Inkstand from Herrenchiemsee Palace

 Inkstand – Study, Herrenchiemsee

The inkstand was designed in 1883. The architect Brochier created the design, the figural elements were designed by Widnmann, the model was executed by the sculptor Krämer, and the piece was produced by the firm Harrach & Sohn (Bayerischer Kunstgewerbeverein: … zu München, 38, 1888, p. 16). The inkstand cost 25,000 marks (Baumgartner, Traum).

Based on the year of the design, it can be identified as intended for the study at Herrenchiemsee Palace, during the period of detailed planning for this room. In the same year, the “Bureau du Roi,” the desk on which the inkstand was planned to be placed, was already in production. The “Bureau du Roi” was completed in August 1884 and was already installed in the study, where it was cleaned and its medallions revised. The inkstand was probably produced at the end of 1885 or the beginning of 1886, as a cost estimate (“Voranschlag”) dated August 13, 1885, has survived. It reads:
“Inkstand ensemble, consisting of: inkstand, crown with genuine stones and pearls, writing portfolio […] 34,500 marks.”

However, the inkstand was probably never delivered to the palace, as it is not mentioned in any of the guidebooks published shortly after the palace was opened to the public, although they do refer to it in the Council Chamber.

Dimensions

There are three sources for the dimensions:

1. Bayerischer Kunstgewerbeverein… zu München, 38, 1888, p. 16): height 75 cm, width 70 cm, depth 45 cm.

2. Albert Duss’s 1888 auction catalogue (sale of the estate of King Ludwig II): height 68 cm, width 70 cm.

3. Louise von Kobell, Ludwig II und die Kunst: width 70 cm.

Description

At the very top is a miniature crown of Louis XV, decorated with genuine pearls and crystals (Bayerischer Kunstgewerbeverein, 1888) and colored stones (Albert Duss, 1888 catalogue).

Beneath the crown are the coats of arms of France (Bourbon) and Navarre (France: blue with golden fleurs-de-lis; Navarre: red with golden chains).

Below them is an oval portrait of Louis XIV, painted after the portrait of Louis XIV in armor by Claude Lefèbvre, around 1670. The portrait could be changed using a rosette mechanism (Bayerischer Kunstgewerbeverein, 1888; Kobell, Ludwig II und die Kunst). According to a design showing a sketched portrait of Louis XV—likely executed by a different artist than Brochier—the image can be identified as based on the portrait of Louis XV in armor by Maurice Quentin de La Tour. This choice is logical, as Louis XIV is likewise depicted in armor. The exact type of rosette mechanism used remains speculative.

Below the portrait, on the left, is Apollo with a lyre; to the right of Apollo is a putto holding a garland; further to the right is Minerva.

At the base is the inkwell structure itself, functioning as a kind of pedestal. In the center appears the king’s monogram—intertwined double “L” with a crown—behind which was a stand for a bell. On either side of this pedestal are compartments for ink; on their lids are putti symbolizing the arts.

After the death of Ludwig II of Bavaria, the inkstand was sold as part of his estate. It was purchased by Georg Ehni, who subsequently resold part of the estate, including the inkstand, at an auction organized by Albert Duss in Stuttgart in 1888. It was listed under lot number 723, and the auction catalogue includes a photograph of the inkstand.

Design of the inkstand by Brochier, through which the second portrait can be identified.

Portrait of Louis XIV by Claude Lefèbvre, around 1670.

Portrait of Louis XV by Maurice Quentin de La Tour, 1730.

Photograph of the inkstand in the catalogue (the photograph is mirror-reversed).

Inkstand in Bayerischer Kunstgewerbeverein: Zeitschrift des Bayerischen Kunstgewerbe-Vereins zu München. 38 (1888), pp. 110–111.

Writing set belonging to the inkstand

It was probably designed by Brochier in 1883 and manufactured by Harrach und Sohn, likewise in 1883. It consists of a servant’s bell, a letter opener, a seal (petschaft), and a pen tray on which a pen is placed.

The bell was positioned on the base of the inkstand.

It can be identified by the year of manufacture and by the fact that it belonged to the inkstand because it was located in the study (Arbeitszimmer) at Herrenchiemsee.

It can also be identified based on the catalogue description by Albert Duss: “Zu dem Schreibzeug gehörig: eine dazu passend ausgeführte grosse Federschale.”(Belonging to the inkstand: a large pen tray executed to match it.)

Or according to Bayerischer Kunstgewerbeverein: Zeitschrift des Bayerischen Kunstgewerbe-Vereins zu München. 38 (1888), which states: “Zu dem Schreibzeug gehörten ferner Glocke, Petschaft, Falzmesser und Federhalter.”(The inkstand also included a bell, a seal, a letter opener, and a pen holder).”

Servant bell

Bell on the base of the inkstand

Pen tray positioned in front of the inkstand (photograph from the catalogue, Albert Duss)

Photograph of the writing set

Inkstand – Council Chamber, Herrenchiemsee

Designed by Widnmann and Perron, and also manufactured by Perron (probably the figurative part) and the firm Harrach & Sohn.

The fact that Widnmann’s design dates back to January 1881 (even before the room was completed) shows how meticulously the king planned his palaces.

Description:
Made of gilded bronze, with a monumental structure featuring the equestrian statue of King Louis XIV as a Roman emperor, which sits on an elevated pedestal forming the end of the semicircular gallery encompassing the inkstand. On both sides of this pedestal sit two female figures with the emblems of state power and authority; at the front, there are two cherubs serving as shield bearers with the king’s monogram, crowned with an openwork crown, and at the feet of the cherubs a female head in a garland of flowers. At both ends of the gallery, on pedestals, two cherubs represent the emblems of war and peace. In the center is the inkstand, richly ornamented, ending with a shell-shaped vessel, and decorated on the sides with flowing foliage and flowers in exquisite craftsmanship. The back is equally richly decorated. Height 62 cm, width 96 cm, depth 55 cm. (Duss, catalogue 1888)

The realized inkstand differs from the design is only in the statue of Louis XIV. As we know from the signature, the statue depicted the equestrian figure of Louis XIV as a Roman emperor. Since the pedestal for the statue is relatively small, the horse had to be in a compact pose—a statue the king saw during his visit to Paris on August 23, 1874, at the Place des Victoires, as recorded in the Fränkischer Anzeiger on August 26: “der König lange in Betrachtung der Reiterstatue Ludwig’s des XIV. versunken […]” (the king was long absorbed in contemplation of the equestrian statue of Louis XIV […]) (https://schloesserblog.bayern.de/tipps-aktuelles/wo-ist-der-koenig-ludwig-ii-als-graf-berg-auf-reisen).

Thanks to a pencil detail on the design, we know that the appearance of the inkstand was approved on March 6, 1881 (noted as Am 6/3 81, Allerhöchst genehmigt (On 6/3/81, highest approval granted)). We also know that the inkstand was completed by September 1881 and was already in the Council Chamber from that month, according to instructions from Richard Hornig to Georg von Dollmann dated June 21, regarding the king’s upcoming stay in September: “das Schreibzeug ohne Zubehör bis zum besagten Termin zur Ablieferung zu bringen.” (bring the inkstand without accessories to delivery by the specified date).

The inkstand remained on the table in the Council Chamber for a short time even after the palace was opened to the public, and it is described in guidebooks written shortly after the opening. For example, in Johann Nepomuk Zwickh’s Herrenchiemsee, Neuschwanstein und Linderhof: die Lieblingsschlösser weiland Königs Ludwig II.; nebst den Reiserouten dahin, it states:

"ein ebensolcher Tisch, dessen blaue Sammtdecke die Eindrücke der darauf gestandenen massiven Garnitur, Hand-leuchter, Schreibzeug und sonstigen Utensilien zeigt."

(“a similar table, whose blue velvet cover shows the impressions of the massive set, hand candelabra, inkstand, and other utensils that stood upon it.”)

The inkstand was included in an auction in Stuttgart in 1888 under lot number 717, but it was not sold and remained in the collection of Georg Ehni (who had purchased the king’s estate), as the inkstand was later exhibited at the 1893 World’s Fair in Chicago (Weltausstellung (1893: Chicago, Ill.): Official Catalogue Exhibition of the German Empire).

Design of the inkstand from February 1881 by Franz Widnmann

Equestrian statue of Louis XIV as a Roman emperor at Place des Victoires

Writing Set – Council Chamber, Herrenchiemsee

Designed by Franz Widnmann in April 1882 and manufactured by Harrach & Sohn. It can be identified by its year of manufacture. The writing implements were probably completed in the first half of 1883; however, they were not yet finished in January 1883, as evidenced by an article in the Passauer Tagblatt of 9 January 1883, which states:

„Architekten weilen zur Zeit im Allerhöchsten Auftrag in Versailles, um das dortige Schloß, nach welchem der Königsbau auf Herrenchiemsee ausgeführt wird, bis in's kleinste Detail zu copiren. Silberarbeiter Harrach hier ist seit Jahresfrist an der Anfertigung einer Schreibzeug-Garnitur für Se. Majestät thätig.”

(The architects are currently in Versailles on the highest commission, tasked with copying the palace there, after which the royal building at Herrenchiemsee is being executed, down to the smallest detail. The silversmith Harrach has been working here for a year on the production of a writing set for His Majesty.)

However, it was probably already completed by 14 June 1883, as it appears in the description by Georg Dollmann from that date, which states: „die Schreibgarnitur aus vergoldeter Bronce und Lapis lazuli Einlagen trägt.” (the writing set bears gilded bronze and lapis lazuli inlays)..The writing implements included a bell and a paperweight.

The writing implements in the Council Chamber were not intended to be used, as can be inferred from the instructions: “das Schreibzeug – auch ohne Zubehör zum besagten Termin zur Ablieferung zu bringen.” (to deliver the inkstand – even without accessories – by the specified date) (Rauch, Herrenchiemsee, p. 132).

Description of paperweight:
Made of gilded bronze. On a base decorated with lapis lazuli rests a group set upon rocks: two large female figures, one holding a palm branch, the other a military trumpet, together raising a royal crown above them. On the front sit two cherubs holding a shield with the king’s monogram—intertwined double L’s. The reverse side is decorated in the same manner.(Duss catalogue, 1888)

Description of the bell:
In gilt bronze, on a large monumental pedestal richly decorated with festoons and shields. In the center of the base are mascarons, at the corners four cherubs, the ground entirely of lapis; the handle of the bell consists of a winged female figure raising a royal crown with both arms, at whose feet stands a small cherub. The body of the bell is fluted, with the richest gilding and decoration. Modeled by Professor Perron, executed by Harrach & Sohn Munich. (Duss catalogue, 1888).

After the king’s death, it was sold at auction in Stuttgart in 1888, just like the inkstand. This ensemble also included a bell on a base, which can be identified by its pedestal, decorated with lapis lazuli in the same way as the paperweight (Briefbeschwerer). It was also sold at the same auction as the paperweight.

photograph of paperweight in catalogue

Design of Paperweight by Widnmann,1882

Photograph of bell in catalogue