard dish. Two slightly oval plates centered by plaques chased with allegories of the senses, mark of Lorenz Biller I (hearing) and Albrecht Biller (taste), were sold Christie’s, Paris, 4 May 2016, lots 557 and 558, and are representative of such scenes created as part of larger sets. While the dish itself is unmarked, it is stylistically related to those created in the early 19th century. This assertion is strengthened by the presence of Austrian control marks dating to 1806-07 struck on all of the plaques. The early 19th century fashion for incorporating and enhancing the antique was lead by illustrious connoisseurs including William Beckford and George IV. In 1826, the king purchased a circa 1700 nautilus shell cup by Lorenz Biller II with later embellishments from royal goldsmiths Rundell, Bridge & Rundell. This was one of two nautilus cups purchased from Rundell, and was among the Kunstkammer objects on display in the King’s audience room at Windsor Castle. A 1710 beaker also by Lorenz Biller II, and featuring later enhancements by Rundell, was sold Sotheby’s, London, 5 July 2022, lot 5.