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akg8282500 MAGNIFICENT, GILDED SILVER CENTREPIECE FOR CARL LEHR - HEAD MAYOR AND HONORARY CITIZEN OF DUISBURG. Düsseldorf. Dated 15 January 1912. Conrad Anton Beumers. Based on a design by Wilhelm Zaiser. Silver, part gilded. Colour enamel decor and cabochons. On a flat ground with a scalloped ground plan, vertical, correspondingly curved walls with pearl decorations along the lower edge as well as on four sides rectangles with stylised feather relief. In the centre of the cantilevered bowl, a wide, pedestal-like shaft with a martelé surface. On four sides lesene-shaped fluted ribbons, ending at the top as clasps on a laurel frieze. On the capital-like ends each a large set cabochon out of imitation amazonite. In this area in Champlevé technique dedication inscription ""DIE BEIGEORDNETEN U. STADTVERORDNETEN Z. 70. GEBURTSTAGE 15. JANUARY 1912"" in gold on blue, red speckled ground. On the upper side of the shaft round bowl with four ball feet and straight features. In their middle a stele with eight coats of arms in coloured enamel, with an eagle on a tree stump in the round as finial. Ca. 6320g. Height 45cm, ø bowl (low) 35.5cm. Inscribed on bottom edge: ""Design W. Zaiser Düsseldorf"" ""Production C.A. Beumers Düsseldorf"". No other distinguishable marks. Condition A/B. Literature: - Frauberger, Heinrich: Düsseldorfer Kunsthandwerk, in: Kunstgewerbeblatt, Neue Folge, 19. Jahrgang, Leipzig 1908, pp.181-196. - Heppe, Karl Bernd: Der Goldschmied Conrad Anton Beumers, exhibition cat. 25 February till 5 April 1987, Stadtmuseum Düsseldorf, Düsseldorf 1987. As the article by Heinrich Frauberger zu Düsseldorfer Kunstgewerbe testifies, Wilhelm Zaiser created several designs for honorary gifts which, amongst others, were then carried out by Beumers (P.192 and 196). The honorary here, Carl Lehr, was lord mayor of the city of Duisburg from 1879 till 1914. In 1912 the magnificent centrepiece shown was presented to him on his 70th birthday in an award ceremony for honorary citizen by municipal council members.

akg8282572 LARGE PORCELAIN CANDELABRA WITH DELICATE ""WEICHMALEREI"" DECOR. KPM. Berlin. 1922. Porcelain, enriched in colours and gold and fire gilded bronze. Ascending shaft in rich relief over round, slightly domed pedestal, on three curved rocaille feet. The shaft is structured into three parts by waistings over the feet, as well as under the main nozzle. The foot is decorated with three reserves, in addition to a small-part relief enriched in gold and pastel colours. The areas between the feet of the candlestick show flower bouquets with chrysanthemums, apple blossoms, hedge roses and asters in fine soft paste painting. Three additional reserves, placed in a bulbous area of the shaft, show bouquets of anemones, pansies and forget-me-not. These are framed by sculptural rocaille serpentines. Additinal small-part flower paintings can be found on the main nozzle and underneath the bouquets on the stern. The stern is completed at the top with a drip pan, out of which the five arms made from fire gilded bronze are spirally winding upwards. These are completed by drip pans in fine relief and porcelain nozzles. Between them delicate porcelain blossoms are growing from fine bronze stems. Height 62cm. Sceptre mark, under glaze blue, imperial orb in red, 3157, year mark for April 1922 pressed, 2 painter mark in red, embossed mark, flesh. Condition C. Literature: Dietz, Franca: Die Sammlung Hassan Sabet, Blühende Zeit der KPM, Die Weichmalerei auf Berliner Porzellan, Petersberg, 2013. p. 252-257. The shape for stern and foot of this 'scalloped candlesticks' originates in 1769, the early period of the KPM, and was made as a one-light first. In the context of neo-Rococo the form was very popular even in the 19th century and was used for new designs of more-light candlesticks. The model for the large-format, five-light design is from 1885. It is an excellent example for the 'Style Rocaille' which was popular in historicism. Estimated Shippingcost for this lot: Germany: 0,00 Euro plus 0,00 Euro VAT EU: 0,00 Euro plus 0,00 Euro VAT Worldwide: 0,00 Euro plus 0,00 Euro VAT additional shipping insurance.

akg8282605 TWO LARGE PORCELAIN GIRANDOLES AND A JARDINIÈRE FROM THE ""WEDDING PROCESSION"". Model A. Amberg. Porcelain, white and gold bronze. Six-flamed girandoles over slightly arched round feet decorated with relieved shells. Shafts in the form of stylised palm trunks which run out to the top in leaves and are decorated with date bundles. They are crowned by the figures of a girl kneeling on a flower or a boy eating the date fruits. The six curved bronze arms of the candlesticks grow out of the shaft above the palm leaves and end in attached nozzles and porcelain eaves bowls. The candlesticks were registered in October 1908 in the model book of the KPM under the number 9027 c and the artist name Amberg. Jardiniere with oval shape on four volute-like feet. The wall with a continuous relief, which forms the centre of the ensemble in the imaginary arrangement of the centrepiece. Height girandoles 59/60cm, sizes jardiniere 14x68x26cm. Sceptre mark, one candlestick embossed 8. Condition twice A and once C, one candlestick spout replaced. Provenance: Private collection Hesse Literature: - Von Treskow, Irene: The wedding procession of Adolph Amberg, in: Das Kronprinzensilber, exhibition cat. Berlin 1982, pp. 20-23.- Bröhan Museum, Berlin (ed.): Porcelain. Art and Design 1889 to 1939: From Art Nouveau to Functionalism, Berlin 1996, see pp. 21f., 122f. After completing his studies in Berlin and Paris, Amberg worked as a freelance sculptor for the company P. Bruckmann & Sohn in Heilbronn. In the context of his work there as a metal artist, he achieved his first successes with designs such as a 3.20m high silver fountain, the ""Fountain of German Music"", which he designed together with Otto Rieth for the Paris World Exhibition of 1900 or the commission for the new Aachen Council Silver in 1903. After a one-year stay in Rome, Amberg settled in Berlin, where he designed the wedding procession on the occasion of the wedding of the German crown prince in 1904. In undated, apparently private notes of the artistic director of the KPM, Theo Schmuz-Baudiß, there is a sarcastic remark regarding the rejection of Amberg's designs: Her Majesty the Empress thought that these figures were too naked. Also the boy and the girl crowning the two Girandoles do not wear any clothes. They stand for the succession of generations in the German imperial family. Estimated Shippingcost for this lot: Germany: 0,00 Euro plus 0,00 Euro VAT EU: 0,00 Euro plus 0,00 Euro VAT Worldwide: 0,00 Euro plus 0,00 Euro VAT additional shipping insurance.

akg8282601 EIGHT PORCELAIN FIGURES FROM THE ""WEDDING PROCESSION"". KPM. Berlin. 1906-1919, once without definite year mark. Models A. Amberg. Porcelain, colour and gold enriched. Japanese with fish, Arab with bag pipes, African with monkey, Indian with turkey, Goth with wind chime, African with bugle, bride and groom from the wedding procession by Adolf Amberg. 31.5 - 41.5cm. Sceptre mark, red imperial orb resp. bride with war mark 1918-19, Japanese/Arab/Bride/Bridegroom with blue imperial orb. Annual letters for 1908/1906/ four times with jubilee mark for 150th Anniversary 1913, various incised signs, embossing numbers and painter's signet. Condition A, once A/B and twice C. Provenance: Privatate collection Hesse. Literature: - Bröhan-Museum, Berlin (ed.): Porzellan. Kunst und Design 1889 bis 1939. Vom Jugendstil zum Funktionalismus, Berlin 1996, cf. pp. 21, 122. -Hoffmann, Tobias/Kanowski, Claudia (ed.): Lust auf Dekor. KPM-Porzellane zwischen Jugendstil und Art Deco. Die Ära Schmuz-Baudiß, Cologne 2013, cf. pp. 139. -von Treskow, Irene: Die Jugendstil-Porzellane KPM Berlin, Munich 1971, cf. pp. 109. -Westheim, Paul: Von der Renaissance des Berliner Porzellans, in: Deutsche Kunst & Dekoration, Vol. 29 (1911/12), pp. 82. 1904 Crown Prince Friedrich Wilhelm of Prussia was engaged to the young duchess Cecilie of Mecklenburg-Schwerin. The wedding the following year became a societal mega event that was held in Berlin with elaborate celebrations and a large-scale festive parade. As wedding present, the cities commissioned the design for the silver centrepiece in the shape of a wedding procession. The theme of the ensemble was conceived as an homage to the bridal couple by emmissaries of various nations. The design by the sculptor Adolf Amberg distanced itself from the historism style cultivated by the old empire and aspired to the innovations of the art nouveau style. During times, in which questions of ""Sittlichkeit"" (societal morality) were on the political agenda, Amberg's exotic, sparesly dressed figures were not what was wished to be seen on the banquet table at court. As such the design was rejected by Empress Auguste Victoria, and was eventually bought in 1908 by the Imperial Porcelain Manufactory Berlin (KPM). In 1910 the KPM already presented select figures from this ensemble at the world exhibition in Brussels, for which Amberg was awarded a gold medal there. At the big Berliner Kunstausstellung (Berlin art exhibition) 1911 the centrepiece was presented in its entirety for the first time and was seen by delighted critics as the clear pinnacle of the show. There phrases were uttered such as ""Renaissance des Berliner Porzellans"" (Renaissance of Berlin porcelain) and ""einer Gesamtkomposition von königlicher Erlesenheit"" (an overall composition of royal elegance). The complete wedding procession consists of 20 figures, a jardiniere, two shallow fruit bowls and two six-flamed girandoles. In order to achieve the complete narrative and compositorial effect, the figures must be set in a certain order. The entourage of the groom, who is dressed as a Roman warrior, and that of the bride are moving towards each other. The bride, depicted as Europa on the Bull, has a female, the groom a male entourage. These are paying homage to the couple with gifts from nature, from the crafts and from the arts and differ from the protagonists, who possess a statue-like calm, by their dance-like, dynamic poses. The gait motifs of the individual figures are succintly carved out. The overall impression is reminiscent of a rehearsed choreography. Indeed, Amberg's design plays with the principles of the dance style modern in 1900. In the new, ""Sinfonische Ausdruckstanz"" (symphonic expression dance) the striding, walking, and turning of oneself played a central role. The elegance of the movement is paired with soft shapes. The softly modelled contours and wide areas smoothly flow into one another and support the dance-like character of each figure. Amberg creates a rhythm for the eye, that can be found in the individual figures, as well as in their relation to one another. Estimated Shippingcost for this lot: Germany: 37,82 Euro plus 7,18 Euro VAT EU: 58,82 Euro plus 11,18 Euro VAT Worldwide: 100,84 Euro plus 19,16 Euro VAT additional shipping insurance.

akg8282644 EIGHT PORCELAIN FIGURES FROM THE ""WEDDING PROCESSION"". KPM. Berlin. 1906-1919, once without definite year mark. Models A. Amberg. Porcelain, colour and gold enriched. Japanese with fish, Arab with bag pipes, African with monkey, Indian with turkey, Goth with wind chime, African with bugle, bride and groom from the wedding procession by Adolf Amberg. 31.5 - 41.5cm. Sceptre mark, red imperial orb resp. bride with war mark 1918-19, Japanese/Arab/Bride/Bridegroom with blue imperial orb. Annual letters for 1908/1906/ four times with jubilee mark for 150th Anniversary 1913, various incised signs, embossing numbers and painter's signet. Condition A, once A/B and twice C. Provenance: Privatate collection Hesse. Literature: - Bröhan-Museum, Berlin (ed.): Porzellan. Kunst und Design 1889 bis 1939. Vom Jugendstil zum Funktionalismus, Berlin 1996, cf. pp. 21, 122. -Hoffmann, Tobias/Kanowski, Claudia (ed.): Lust auf Dekor. KPM-Porzellane zwischen Jugendstil und Art Deco. Die Ära Schmuz-Baudiß, Cologne 2013, cf. pp. 139. -von Treskow, Irene: Die Jugendstil-Porzellane KPM Berlin, Munich 1971, cf. pp. 109. -Westheim, Paul: Von der Renaissance des Berliner Porzellans, in: Deutsche Kunst & Dekoration, Vol. 29 (1911/12), pp. 82. 1904 Crown Prince Friedrich Wilhelm of Prussia was engaged to the young duchess Cecilie of Mecklenburg-Schwerin. The wedding the following year became a societal mega event that was held in Berlin with elaborate celebrations and a large-scale festive parade. As wedding present, the cities commissioned the design for the silver centrepiece in the shape of a wedding procession. The theme of the ensemble was conceived as an homage to the bridal couple by emmissaries of various nations. The design by the sculptor Adolf Amberg distanced itself from the historism style cultivated by the old empire and aspired to the innovations of the art nouveau style. During times, in which questions of ""Sittlichkeit"" (societal morality) were on the political agenda, Amberg's exotic, sparesly dressed figures were not what was wished to be seen on the banquet table at court. As such the design was rejected by Empress Auguste Victoria, and was eventually bought in 1908 by the Imperial Porcelain Manufactory Berlin (KPM). In 1910 the KPM already presented select figures from this ensemble at the world exhibition in Brussels, for which Amberg was awarded a gold medal there. At the big Berliner Kunstausstellung (Berlin art exhibition) 1911 the centrepiece was presented in its entirety for the first time and was seen by delighted critics as the clear pinnacle of the show. There phrases were uttered such as ""Renaissance des Berliner Porzellans"" (Renaissance of Berlin porcelain) and ""einer Gesamtkomposition von königlicher Erlesenheit"" (an overall composition of royal elegance). The complete wedding procession consists of 20 figures, a jardiniere, two shallow fruit bowls and two six-flamed girandoles. In order to achieve the complete narrative and compositorial effect, the figures must be set in a certain order. The entourage of the groom, who is dressed as a Roman warrior, and that of the bride are moving towards each other. The bride, depicted as Europa on the Bull, has a female, the groom a male entourage. These are paying homage to the couple with gifts from nature, from the crafts and from the arts and differ from the protagonists, who possess a statue-like calm, by their dance-like, dynamic poses. The gait motifs of the individual figures are succintly carved out. The overall impression is reminiscent of a rehearsed choreography. Indeed, Amberg's design plays with the principles of the dance style modern in 1900. In the new, ""Sinfonische Ausdruckstanz"" (symphonic expression dance) the striding, walking, and turning of oneself played a central role. The elegance of the movement is paired with soft shapes. The softly modelled contours and wide areas smoothly flow into one another and support the dance-like character of each figure. Amberg creates a rhythm for the eye, that can be found in the individual figures, as well as in their relation to one another. Estimated Shippingcost for this lot: Germany: 37,82 Euro plus 7,18 Euro VAT EU: 58,82 Euro plus 11,18 Euro VAT Worldwide: 100,84 Euro plus 19,16 Euro VAT additional shipping insurance.

akg8280858 ART NOVEAU SILVER AND IVORY MUSTARD POT. Design Henry van de Velde, ca. 1910, executed by Martin Mayer, Mainz. Silver. Ivory. Slightly flared lower area, cylindrical wall above. Upper part in stylized tendrils openwork with cartouche on the front side. The hinged lid underlaid with ivory and floral relief decoration.. Ca. 68g. Height 9cm. Crescent & crown, standard 800 or 900 (slightly indistinct), workshop stamp Martin Mayer, number 68. Condition A/B. Provenance: Private collection Hessen. Literatur: - Föhl, Thomas & Neumann, Antje (Hrsg.): Henry van de Velde - Raumkunst und Kunsthandwerk - Ein Werkverzeichnis in sechs Bänden, Bd.1, Metallkunst, Leipzig 2009. For the comission by Grand Duke Wilhelm Ernst von Sachsen-Weimar see p.94ff. - Kerssenbrock-Krosigk, Dedo von: Metallkunst der Moderne - Bröhan-Museum, Leipzig 2001, Band IV Metallkunst, Bröhan-Museum 1990, p.18ff. - Ulmer, Renate: Museum Künstlerkolonie Darmstadt, Darmstadt 1990. - Wiench, Peter (Redak.): Das große Lexikon der Antiquitäten, Hamburg 1980, S.524. The model described and pictured. His first major order for holloware Henry van de Velde got on the occasion of the wedding of his donor, the grand duke Wilehlm Ernst of Saxony-Weimar and Princess Caroline of Reuß on the 30 th April 1903. The order, on behalf of the civil service, included 355 pieces in total. The models were developed in close cooperation with the Weimar court jeweller Theodor Müller. Due to the size of the order, however, the execution of the service was handed over to the Bremer Silberwarenfabrik Koch & Bergfeld, but the work was probably only provided with the signets van de Veldes and Theodor Müllers (Föhl & Neumann, 2009, p.96 and p.98). The gift for the Grand Ducal Table aroused great enthusiasm among contemporaries and in the following years the range of van de Velde's silver designs grew steadily (ibid. p.100ff.). Another mustard jug can be found in the collection of the Museum für Kunst und Gewerbe in Hamburg (Wiech, 1980). The Mainz silverware factory Martin Mayer also executed designs of the artists from the Darmstädter Mathildenhöhe, such as for example for Patriz Huber (Ulmer, 1990, pp.117ff.) or Peter Behrens. Estimated Shippingcost for this lot: Germany: 14,29 Euro plus 2,71 Euro VAT EU: 25,21 Euro plus 4,79 Euro VAT Worldwide: 42,02 Euro plus 7,98 Euro VAT additional shipping insurance. Art trade, Van Ham.

akg8282294 BOETTGER STONEWARE FIGURE OF A LARGE EAGLE OWL. Meissen. 1924-1934. Model E. Hösel 1928. Böttger stoneware. Life-size figure of a naturalistically modelled eagle owl. The large bird is enthroned on a geometric pedestal consisting of a sphere embedded in the surface of a truncated pyramid on a flat plinth. Height 65.5cm. Pfeiffer mark, embossed stamp 'Böttger Steinzeug' V190, porcelain former no. 23, incised L230. Provenance: Personal gift of E. Hösel. By inheritance still in family estate. Erich Hösel's eagle owl impresses, besides his size, by the detailed, realistic modelling of his plumage, his claws and the austere features of his face. He sits enthroned on a pedestal whose smooth surfaces and straight lines form an attractive contrast to the moving, soft forms of the body. With the help of this contrariness, the modeller succeeds in modelling an extremely exciting sculpture without any dynamic poses or sweeping movements. The geometric contours of the pedestal are increasingly dissolved upwards and merge into an ever stronger naturalism, culminating in the striking facial features of the eagle owl. At first the accurate square of the plinth tapers to the less severe shape of the sphere. Hösel also succeeds impressively in bridging the gap between pure geometric form and owl body by positioning the bird's claws almost unnaturally symmetrically on the sphere. The delicacy of the down of the breast feathers is brought to the point by sparing surface movement. The soft, flat contours stand in stark contrast to the sharp, meticulously modelled facial features of the eagle owl, emphasising them additionally. Hösel follows the same principle when modelling the back, on which the individually stepped, symmetrically arranged tail and wing feathers merge upwards into a softly modelled plumage.In his model, Hösel skillfully plays with the properties of the Böttger stoneware material to model different surface structures. The unglazed, monochrome surface reveals every subtlety of the modelling, giving the eagle owl its almost lifelike character. Estimated Shippingcost for this lot: Germany: 0,00 Euro plus 0,00 Euro VAT EU: 0,00 Euro plus 0,00 Euro VAT Worldwide: 0,00 Euro plus 0,00 Euro VAT additional shipping insurance. Art trade, Van Ham.

akg8282278 MAGNIFICENT, GILDED SILVER CENTREPIECE FOR CARL LEHR - HEAD MAYOR AND HONORARY CITIZEN OF DUISBURG. Düsseldorf. Dated 15 January 1912. Conrad Anton Beumers. Based on a design by Wilhelm Zaiser. Silver, part gilded. Colour enamel decor and cabochons. On a flat ground with a scalloped ground plan, vertical, correspondingly curved walls with pearl decorations along the lower edge as well as on four sides rectangles with stylised feather relief. In the centre of the cantilevered bowl, a wide, pedestal-like shaft with a martelé surface. On four sides lesene-shaped fluted ribbons, ending at the top as clasps on a laurel frieze. On the capital-like ends each a large set cabochon out of imitation amazonite. In this area in Champlevé technique dedication inscription ""DIE BEIGEORDNETEN U. STADTVERORDNETEN Z. 70. GEBURTSTAGE 15. JANUARY 1912"" in gold on blue, red speckled ground. On the upper side of the shaft round bowl with four ball feet and straight features. In their middle a stele with eight coats of arms in coloured enamel, with an eagle on a tree stump in the round as finial. Ca. 6320g. Height 45cm, ø bowl (low) 35.5cm. Inscribed on bottom edge: ""Design W. Zaiser Düsseldorf"" ""Production C.A. Beumers Düsseldorf"". No other distinguishable marks. Condition A/B. Literature: - Frauberger, Heinrich: Düsseldorfer Kunsthandwerk, in: Kunstgewerbeblatt, Neue Folge, 19. Jahrgang, Leipzig 1908, pp.181-196. - Heppe, Karl Bernd: Der Goldschmied Conrad Anton Beumers, exhibition cat. 25 February till 5 April 1987, Stadtmuseum Düsseldorf, Düsseldorf 1987. As the article by Heinrich Frauberger zu Düsseldorfer Kunstgewerbe testifies, Wilhelm Zaiser created several designs for honorary gifts which, amongst others, were then carried out by Beumers (P.192 and 196). The honorary here, Carl Lehr, was lord mayor of the city of Duisburg from 1879 till 1914. In 1912 the magnificent centrepiece shown was presented to him on his 70th birthday in an award ceremony for honorary citizen by municipal council members. Art trade, Van Ham.

akg8282285 MAGNIFICENT, GILDED SILVER CENTREPIECE FOR CARL LEHR - HEAD MAYOR AND HONORARY CITIZEN OF DUISBURG. Düsseldorf. Dated 15 January 1912. Conrad Anton Beumers. Based on a design by Wilhelm Zaiser. Silver, part gilded. Colour enamel decor and cabochons. On a flat ground with a scalloped ground plan, vertical, correspondingly curved walls with pearl decorations along the lower edge as well as on four sides rectangles with stylised feather relief. In the centre of the cantilevered bowl, a wide, pedestal-like shaft with a martelé surface. On four sides lesene-shaped fluted ribbons, ending at the top as clasps on a laurel frieze. On the capital-like ends each a large set cabochon out of imitation amazonite. In this area in Champlevé technique dedication inscription ""DIE BEIGEORDNETEN U. STADTVERORDNETEN Z. 70. GEBURTSTAGE 15. JANUARY 1912"" in gold on blue, red speckled ground. On the upper side of the shaft round bowl with four ball feet and straight features. In their middle a stele with eight coats of arms in coloured enamel, with an eagle on a tree stump in the round as finial. Ca. 6320g. Height 45cm, ø bowl (low) 35.5cm. Inscribed on bottom edge: ""Design W. Zaiser Düsseldorf"" ""Production C.A. Beumers Düsseldorf"". No other distinguishable marks. Condition A/B. Literature: - Frauberger, Heinrich: Düsseldorfer Kunsthandwerk, in: Kunstgewerbeblatt, Neue Folge, 19. Jahrgang, Leipzig 1908, pp.181-196. - Heppe, Karl Bernd: Der Goldschmied Conrad Anton Beumers, exhibition cat. 25 February till 5 April 1987, Stadtmuseum Düsseldorf, Düsseldorf 1987. As the article by Heinrich Frauberger zu Düsseldorfer Kunstgewerbe testifies, Wilhelm Zaiser created several designs for honorary gifts which, amongst others, were then carried out by Beumers (P.192 and 196). The honorary here, Carl Lehr, was lord mayor of the city of Duisburg from 1879 till 1914. In 1912 the magnificent centrepiece shown was presented to him on his 70th birthday in an award ceremony for honorary citizen by municipal council members. Art trade, Van Ham.

akg8279716 MAGNIFICENT SILVER CENTRE PIECE FOR CARL LEHR - LORD MAYOR AND HONORARY CITIZEN OF DUISBURG. Düsseldorf. Dated 15th January 1912. Conrad Anton Beumers. After a design by Wilhelm Zaiser. Silver, partly gilt. Coloured enamel decor and cabochons. On a flat base with foiled layout upright, correspondingly curved wall with pearl decor along the lower rim as well as on four sides rectangles with stylized feather relief. In the centre of the expansive bowl wide, pedestal-like shaft with marbled surface. on four sides lesene-like, fluted ribbons, ending on top as braces on laurel frieze. on the capital-like ends each large polychromed cabochon of Amazonit imitation. In this area in champlevé-technique dedication inscription ""DIE BEIGEORDNETEN U. STADTVERORDNETEN Z. 70. GEBURTSTAGE 15. JANUAR 1912"" in gold on blue, red-speckled ground. On the top side of the shaft round bowl with four bun feet and straight lines attached. In the centre a grooved stem with eight coats of arms in coloured enamel, crowned by a fully sculptured eagle on a tree trunk. Ca. 6320g. Height 45cm, ø lower bowl 35.5cm. Inscribed on the bottom rim: ""Entwurf W. Zaiser Düsseldorf"" ""Ausführung C.A. Beumers Düsseldorf"". Otherwise without distinct marks. Condition A/B. Literature: - Frauberger, Heinrich: Düsseldorfer Kunsthandwerk, in: Kunstgewerbeblatt, Neue Folge, 19. Jahrgang, Leipzig 1908, p.181-196. - Heppe, Karl Bernd: Der Goldschmied Conrad Anton Beumers, Ausst.-Kat. 25. Februar bis 5. April 1987, Stadtmuseum Düsseldorf, Düsseldorf 1987. As proven in the article by Heinrich Frauberger concerning the applied arts in Düsseldorf, Wilhelm Zaiser additionally produced several models for gifts of honor, which then were realized by Beumers, amongst others (p.192 and 196).Carl Lehr was the lord mayor of the city of Duisburg from 1879 to 1914. In 1912, this magnificent centre piece was presented to him on his 70th birthday for the bestowal of the honorary citizenship by the deputies and town councillors. Art trade, Van Ham.