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IG_324: Replica of a stucco and glass window with star ornamentation
(BE_Oberhofen_SchlossOberhofen_Selamlik_IG_324)

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Titel

Replica of a stucco and glass window with star ornamentation

Art des Objekts
Künstler*in / Hersteller*in
Werkstatt / Atelier
Datierung
1854
Masse
37.5 x 35 cm (sight size)
Standort
Lage
Selamlik, South side, s III
Inventar

Ikonografie

Beschreibung

The two rectangular stained-glass panels in the upper part of the wooden cross-window show symmetrically arranged star ornamentation composed of four eight-pointed stars in yellow and red, which are inscribed within eight-pointed stars in blue. Reduced versions of an eight-pointed star made up of a green square and yellow points are set between the blue stars.

Iconclass Code
48A981 · Ornament aus geometrischen Motiven
48A9815 · sternförmiges Ornament
Iconclass Stichworte

Technik / Zustand

Erhaltungszustand und Restaurierungen

Replacement of the lead during the latest restoration of the Selamlik windows (IG_322IG_327), in 2012.

Technik

Colourless and coloured pieces of glass set in lead. The outside of the colourless glass has a satin finish. To stabilize the stained glass, an iron rod was tied to the panel.

Entstehungsgeschichte

Forschung

The design of the two panels of this window shows a colour variation of the composition of the neigbouring panels (IG_323), which faithfully reproduce a qamariyya drawn by the Bernese architect and draughtsman Theodor Zeerleder (1820–1868) in the sheikh’s house in Cairo (IG_471) during his journeys to Egypt in 1848 and 1849/1850 (Bäbler/Bätschmann, 2006, pp. 57–80; Giese, 2015, p. 38).

The stained-glass panels show a slightly modified version of the flower and star ornamentation documented in several of the stucco and glass windows studied from Egypt (see for instance IG_12, IG_38, IG_167, IG_171, IG_186). In contrast to these windows, the eight-petalled flower set into the star has been replaced by a smaller eight-pointed star.

During his stays in Cairo, Zeerleder examined several Ottoman houses, described them in his journal (BBB, Mss.h.h.XLIV.78), and made numerous sketches and watercolours of their architecture and furnishings, which are held today at the Burgerbibliothek Bern (see for instance IG_469IG_473). The watercolour of a window in the sheikh’s house mentioned above, with its annotation of the colours of glass used, is a perfect example of Zeerleder’s detailed study of Cairo’s domestic architecture, which was to earn him a prestigious commission from Count Albert Alexander de Pourtalès (1812–1861), who had acquired Oberhofen Castle in 1844 and remodelled it in historicist style together with his father from 1848 onwards (Mülinen-Gurowski, 1859, p. 234; Germann 2002-a; Jordi 2004, pp. 25–39).

Like his father, Albert worked in the service of Prussia and travelled across Europe and the East as a diplomat. Between 1838 and 1851, he can be attested in Istanbul, where he worked first as secretary to the Prussian legation and, as of 1850, its envoy. This is probably also the reason for his enthusiasm for the East, which was expressed not only in the artefacts he brought back from the Ottoman Empire, but also in his wish to install an Arab-style smoking room, the so-called Selamlik, in Oberhofen Castle.

In 1854, Albert entrusted the conception and execution of the Selamlik, which had probably already been begun in 1853 under the Neuchâtel architect James Victor Colin (1807–1886), to Zeerleder, who may have met de Pourtalès during his stay in Istanbul in September 1848 (Germann, 2002-b; Bäbler/Bätschmann, 2006, p. 168).

Based on his sketches and drawings from Cairo and Damascus, Zeerleder conceived a surprisingly faithful recreation of a traditional *qāʿa*, despite the absence of original pieces from the East (Giese 2015; Giese 2019, pp. 59–67). Nevertheless, when comparison is made with Islamic prototypes, significant differences can be recognized in the furnishings executed by local workshops. This also applies to the windows, as already observed by Sarah Keller (Keller 2019, pp. 202–205). Hence, unlike the replicas of Islamic stucco and glass windows at the Maison Loti in Rochefort (IG_427–431) or in Leighton House in London (IG_48–IG_59, IG_91), the windows at Oberhofen Castle were executed in the Western stained-glass technique, with lead cames instead of stucco to structure the design and hold the pieces of glass in place.

Even though the stained-glass panels of this window are not signed, they may have been executed by the workshop of Ludwig Stantz (1801–1871), active in Bern from 1848, who made several other stained-glass windows for Oberhofen Castle around 1850 (Tripet, 1894, p. 213; Heuberger, 2000, fig. 6), among them the historicist panels of the wooden cross-windows in the so-called Scharnachtalsaal, located in the first floor of the medieval keep. The similarity of the window construction with two rectangular stained-glass panels in the upper section supports this assumption.

A preliminary design for the Selamlik by Zeerleder, preserved at the Burgerbibliothek Bern and dating from around 1854 (BBB, Gr. B. 322) (see Linked objects and images) shows large-scale star motifs instead of the symmetrically arranged star ornamentation of the two stained-glass panels discussed here. We can therefore assume that the design of the windows was changed during the construction process (Keller 2020, p. 55).

Datierung
1854
StifterIn

Count Albert de Pourtalès (1812-1861)

Ursprünglicher Standort
Herstellungsort

Bibliografie und Quellen

Literatur

Bäbler, M. & Bätschmann, M.T. (2006). Mit Zirkel und Palette. Bern: Stämpfli Verlag.

Germann 2002-a
Georg Germann, „Schloss Oberhofen und seine Grafen“, in Riviera am Thunersee im 19. Jh., Bern, Stämpfli Verlag, 2002, 97–100.

Giese, F. (2019). Orientalisierende Fumoirs in der Schweiz: Islamische Architekturzitate zwischen Nachahmung, Abguss und Assemblage. In F. Giese, L. el-Wakil, & A. Varela Braga (Eds.), Der Orient in der Schweiz / L’Orient en Suisse: Neo-islamische Architektur und Interieurs im 19. und 20. Jahrhundert. Welten des Islams, 10 (pp. 59–84). De Gruyter.

Heuberger 2000
Heuberger, Vera, "Maskenball" der Baukunst : historistische Wohnbauten und Innenausstattungen des 19. Jahrhunderts am Thunersee, Kunst + Architektur in der Schweiz 51, 2000, pp. 32–42.

Jordi 2004
Rolf Jordi, Schloss Oberhofen. Die Wiederentdeckung eines Stücks Geschichte, Thun: Jordi Eigenverlag, 2004.

Keller, S. (2019). "Glänzende Wirkungen" – neo-islamische Glasmalerei in der Schweiz. In F. Giese, L. el-Wakil, & A. Varela Braga (Eds.), Der Orient in der Schweiz / L’Orient en Suisse: Neo-islamische Architektur und Interieurs im 19. und 20. Jahrhundert. Welten des Islams, 10 (pp. 201–221). De Gruyter.

Keller, S. (2020). Farbe des Orients. In F. Giese (Ed.), La redécouverte de la couleur (pp. 47– 64). De Gruyter.

Mülinen-Gurowski, 1859
B. von Mülinen-Gurowski, “Ein Besuch im Schloss Oberhofen. Rückblicke auf seine Geschichte”, Berner Taschenbuch 8, 1859, 232-256.

Tripet, 1894
M. Tripet, „Le docteur Stantz“, Schweizer Archiv für Heraldik, 8, 1894, 213.

BBB, Mss.h.h.XLIV.78
Burger Bibliothek Bern, Theodor Zeerleder, Journal, 1846–1848, Burgerbibliothek Bern, Mss.h.h.XLIV.78

BBB, Gr. B. 322
Burger Bibliothek Bern,

Germann 2002-b
Georg Germann, „Schloss Oberhofen und seine Architekten“, in Riviera am Thunersee im 19. Jh., Bern, Stämpfli Verlag, 2002, 101–112.

Ausstellungen

18.5.2024–1.9.2024: Luminosité de l’Orient, Vitromusée Romont

Bildinformationen

Name des Bildes
BE_Oberhofen_SchlossOberhofen_Selamlik_IG_324

Inventar

Referenznummer
IG_324
Autor*in und Datum des Eintrags
Francine Giese 2024; Sarah Keller 2024

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