{"id":23963,"date":"2024-02-13T12:50:08","date_gmt":"2024-02-13T11:50:08","guid":{"rendered":"https:\/\/vichy-encheres.com\/?p=23963"},"modified":"2024-10-30T15:36:57","modified_gmt":"2024-10-30T14:36:57","slug":"guitare-joachim-tielke","status":"publish","type":"post","link":"https:\/\/vichy-encheres.com\/en\/2024\/02\/13\/guitare-joachim-tielke\/","title":{"rendered":"La plus petite guitare de Joachim Tielke"},"content":{"rendered":"\n
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Le 13 avril 2024, la plus petite guitare jamais r\u00e9alis\u00e9e par Joachim Tielke sera vendue \u00e0 Vichy Ench\u00e8res. V\u00e9ritable prouesse artistique et technique, cet instrument r\u00e9alis\u00e9 en 1684 pr\u00e9sente une riche ornementation cristallisant tout le savoir-faire de Tielke.<\/p>\n<\/blockquote>\n\n\n\n

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Etude d\u00e9taill\u00e9e de notre expert, J\u00e9r\u00f4me Casanova<\/a><\/div>\n\n\n\n
Catalogue<\/a><\/div>\n\n\n\n
Vente du 12 avril 2024<\/a><\/div>\n\n\n\n
Vente du 13 avril 2024<\/a><\/div>\n\n\n\n
Contact<\/a><\/div>\n\n\n\n
Experts<\/a><\/div>\n\n\n\n
English version<\/a><\/div>\n<\/div>\n\n\n\n
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Joachim Tielke \u00e0 Hambourg<\/h1>\n\n\n\n
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N\u00e9 le 14 octobre 1641 \u00e0 K\u00f6nigsberg en Prusse, Joachim Tielke a \u00e9t\u00e9 baptis\u00e9 \u00e0 la cath\u00e9drale de K\u00f6nigsberg le 16 octobre 1641. Malgr\u00e9 le renom de ses instruments, la vie de Joachim Tielke reste encore peu connue. Aussi subsistent des questions quant \u00e0 sa formation et aux raisons de son installation \u00e0 Hambourg. Tielke \u00e9tait probablement le deuxi\u00e8me fils de Gottfried I Tielke, un juge \u00e9tabli dans le quartier de Kneiphof \u00e0 K\u00f6nigsberg. On lui conna\u00eet un fr\u00e8re a\u00een\u00e9, Gottfried II, avec qui il fut certainement form\u00e9 \u00e0 la lutherie dans un atelier de la ville[1]<\/sup><\/a>. Bien que les d\u00e9tails concernant la vie de Joachim Tielke restent flous, les recherches ont permis d\u2019\u00e9tablir qu\u2019il fit des \u00e9tudes sup\u00e9rieures \u00e0 l\u2019universit\u00e9 de Leyde, l\u2019Academia Lugduno Batavae, fond\u00e9e en 1575 et consid\u00e9r\u00e9e comme l\u2019une des meilleures de l\u2019\u00e9poque. En 1663, il \u00e9tudia la m\u00e9decine avant de se tourner vers la philosophie et les beaux-arts d\u00e8s l\u2019ann\u00e9e suivante[2]<\/sup><\/a>. Cette p\u00e9riode aux Pays-Bas pourrait expliquer les inspirations n\u00e9erlandaises perceptibles dans son travail, notamment en ce qui concerne son r\u00e9pertoire ornemental influenc\u00e9 par l\u2019Age d\u2019Or de l\u2019art n\u00e9erlandais. De Leyde, il ramena en effet plusieurs recueils illustr\u00e9s qui lui serviront de mod\u00e8les comme nous le verrons par la suite. La raison de ce parcours surprenant est inconnue. Consid\u00e9rait-il qu\u2019une formation acad\u00e9mique \u00e9tait un atout pour exercer le m\u00e9tier de luthier ou \u00e9tait-ce une condition impos\u00e9e par son p\u00e8re ?<\/p>\n\n\n\n

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[1]<\/sup><\/a> Pilipczuk, Alexander. “Joachim Tielke, Instrument-Maker and Merchant of Hamburg: Recent Findings about His Education and Professional Life.” Galpin Society Journal<\/em> 61 (2008), p.130<\/p>\n\n\n\n

[2]<\/sup><\/a> Pilipczuk, Alexander. “Joachim Tielke, Instrument-Maker and Merchant of Hamburg: Recent Findings about His Education and Professional Life.” Galpin Society Journal<\/em> 61 (2008), p.132<\/p>\n<\/div>\n\n\n\n

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\"Konigsberg\"
Konigsberg<\/figcaption><\/figure>\n\n\n\n
\"Lotter,
Lotter, Hamburgum, d\u00e9but du XVIIIe siecle<\/figcaption><\/figure>\n<\/figure>\n<\/div>\n<\/div>\n\n\n\n
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\"Biblioth\u00e8que<\/a>
Biblioth\u00e8que universitaire de Leyde, 1610 <\/figcaption><\/figure>\n\n\n\n
\"Hans<\/a>
Hans Christoph Fleischer, Mus\u00e9e de la Musique, 1684<\/figcaption><\/figure>\n\n\n\n
\"Hans<\/a>
Hans Christoph Fleischer, Mus\u00e9e de la Musique, 1684<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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En 1667, il \u00e9tablit son atelier \u00e0 Hambourg et s\u2019affirme rapidement comme l’un des luthiers les plus \u00e9minents d’Allemagne. La seule archive sur laquelle appara\u00eet son statut de \u201cfaiseur d\u2019instrument\u201d est un document d\u2019obtention des droits de citoyennet\u00e9 de la ville de Hambourg, en date du 9 juillet 1669[1]<\/sup><\/a>. A Hambourg, il \u00e9pouse Catharina Fleischer, issue de la c\u00e9l\u00e8bre famille de facteurs d\u2019instruments, \u00e0 laquelle Joachim Tielke sera souvent associ\u00e9.
A cette \u00e9poque, Hambourg est tr\u00e8s prosp\u00e8re, profitant de l\u2019essor du commerce portuaire. La client\u00e8le est donc ais\u00e9e et Tielke est vite reconnu. La qualit\u00e9 de ses instruments – tant musicale qu\u2019ornementale -, suscite une forte demande provenant de la haute soci\u00e9t\u00e9 de son temps. Parmi ses clients notables figurent ainsi des aristocrates, \u00e9rudits, virtuoses ou marchands d’art. Des personnalit\u00e9s telles que les \u00e9rudits Zacharias Conrad von Uffenbach[2]<\/sup><\/a>, Johann Friedrich Armand von Uffenbach, Nicolaas Selhof, Johan Daniel Berlin ou encore des t\u00eates couronn\u00e9es \u00e0 l’instar de Sophie-Hedwige de Danemark, fille du roi Christian V, lui ach\u00e8tent des instruments.<\/p>\n\n\n\n

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[1]<\/sup><\/a> Pilipczuk, Alexander. “Joachim Tielke, Instrument-Maker and Merchant of Hamburg: Recent Findings about His Education and Professional Life.” Galpin Society Journal<\/em> 61 (2008), p.132<\/p>\n\n\n\n

[2]<\/sup><\/a> Zacharias von Uffenbach, dans son journal de voyage publi\u00e9 en 1753, indique lui avoir achet\u00e9 un luth    <\/p>\n<\/div>\n\n\n\n

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Le succ\u00e8s de son atelier est \u00e9galement li\u00e9 \u00e0 sa gestion rationalis\u00e9e de sa production. En effet, Tielke supervisait toute une \u00e9quipe de luthiers et sculpteurs et avait plusieurs collaborateurs, dont probablement Johann et Hinrich Kop[1]<\/sup><\/a>. Il g\u00e9rait aussi particuli\u00e8rement bien ses mat\u00e9riaux, utilisant des techniques permettant d\u2019en optimiser l\u2019usage (comme nous le verrons par la suite, il pouvait r\u00e9aliser les d\u00e9cors de deux instruments en ne d\u00e9coupant qu’un seul mat\u00e9riau, gr\u00e2ce \u00e0 la technique de la \u201cdouble coupe\u201d). De plus, sa vie sociale \u00e0 Hambourg, marqu\u00e9e par des alliances avec la classe marchande, contribua \u00e0 son statut \u00e9minent. Sa famille \u00e9tait bien int\u00e9gr\u00e9e dans la vie culturelle de la ville dans laquelle Joachim Tielke jouait un r\u00f4le actif. Il s’\u00e9teignit le 19 septembre 1719, laissant derri\u00e8re lui des instruments assimilables \u00e0 des \u0153uvres d\u2019art.<\/p>\n\n\n\n

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[1]<\/sup><\/a>  Pilipczuk, Alexander. “Joachim Tielke, Instrument-Maker and Merchant of Hamburg: Recent Findings about His Education and Professional Life.” Galpin Society Journal<\/em> 61 (2008)<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Johann Friedrich Armand von Uffenbach (1687 \u2013 1769)<\/figcaption><\/figure>\n\n\n\n
\"Zacharias<\/a>
Zacharias Conrad von Uffenbach<\/figcaption><\/figure>\n\n\n\n
\"Princesse<\/a>
Princesse Sophie Hedvig<\/figcaption><\/figure>\n\n\n\n
\"Joachim<\/a>
Joachim Tielke, Guitare de la princesse Sophie Hedvig, 1703, portant monogramme, Rosenborg Slott<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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La production de Joachim Tielke<\/h1>\n\n\n\n
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Joachim Tielke ne se limita pas \u00e0 la fabrication de guitares, comme en t\u00e9moigne l\u2019impressionnante diversit\u00e9 des instruments cr\u00e9\u00e9s dans son atelier. L’inventaire de son \u0153uvre rend compte d\u2019une production importante, totalisant 136 instruments, portant chacun la marque distinctive de sa facture. Parmi ses cr\u00e9ations, on recense notamment 7 luths, 6 th\u00e9orbes, 1 ang\u00e9lique, 25 guitares, 8 cithares, 5 violons, 3 pochettes, 8 violes d’amour (ici des doutes existent) ou encore 71 violes de gambe[1]<\/sup><\/a>.<\/p>\n\n\n\n

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[1]<\/sup><\/a> G\u00fcnther Hellwig, Joachim Tielke, Ein Hamburger Lauten und Violenmacher der Barockzeit<\/em>, 1980, p.37<\/p>\n<\/div>\n\n\n\n

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Cette liste presque exhaustive r\u00e9v\u00e8le la capacit\u00e9 de Tielke \u00e0 exceller dans la fabrication d\u2019instruments h\u00e9t\u00e9rog\u00e8nes. Tr\u00e8s scrupuleux, il n\u2019h\u00e9sitait pas \u00e0 retravailler un instrument, m\u00eame plusieurs ann\u00e9es apr\u00e8s sa cr\u00e9ation, afin d\u2019en am\u00e9liorer la sonorit\u00e9 et la pratique. On trouve ainsi plusieurs instruments modifi\u00e9s dans leur histoire par Tielke, qui pouvait aussi bien changer la forme des ou\u00efes, ajouter ou supprimer des chevilles, remplacer des cordes, modifier un manche, etc. Parfois, ces transformations donnaient lieu \u00e0 des transferts d\u2019\u00e9tiquette d\u2019un instrument \u00e0 l\u2019autre[1]<\/sup><\/a>.<\/p>\n\n\n\n

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[1]<\/sup><\/a> G\u00fcnther Hellwig, Joachim Tielke, Ein Hamburger Lauten und Violenmacher der Barockzeit<\/em>, 1980<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Joachim<\/a>
Joachim Tielke, Cithare, 1676, Royal College of Music, Londres<\/figcaption><\/figure>\n\n\n\n
\"Joachim<\/a>
Joachim Tielke, Bell Cittern, Victoria and Albert Museum, Londres<\/figcaption><\/figure>\n\n\n\n
\"Joachim<\/a>
Joachim Tielke, Violon, 1687, Swedish Museum of Performing Arts, Stockholm<\/figcaption><\/figure>\n\n\n\n
\"Joachim<\/a>
Joachim Tielke, Viole de Gambe, 1696, University of Edimburgh<\/figcaption><\/figure>\n\n\n\n
\"Joachim<\/a>
Joachim Tielke, Luth, 1676, Grassi Museum of Applied Arts, Leipzig<\/figcaption><\/figure>\n\n\n\n
\"Joachim<\/a>
Joachim Tielke, Viole de gambe, 1688-1703, Museum f\u00fcr Kunst und Gewerbe de Hambourg<\/figcaption><\/figure>\n\n\n\n
\"Joachim<\/a>
Joachim Tielke, Th\u00e9orbe, Fin XVII\u00e8me si\u00e8cle, Mus\u00e9e de la Musique, Paris<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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La haute soci\u00e9t\u00e9 appr\u00e9ciait tout particuli\u00e8rement Tielke pour son utilisation de mat\u00e9riaux nobles, tels que l’ivoire, l’\u00e9b\u00e8ne, l’\u00e9caille de tortue, la nacre et les pierres semi-pr\u00e9cieuses. Ses instruments \u00e9taient d\u00e8s lors tr\u00e8s recherch\u00e9s par la noblesse et la bourgeoisie pour leur sonorit\u00e9 sans \u00e9gal, mais aussi pour leur richesse d\u00e9corative. Comme le recontextualise une peinture de Tischbein figurant une jeune \u00e9l\u00e9gante jouant une cithare probablement de Tielke, ces instruments \u00e9taient tr\u00e8s \u00e0 la mode \u00e0 Hambourg entre 1650 et 1750 et celui-ci excellait dans leur conception.
Il produisait des mod\u00e8les aux d\u00e9cors raffin\u00e9s parfaitement adapt\u00e9s \u00e0 cette client\u00e8le de choix. Tielke avait notamment mis au point une technique d\u2019incrustation invers\u00e9e, ou de double coupe, consistant \u00e0 d\u00e9couper un motif dans un mat\u00e9riau tel que l\u2019ivoire, et \u00e0 utiliser ses \u201cchutes ou fond\u201d (on parle plut\u00f4t de \u201ccontrepartie\u201d), pour r\u00e9aliser le d\u00e9cor d\u2019un deuxi\u00e8me instrument. En effet, une fois les motifs\u00a0extraits\u00a0de\u00a0leur\u00a0plaque d\u2019ivoire, il lui restait un fond dont la d\u00e9coupe centrale dessinait des motifs pouvant servir \u00e0 un autre instrument. Cela lui permettait de cr\u00e9er deux fois le m\u00eame d\u00e9cor, mais dans des mat\u00e9riaux invers\u00e9s. Par exemple, si les motifs d\u00e9coup\u00e9s \u00e9taient en ivoire, alors ils \u00e9taient incrust\u00e9s sur de l\u2019\u00e9b\u00e8ne, tandis que le fond d\u2019ivoire servait \u00e0 un autre instrument et \u00e9tait compl\u00e9t\u00e9 par de l\u2019\u00e9b\u00e8ne. On observe notamment cela en mettant en parall\u00e8le la cithare du Hamburg Museum f\u00fcr Kunst und Gewerbe<\/em> avec celle du ch\u00e2teau d’Adolphseck bei Fulda<\/em>. Les deux instruments pr\u00e9sentent la m\u00eame d\u00e9coration, mais l\u2019un \u00e0 des motifs en \u00e9b\u00e8ne sur un fond d\u2019ivoire, tandis que l\u2019autre \u00e0 des motifs en ivoire sur un fond d\u2019\u00e9b\u00e8ne.
Les instruments de Joachim pr\u00e9sentent ainsi des d\u00e9cors sculpt\u00e9s ou incrust\u00e9s tr\u00e8s sophistiqu\u00e9s, confirmant que notre luthier \u00e9tait un fin \u00e9b\u00e9niste.<\/p>\n<\/div>\n\n\n\n

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\"Tischbein,<\/a><\/figure>\n
Tischbein, Portrait of a Lady Holding a Hamburger Cithrinchen, Royal College of Music, Londres<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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\"Joachim<\/a>
Joachim Tielke, Cithare de Hambourg, 1688, Ch\u00e2teau Adolphseck bei Fulda<\/figcaption><\/figure>\n\n\n\n
\"Joachim<\/a>
Joachim Tielke, Cithare de Hambourg, 1688, Museum f\u00fcr Kunst und Gewerbe<\/figcaption><\/figure>\n\n\n\n
\"Joachim<\/a>
Joachim Tielke, Guitare, 1703, Ch\u00e2teau de Rosenborg, Copenhague<\/figcaption><\/figure>\n\n\n\n
\"Joachim<\/a>
Joachim Tielke, Guitare, 1703, Yale University, Collection of Musical Instruments<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Les guitares de Tielke et l\u2019unique mod\u00e8le d\u2019enfant connu\u2026<\/h1>\n\n\n\n
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\"Guitare<\/a><\/figure>\n\n\n\n
\"Guitare<\/a><\/figure>\n\n\n\n
\"Guitare<\/a><\/figure>\n\n\n\n
\"Guitare<\/a><\/figure>\n
Guitare d’enfant de Joachim TIELKE
Instrument mis en vente par Vichy Ench\u00e8res le 13 avril 2024 \u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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Les guitares de Joachim Tielke constituent un remarquable ensemble de 25 instruments parvenus jusqu\u2019\u00e0 nous, offrant un bel aper\u00e7u de son savoir-faire d\u2019exception. Ces guitares se distinguent par leur fond bomb\u00e9, que l\u2019on retrouve sur tous les mod\u00e8les \u00e0 l’exception d’une guitare de 1676 qui pr\u00e9sente un fond plat. Toutefois, bien que les guitares de Tielke aient un fond bomb\u00e9, il ne s\u2019agit pas de chitarra battente, car leur table d’harmonie n\u2019est pas pli\u00e9e dans la partie inf\u00e9rieure. <\/p>\n<\/div>\n\n\n\n

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Ce type de guitare de Tielke est proche de celui que l\u2019on trouve en Italie chez des luthiers tels que les Sellas. Faut-il en d\u00e9duire que Joachim Tielke ait \u00e9t\u00e9 influenc\u00e9 par les Italiens et, pourquoi pas, qu\u2019il ait \u00e9t\u00e9 form\u00e9 l\u00e0-bas ? Quoiqu\u2019il en soit, la guitare de la vente Vichy Ench\u00e8res du 13 avril 2024 ne d\u00e9roge pas \u00e0 la r\u00e8gle et pr\u00e9sente un fond bomb\u00e9 de ce genre. A ce jour, cette guitare est le plus petit mod\u00e8le de guitare r\u00e9alis\u00e9 par Joachim Tielke qui ait \u00e9t\u00e9 recens\u00e9.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Consultez notre article sur une guitare cristallisant les plus belles heures de la S\u00e9r\u00e9nissime et l\u2019art des Sellas<\/a><\/div>\n<\/div>\n\n\n\n
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\"Guitare<\/a><\/figure>\n\n\n\n
\"Guitare<\/a><\/figure>\n\n\n\n
\"Guitare<\/a><\/figure>\n\n\n\n
\"Guitare<\/a><\/figure>\n
Guitare d’enfant de Joachim TIELKE
Instrument mis en vente par Vichy Ench\u00e8res le 13 avril 2024 \u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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Comme la majorit\u00e9 de ses instruments, les guitares de Tielke sont tr\u00e8s orn\u00e9es et ce principalement sur le dos et le manche. Les instruments r\u00e9alis\u00e9s avant 1690 pr\u00e9sentent essentiellement un r\u00e9pertoire d\u00e9coratif v\u00e9g\u00e9tal, qui se complexifie et s\u2019enrichit de sc\u00e8nes figuratives complexes autour de 1700. Dat\u00e9e de 1684, cette guitare d\u2019enfant est donc l\u2019un des rares mod\u00e8les de l\u2019\u00e9poque \u00e0 pr\u00e9senter des sc\u00e8nes figur\u00e9es. Stylistement similaires \u00e0 cette derni\u00e8re, les autres guitares connues que Tielke a r\u00e9alis\u00e9es en 1684, \u00e0 l\u2019instar de celle conserv\u00e9e au Royal College of Music<\/em>, ne pr\u00e9sentent en effet aucune figure, ce qui singularise la guitare d\u2019enfant de la vente Vichy Ench\u00e8res.<\/p>\n\n\n\n

Les guitares connues qui ont \u00e9t\u00e9 r\u00e9alis\u00e9es environ \u00e0 partir de 1690 pr\u00e9sentent presque toujours des sc\u00e9nettes figur\u00e9es de grande beaut\u00e9.<\/p>\n\n\n\n

Notons enfin que les dimensions des guitares de Tielke varient consid\u00e9rablement, avec des longueurs de corde allant de 47,8 cm \u00e0 71,5 cm. Avec un diapason de 43 cm, la guitare de la vente du 13 avril 2024 est donc tout \u00e0 fait remarquable puisqu\u2019il s\u2019agit du plus petit mod\u00e8le connu de Tielke.<\/p>\n<\/div>\n\n\n\n

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\"Joachim<\/a>
Joachim Tielke, Guitare, 1684, Royal College of Music, Londres<\/figcaption><\/figure>\n\n\n\n
\"Joachim<\/a>
Joachim Tielke, Guitare, 1684, Royal College of Music, Londres<\/figcaption><\/figure>\n\n\n\n
\"Joachim<\/a>
Joachim Tielke, Guitare, 1684, Museum f\u00fcr Musikinstrumente der Universit\u00e4t Leipzig<\/figcaption><\/figure>\n<\/figure>\n<\/div>\n<\/div>\n\n\n\n
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\"Joachim<\/a><\/figure>\n\n\n\n
\"Joachim<\/a><\/figure>\n
Joachim Tielke, Guitare, 1693, Victoria & Albert Museum, Londres <\/figcaption><\/figure>\n\n\n\n
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La d\u00e9coration florale<\/h1>\n\n\n\n
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\"Guitare<\/a><\/figure>\n\n\n\n
\"Guitare<\/a><\/figure>\n\n\n\n
\"Guitare<\/a><\/figure>\n\n\n\n
\"Guitare<\/a><\/figure>\n\n\n\n
\"Guitare<\/a><\/figure>\n\n\n\n
\"Guitare<\/a><\/figure>\n\n\n\n
\"Guitare<\/a><\/figure>\n\n\n\n
\"Guitare<\/a><\/figure>\n
Guitare d’enfant de Joachim TIELKE
Instrument mis en vente par Vichy Ench\u00e8res le 13 avril 2024 \u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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De par sa taille r\u00e9duite et sa richesse d\u00e9corative, cette guitare d\u2019enfant de Tielke s\u2019offre \u00e0 nous comme une prouesse technique et artistique. Minutieusement r\u00e9alis\u00e9e en marqueterie d\u2019ivoire, la d\u00e9coration est \u00e0 la fois florale et figurative. Ces incrustations florales couvrent le dos de l’instrument et s’\u00e9tendent sur le manche, le chevillier, la t\u00eate et les \u00e9clisses. Sur le dos, le manche et les \u00e9clisses, les motifs s\u2019organisent autour d\u2019un rinceau dont les ondulations dessinent des creux au sein desquels s\u2019inscrivent diff\u00e9rentes fleurs naturalistes, dont le mim\u00e9tisme sugg\u00e8re que Tielke travaillait \u00e0 partir de livres de botanique, alors \u00e0 la mode depuis le d\u00e9but du XVII\u00e8me si\u00e8cle. <\/p>\n<\/div>\n\n\n\n

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Bien qu\u2019il se soit certainement inspir\u00e9 des dessins scientifiques en vogue, il en a propos\u00e9 une interpr\u00e9tation personnelle en d\u00e9veloppant des motifs floraux uniques tout au long de sa carri\u00e8re. Ses instruments t\u00e9moignent ainsi d\u2019une ma\u00eetrise in\u00e9gal\u00e9e de l’ornementation florale.<\/p>\n\n\n\n

Ces ornements sont r\u00e9alis\u00e9s en marqueterie, une technique dans laquelle excellait Joachim Tielke et qui caract\u00e9rise son \u0153uvre. Le r\u00e9pertoire ornemental de Tielke semble se complexifier tout au long de sa production, allant de rinceaux ondul\u00e9s garnis de fleurs simples, aux compositions plus denses, riches en fleurs, panicules et bouquets de formes vari\u00e9es.<\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/div>\n\n\n\n
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\"John<\/a>
John Parkinsons, Paradisi in Sole ParadisusTerrestris, 1640<\/figcaption><\/figure>\n\n\n\n
\"Adriaen<\/a>
Adriaen Collaert, Florilegium, Anvers, fin XVI\u00e8me si\u00e8cle<\/figcaption><\/figure>\n\n\n\n
\"Nicolas<\/a>
Nicolas Robert, Variae ac Multiformes Florum species appressae ad vivum, Museum d’Histoire Naturelle, Paris, 1640<\/figcaption><\/figure>\n\n\n\n
\"Joachim<\/a>
Joachim Tielke, Guitare, v.1695-99, Metropolitan Museum of NY<\/figcaption><\/figure>\n\n\n\n
\"Joachim<\/a>
Joachim Tielke, Guitare, 1703, Yale University, Collection of Musical Instruments<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
<\/div>\n\n\n\n
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A l\u2019exemple de cette guitare d\u2019enfant, Tielke organisait les diff\u00e9rents ornements en jouant sur la sym\u00e9trie, disposant les motifs verticalement ou horizontalement selon les instruments.<\/p>\n<\/div>\n\n\n\n

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R\u00e9alis\u00e9es dans un savant jeu de marqueterie, les d\u00e9cors sont minutieusement rehauss\u00e9s de stries leur donnant plus de relief et de r\u00e9alisme.  <\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/div>\n\n\n\n
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\"Guitare<\/a>
Guitare d’enfant de Joachim TIELKE\nInstrument mis en vente par Vichy Ench\u00e8res le 13 avril 2024 \n\u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
\"Guitare<\/a>
Guitare d’enfant de Joachim TIELKE\nInstrument mis en vente par Vichy Ench\u00e8res le 13 avril 2024 \n\u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
\"Joachim<\/a>
Joachim Tielke, Cithare, v. , Metropolitan Museum of NY<\/figcaption><\/figure>\n\n\n\n
\"Guitare<\/a>
Guitare d’enfant de Joachim TIELKE\nInstrument mis en vente par Vichy Ench\u00e8res le 13 avril 2024 \n\u00a9 C. Darbelet<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
<\/div>\n\n\n\n

L\u2019un des premiers instruments \u00e0 figures<\/h1>\n\n\n\n
<\/div>\n\n\n\n
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\"Guitare<\/a><\/figure>\n\n\n\n
\"Guitare<\/a><\/figure>\n\n\n\n
\"Guitare<\/a><\/figure>\n
Guitare d’enfant de Joachim TIELKE
Instrument mis en vente par Vichy Ench\u00e8res le 13 avril 2024 \u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n
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A la diff\u00e9rence des autres instruments connus de l\u2019\u00e9poque, telle que la guitare du Klassik Stiftung <\/em>de Weimar \u00e9galement dat\u00e9e de 1684, ce mod\u00e8le d\u2019enfant comporte des personnages figur\u00e9s \u00e0 c\u00f4t\u00e9 des ornements floraux.<\/p>\n\n\n\n

On observe ainsi, sur le dos, au niveau des bandes lat\u00e9rales s\u00e9par\u00e9es du centre par des filets d\u2019ivoire, quatre sc\u00e9nettes se faisant pendant.<\/p>\n<\/div>\n\n\n\n

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\"Joachim
Joachim Tielke, Guitare, 1684, Klassik Stiftung, Weimar<\/figcaption><\/figure>\n<\/figure>\n<\/div>\n<\/div>\n\n\n\n
<\/div>\n\n\n\n
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\"Guitare<\/a><\/figure>\n\n\n\n
\"Guitare<\/a><\/figure>\n\n\n\n
\"Guitare<\/a><\/figure>\n\n\n\n
\"Guitare<\/a><\/figure>\n
Guitare d’enfant de Joachim TIELKE
Instrument mis en vente par Vichy Ench\u00e8res le 13 avril 2024 \u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n
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Ces sc\u00e9nettes repr\u00e9sentent des putti <\/em>s\u2019adonnant aux arts lyriques et \u00e0 l’oisivet\u00e9. Elles s\u2019inscrivent dans des paysages champ\u00eatres compos\u00e9es d\u2019arbres, de talus et d’architectures, et font \u00e9cho aux repr\u00e9sentations florales. Finement travaill\u00e9es, leurs contours et d\u00e9tails ont \u00e9t\u00e9 rehauss\u00e9s de ciselures leur donnant plus de vie. Sont ainsi figur\u00e9s un amour jouant de la guitare, un autre ramassant un fruit, un amour assoupi et enfin, un dernier tenant une partition \u00e0 la main et semblant chanter. L\u00e0 encore, notre luthier a puis\u00e9 son inspiration dans les recueils de gravures en circulation au XVII\u00e8me si\u00e8cle, comme il le faisait r\u00e9guli\u00e8rement. On pense notamment \u00e0 l\u2019Armorum Emblemata<\/em> d\u2019Otto van Veen (1608), l\u2019Emblemata amatoria <\/em>de Daniel Heinsius (1616), aux Jeux et Plaisirs de l\u2019Enfance<\/em> de Jacques Stella (1657) ou encore aux Devises et Embl\u00e8me Anciennes et Modernes<\/em> de Henri van Offelen (1695)[1]<\/sup><\/a>.<\/p>\n\n\n\n

Il est int\u00e9ressant de noter que Tielke utilisait un r\u00e9pertoire de figures r\u00e9currentes, privil\u00e9giant particuli\u00e8rement les motifs inspir\u00e9s de la mythologie gr\u00e9co-romaine, avec ses anges ail\u00e9s et multiples \u00e9vocations des dieux de l\u2019Olympe. On retrouve notamment, de mani\u00e8re r\u00e9guli\u00e8re, la figure d\u2019une femme tenant un arc et des fl\u00e8ches, \u00e0 moiti\u00e9 redress\u00e9e dans un char tir\u00e9 par des cerfs, sur de nombreuses violes de gambe.<\/p>\n\n\n\n

Par ailleurs, et comme le d\u00e9montre cette guitare d\u2019enfant comprenant des putti jouant de la musique, la repr\u00e9sentation d\u2019instruments ou de musiciens est fr\u00e9quente dans l’\u0153uvre de Tielke. Elle joue \u00e0 la fois sur la mise en abyme de l\u2019objet, mais aussi sur toute la symbolique associ\u00e9e \u00e0 la musique. Ainsi, ces figurations se font parfois moralisatrices – \u00e0 l\u2019image des livres d\u2019embl\u00e8mes – et sont accompagn\u00e9es de messages ou d’\u00e9pigrammes brandis par les putti, faisant allusion \u00e0 la musique comme grand art et amour.<\/p>\n\n\n\n

Cette utilisation de motifs embl\u00e9matiques souligne l’habilet\u00e9 de Tielke \u00e0 int\u00e9grer des \u00e9l\u00e9ments symboliques dans ses \u0153uvres, offrant une dimension artistique et narrative suppl\u00e9mentaire aux instruments.<\/p>\n\n\n\n

La d\u00e9coration de cette guitare d\u2019enfant offre un t\u00e9moignage de la ma\u00eetrise exceptionnelle de Joachim Tielke en mati\u00e8re de marqueterie et de son talent pour fusionner l’art et la musique. Les divers motifs, des repr\u00e9sentations d’instruments aux sc\u00e8nes faisant \u00e9chos \u00e0 la mythologie, conf\u00e8rent \u00e0 ses cr\u00e9ations une identit\u00e9 visuelle unique, faisant de chaque instrument une \u0153uvre d’art \u00e0 part enti\u00e8re.<\/p>\n\n\n\n

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[1]<\/sup><\/a> Barbara Hellwig, Friedemann Hellwig, Joachim Tielke \u2013 kunstvolle Musikinstrumente des Barock, Deutscher kunstverlag 2011<\/p>\n<\/div>\n\n\n\n

\n
\n
\"Otto<\/a>
Otto van Veen, Amorum Emblemata, 1608<\/figcaption><\/figure>\n\n\n\n
\"Otto<\/a>
Otto van Veen, Amorum Emblemata, 1608<\/figcaption><\/figure>\n\n\n\n
\"Daniel<\/a>
Daniel Hensius, Nederduytsche Poemata, Amsterdam, 1616<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
<\/div>\n\n\n\n
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\"Joachim<\/a>
Joachim Tielke, Viole de gambe, 1691, Bayerisches National Museum, d\u00e9tail<\/figcaption><\/figure>\n\n\n\n
\"Cornelis<\/a>
Cornelis (I) Danckerts, Nouveau livre des Dieux et D\u00e9esses de la Marine de l’invention de Henri de Caiser, Amsterdam, c.1620 et 1656<\/figcaption><\/figure>\n<\/figure>\n<\/div>\n<\/div>\n\n\n\n
<\/div>\n\n\n\n
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\"Joachim<\/a>
Joachim Tielke, Guitare, 1703, Yale University, Collection of Musical Instruments<\/figcaption><\/figure>\n\n\n\n
\"Joachim<\/a>
Joachim Tielke, Guitare, 1703, Yale University, Collection of Musical Instruments<\/figcaption><\/figure>\n\n\n\n
\"Daniel<\/a>
Daniel Hensius, Nederduytsche Poemata, Amsterdam, 1616<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
<\/div>\n\n\n\n

La t\u00eate et la signature<\/h1>\n\n\n\n
<\/div>\n\n\n\n
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\"Guitare<\/a><\/figure>\n\n\n\n
\"Guitare<\/a><\/figure>\n\n\n\n
\"Guitare<\/a><\/figure>\n\n\n\n
\"Guitare<\/a><\/figure>\n
Guitare d’enfant de Joachim TIELKE
Instrument mis en vente par Vichy Ench\u00e8res le 13 avril 2024 \u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n
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Outre la d\u00e9licatesse de son ornementation, cette guitare est construite \u00e0 partir de mat\u00e9riaux nobles et pr\u00e9cieux r\u00e9pondant \u00e0 l\u2019exigence d\u2019une client\u00e8le de rang aristocratique. La t\u00eate conserve notamment plusieurs chevilles en ivoire.<\/p>\n\n\n\n

Comme en ce qui concerne la grande majorit\u00e9 des instruments de Joachim Tielke, cette guitare d\u2019enfant porte sa signature sur une \u00e9tiquette interne, inscrite : “Ioaquim Tielke in Hamburg, an.1684”. On retrouve \u00e9galement son nom grav\u00e9 dans un m\u00e9daillon d’ivoire sur la t\u00eate, sur lequel on peut lire : “Ioachim Tielke in Hamburg fecit 1684”.<\/p>\n\n\n\n

\n
\"Guitare<\/a><\/figure>\n\n\n\n
\"Guitare<\/a><\/figure>\n
Guitare d’enfant de Joachim TIELKE
Instrument mis en vente par Vichy Ench\u00e8res le 13 avril 2024 \u00a9 C. Darbelet<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Les signatures de ses instruments nous permettent d\u2019observer une variation orthographique de son nom, qui peut appara\u00eetre sous la forme “Tielke” ou “Tielcke”. L’\u00e9volution de l\u2019orthographe de son nom au fil des ans est, il faut le reconna\u00eetre, intrigante. Les \u00e9tiquettes manuscrites des ann\u00e9es 1669 \u00e0 1673 r\u00e9v\u00e8lent l’utilisation des deux orthographes, avec une pr\u00e9dominance de “Tielke” dans les ann\u00e9es 1671-73. Les \u00e9tiquettes imprim\u00e9es \u00e0 partir de 1672 suivent \u00e9galement cette m\u00eame orthographe. A partir de l’ann\u00e9e 1700, toutes les marques grav\u00e9es semblent adopter l\u2019orthographe \u201cTielcke\u201d, tandis que les \u00e9tiquettes imprim\u00e9es continuent \u00e0 utiliser la forme ant\u00e9rieure. Les \u00e9tiquettes imprim\u00e9es, introduites en 1672, sont utilis\u00e9es de mani\u00e8re constante et affichent une diversit\u00e9 de formats[1]<\/sup><\/a>. La premi\u00e8re ligne, toujours en majuscules d’imprimerie, porte le nom “JOACHIM TIELKE”, suivie d\u2019une deuxi\u00e8me ligne indiquant “in Hamburg\/ An. 16…”, comme on peut l\u2019observer sur l\u2019\u00e9tiquette de la guitare d\u2019enfant de la vente Vichy Ench\u00e8res du 13 avril 2024.<\/p>\n\n\n\n

La signature grav\u00e9e sur la t\u00eate est tr\u00e8s \u00e9l\u00e9gante puisqu\u2019elle s\u2019inscrit dans un cartouche flanqu\u00e9 de deux fleurs. Enfin, cette guitare pr\u00e9sente une t\u00eate d\u00e9licate, dessinant des vagues entrant en correspondance avec la sinuosit\u00e9 du r\u00e9pertoire v\u00e9g\u00e9tal qui orne l\u2019instrument. Ce type de t\u00eate est de type B, si l\u2019on reprend la classification \u00e9tablie par Friedemann et Barbara Hellwig[2]<\/sup><\/a>.  <\/p>\n\n\n\n

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[1]<\/sup><\/a> G\u00fcnther Hellwig, Joachim Tielke, Ein Hamburger Lauten und Violenmacher der Barockzeit<\/em>, 1980<\/p>\n\n\n\n

[2]<\/sup><\/a> Barbara Hellwig, Friedemann Hellwig, Joachim Tielke \u2013 kunstvolle Musikinstrumente des Barock, Deutscher kunstverlag 2011<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Venez d\u00e9couvrir cet unique mod\u00e8le d\u2019enfant r\u00e9alis\u00e9 par Joachim Tielke, lors de nos journ\u00e9es d\u2019exposition qui pr\u00e9c\u00e9deront la vente de l\u2019instrument le 13 avril 2022.<\/p>\n<\/blockquote>\n\n\n\n

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THE SMALLEST GUITAR BY JOACHIM TIELKE<\/h1>\n\n\n\n
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On 13 April 2024, the smallest guitar ever made by Joachim Tielke will be sold at Vichy Ench\u00e8res. This instrument, made in 1684, is a true artistic and technical feat, and its rich ornamentation is a testament to Tielke’s expert craftsmanship.<\/p>\n<\/blockquote>\n\n\n\n

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J\u00e9r\u00f4me Casanova’s detailed study<\/a><\/div>\n\n\n\n
Catalog<\/a><\/div>\n\n\n\n
Sale on 12 April 2024<\/a><\/div>\n\n\n\n
Sale on 13 April 2024<\/a><\/div>\n\n\n\n
Contact<\/a><\/div>\n\n\n\n
Experts<\/a><\/div>\n\n\n\n
Version fran\u00e7aise<\/a><\/div>\n<\/div>\n\n\n\n
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Joachim Tielke in Hamburg<\/h1>\n\n\n\n
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Joachim Tielke was born on 14 October 1641 in K\u00f6nigsberg, Prussia, and he was baptized at K\u00f6nigsberg Cathedral on 16 October 1641. Despite the success of his instruments, little is known about his life. Questions remain as to his training and the reasons for his move to Hamburg. Tielke was probably the second son of Gottfried I Tielke, a judge established in the Kneiphof district of K\u00f6nigsberg. We know of an older brother, Gottfried II, with whom he most likely trained in violin making in a workshop in the city[1]<\/sup><\/a>. Although details of Joachim Tielke’s life remain patchy, research has established that he received higher education at the University of Leiden, the Academia Lugduno Batavae, founded in 1575 and considered one of the best at the time. In 1663, he studied medicine before turning to philosophy and fine arts the following year[2]<\/sup><\/a>. This period in the Netherlands could explain the Dutch inspiration perceptible in his work, particularly the ornamentation, which is influenced from the Golden Age of Dutch art. From Leiden, he brought back several illustrated volumes from which he drew inspiration, as we will see later. The reason behind his unusual formative years is unknown. Did he consider that academic training was an asset to practice the profession of instrument maker, or was this education imposed by his father?<\/p>\n\n\n\n

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[1]<\/sup><\/a> Pilipczuk, Alexander. “Joachim Tielke, Instrument-Maker and Merchant of Hamburg: Recent Findings about His Education and Professional Life.” Galpin Society Journal<\/em> 61 (2008), p.130<\/p>\n\n\n\n

[2]<\/sup><\/a> Pilipczuk, Alexander. “Joachim Tielke, Instrument-Maker and Merchant of Hamburg: Recent Findings about His Education and Professional Life.” Galpin Society Journal<\/em> 61 (2008), p.132<\/p>\n<\/div>\n\n\n\n

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\"Konigsberg\"
Konigsberg<\/figcaption><\/figure>\n\n\n\n
\"Lotter,
Lotter, Hamburgum, d\u00e9but du XVIIIe siecle<\/figcaption><\/figure>\n<\/figure>\n<\/div>\n<\/div>\n\n\n\n
<\/div>\n\n\n\n
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\"Biblioth\u00e8que<\/a>
Biblioth\u00e8que universitaire de Leyde, 1610 <\/figcaption><\/figure>\n\n\n\n
\"Hans<\/a>
Hans Christoph Fleischer, Mus\u00e9e de la Musique, 1684<\/figcaption><\/figure>\n\n\n\n
\"Hans<\/a>
Hans Christoph Fleischer, Mus\u00e9e de la Musique, 1684<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
<\/div>\n\n\n\n
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In 1667, he set up his workshop in Hamburg and quickly became one of the preeminent instrument makers in Germany. The only historical document in which his title of \u201cinstrument maker\u201d appears is a document for obtaining citizenship rights from the city of Hamburg, dated 9 July 1669[1]<\/sup><\/a>. In Hamburg, he married Catharina Fleischer, from the famous family of instrument makers, with whom Joachim Tielke was often associated.
At this time, Hamburg was very prosperous, benefiting from the rapid rise in maritime trade. His clientele was therefore wealthy and Tielke quickly gained recognition. Due to the quality of his instruments \u2013 both musically and in their appearance \u2013 they were highly sought after by the high society of his time. His clients included aristocrats, scholars, virtuosos and art dealers. Personalities such as the scholars Zacharias Conrad von Uffenbach[2]<\/sup><\/a>, Johann Friedrich Armand von Uffenbach, Nicolaas Selhof and Johan Daniel Berlin, as well as crowned heads such as Sophie-Hedwig of Denmark, daughter of King Christian V, bought instruments from him.<\/p>\n\n\n\n

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[1]<\/sup><\/a> Pilipczuk, Alexander. “Joachim Tielke, Instrument-Maker and Merchant of Hamburg: Recent Findings about His Education and Professional Life.” Galpin Society Journal<\/em> 61 (2008), p.132<\/p>\n\n\n\n

[2]<\/sup><\/a> Zacharias von Uffenbach, dans son journal de voyage publi\u00e9 en 1753, indique lui avoir achet\u00e9 un luth    <\/p>\n<\/div>\n\n\n\n

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His success also stemmed from his approach to managing his workshop and his production. Indeed, Tielke supervised an entire team of makers and carvers, and he had several business partners, including probably Johann and Hinrich Kop[1]<\/sup><\/a>. He also managed his stock of materials particularly well, using techniques to optimize their use (as we will see later, he could create the decorations for two instruments by using only one piece of material, thanks to the \u201cdouble cut\u201d technique). In addition, his social life in Hamburg, in which he mingled with the merchant class, contributed to his high status. His family was well integrated into the cultural life of the city, and Joachim Tielke played an active role in it. He died on 19 September 1719, leaving behind instruments that are true works of art.<\/p>\n\n\n\n

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[1]<\/sup><\/a>  Pilipczuk, Alexander. “Joachim Tielke, Instrument-Maker and Merchant of Hamburg: Recent Findings about His Education and Professional Life.” Galpin Society Journal<\/em> 61 (2008)<\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/div>\n\n\n\n
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\"\"<\/a>
Johann Friedrich Armand von Uffenbach (1687 \u2013 1769)<\/figcaption><\/figure>\n\n\n\n
\"Zacharias<\/a>
Zacharias Conrad von Uffenbach<\/figcaption><\/figure>\n\n\n\n
\"Princesse<\/a>
Princesse Sophie Hedvig<\/figcaption><\/figure>\n\n\n\n
\"Joachim<\/a>
Joachim Tielke, Guitare de la princesse Sophie Hedvig, 1703, portant monogramme, Rosenborg Slott<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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The output of Joachim Tielke<\/h1>\n\n\n\n
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Joachim Tielke did not limit himself to the manufacture of guitars, as evidenced by the impressive diversity of instruments made in his workshop. The inventory of extant instruments points to a significant production, totalling 136 instruments, each bearing the distinctive mark of his craftsmanship. They include, in particular, seven lutes, six theorbos, one angelica, 25 guitars, eight zithers, five violins, three pochettes, eight viola d’amore (although this number is in doubt) and 71 viola da gamba[1]<\/sup><\/a>.<\/p>\n\n\n\n

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[1]<\/sup><\/a> G\u00fcnther Hellwig, Joachim Tielke, Ein Hamburger Lauten und Violenmacher der Barockzeit<\/em>, 1980, p.37<\/p>\n<\/div>\n\n\n\n

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This long list, which includes almost every type of stringed instruments, reveals Tielke’s ability to excel in the manufacture of so many different types of instruments. He was a perfectionist, often reworking instruments, sometimes several years after they were first made, in order to improve their sound and ease of play. As a result, it is not unusual to come across Tielke instruments later altered by him: he might have changed the shape of the soundholes, added or removed pegs, replaced strings, modified a neck, etc. Sometimes, these alterations resulted in label transfers from one instrument to another[1]<\/sup><\/a>.<\/p>\n\n\n\n

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[1]<\/sup><\/a> G\u00fcnther Hellwig, Joachim Tielke, Ein Hamburger Lauten und Violenmacher der Barockzeit<\/em>, 1980<\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/div>\n\n\n\n
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\"Joachim<\/a>
Joachim Tielke, Cithare, 1676, Royal College of Music, Londres<\/figcaption><\/figure>\n\n\n\n
\"Joachim<\/a>
Joachim Tielke, Bell Cittern, Victoria and Albert Museum, Londres<\/figcaption><\/figure>\n\n\n\n
\"Joachim<\/a>
Joachim Tielke, Violon, 1687, Swedish Museum of Performing Arts, Stockholm<\/figcaption><\/figure>\n\n\n\n
\"Joachim<\/a>
Joachim Tielke, Viole de Gambe, 1696, University of Edimburgh<\/figcaption><\/figure>\n\n\n\n
\"Joachim<\/a>
Joachim Tielke, Luth, 1676, Grassi Museum of Applied Arts, Leipzig<\/figcaption><\/figure>\n\n\n\n
\"Joachim<\/a>
Joachim Tielke, Viole de gambe, 1688-1703, Museum f\u00fcr Kunst und Gewerbe de Hambourg<\/figcaption><\/figure>\n\n\n\n
\"Joachim<\/a>
Joachim Tielke, Th\u00e9orbe, Fin XVII\u00e8me si\u00e8cle, Mus\u00e9e de la Musique, Paris<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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High society particularly appreciated Tielke for his use of decorative materials, such as ivory, ebony, tortoiseshell, mother-of-pearl and semi-precious stones. His instruments were highly sought after by the nobility and the bourgeoisie for their unrivalled sound, but also for their highly ornamented appearance. As illustrated in a painting by Tischbein of an elegant young woman playing a zither probably by Tielke, his instruments were very fashionable in Hamburg between 1650 and 1750 and he excelled at their manufacture.
He produced examples with refined decorations perfectly suited to this select clientele. Tielke notably developed a technique of reverse inlay, or double cutting, consisting of cutting out a pattern in a material such as ivory, and using the offcuts (the \u201cnegative\u201d material left behind), to create the decoration for a second instrument. Indeed, once the first decorative patterns were cut out and extracted, he was left with a plate whose central cutout drew patterns that could be used to decorate another instrument. This allowed him to create the same decoration twice, by inverting the materials used. For example, if the cut patterns were made of ivory, they were inlaid onto an ebony background, while the ivory background was used for another instrument whose cutout patterns were of ebony. We can see an example of this by comparing the zither in the Hamburg Museum f\u00fcr Kunst und Gewerbe with that of the castle of Adolphseck bei Fulda. The two instruments have the same decoration, but one has ebony patterns on an ivory background, while the other has ivory patterns on an ebony background.
Tielke’s instruments feature very sophisticated carved or inlaid decorations, confirming that he was a fine cabinetmaker.<\/p>\n<\/div>\n\n\n\n

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\"Tischbein,<\/a><\/figure>\n
Tischbein, Portrait of a Lady Holding a Hamburger Cithrinchen, Royal College of Music, Londres<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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\"Joachim<\/a>
Joachim Tielke, Cithare de Hambourg, 1688, Ch\u00e2teau Adolphseck bei Fulda<\/figcaption><\/figure>\n\n\n\n
\"Joachim<\/a>
Joachim Tielke, Cithare de Hambourg, 1688, Museum f\u00fcr Kunst und Gewerbe<\/figcaption><\/figure>\n\n\n\n
\"Joachim<\/a>
Joachim Tielke, Guitare, 1703, Ch\u00e2teau de Rosenborg, Copenhague<\/figcaption><\/figure>\n\n\n\n
\"Joachim<\/a>
Joachim Tielke, Guitare, 1703, Yale University, Collection of Musical Instruments<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Tielke\u2019s guitars and the only known child-size example by him<\/h1>\n\n\n\n
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\"Guitare<\/a><\/figure>\n\n\n\n
\"Guitare<\/a><\/figure>\n\n\n\n
\"Guitare<\/a><\/figure>\n\n\n\n
\"Guitare<\/a><\/figure>\n
Guitare d’enfant de Joachim TIELKE
Instrument mis en vente par Vichy Ench\u00e8res le 13 avril 2024 \u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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The extant guitars by Joachim Tielke constitute a remarkable set of 25 instruments, which provide us with a fine overview of his exceptional craftsmanship. These guitars are characterized by their curved back, which is found on all examples with the exception of a guitar from 1676 with a flat back. However, although Tielke guitars have curved backs, they are not chitarra battente, because their front is not bent in its lower part.<\/p>\n<\/div>\n\n\n\n

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This type of guitar by Tielke is reminiscent of those found in Italy by makers such as Sellas. Should we deduce from this that Joachim Tielke was influenced by the Italians, or even trained there? In any case, the guitar in the Vichy Ench\u00e8res sale on 13 April 2024 is no exception to the rule and has a curved back of this type. It is also the smallest known guitar made by Joachim Tielke to have surfaced to date.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Consult our article about a guitar which represents the finest hour of la Serenissima and the art of Sellas<\/a><\/div>\n<\/div>\n\n\n\n
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\"Guitare<\/a><\/figure>\n\n\n\n
\"Guitare<\/a><\/figure>\n\n\n\n
\"Guitare<\/a><\/figure>\n\n\n\n
\"Guitare<\/a><\/figure>\n
Guitare d’enfant de Joachim TIELKE
Instrument mis en vente par Vichy Ench\u00e8res le 13 avril 2024 \u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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Like the majority of Tielke instruments, his guitars are very decorated, mainly on the back and the neck. Instruments made before 1690 mainly feature floral decoration, which became more elaborate and included intricate figurative scenes around 1700. This child\u2019s guitar, which is dated 1684, is therefore one of the rare examples of the period to feature figurative scenes. The other known guitars made by Tielke in 1684, like the one kept at the Royal College of Music, are stylistically similar to our small guitar but do not feature figurative decoration, which sets apart the child’s guitar in the Vichy Ench\u00e8res sale.<\/p>\n\n\n\n

The known guitars which were made around 1690 almost always display figurative scenes of great beauty.<\/p>\n\n\n\n

Finally, it is worth noting that the dimensions of Tielke guitars vary considerably, with string lengths ranging from 47.8cm to 71.5cm. With a string length of 43cm, the guitar in the sale on 13 April 2024 is therefore quite remarkable, since it is the smallest known example from Tielke.<\/p>\n<\/div>\n\n\n\n

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\"Joachim<\/a>
Joachim Tielke, Guitare, 1684, Royal College of Music, Londres<\/figcaption><\/figure>\n\n\n\n
\"Joachim<\/a>
Joachim Tielke, Guitare, 1684, Royal College of Music, Londres<\/figcaption><\/figure>\n\n\n\n
\"Joachim<\/a>
Joachim Tielke, Guitare, 1684, Museum f\u00fcr Musikinstrumente der Universit\u00e4t Leipzig<\/figcaption><\/figure>\n<\/figure>\n<\/div>\n<\/div>\n\n\n\n
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\"Joachim<\/a><\/figure>\n\n\n\n
\"Joachim<\/a><\/figure>\n
Joachim Tielke, Guitare, 1693, Victoria & Albert Museum, Londres <\/figcaption><\/figure>\n\n\n\n
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The floral decoration<\/h1>\n\n\n\n
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\"Guitare<\/a><\/figure>\n\n\n\n
\"Guitare<\/a><\/figure>\n\n\n\n
\"Guitare<\/a><\/figure>\n\n\n\n
\"Guitare<\/a><\/figure>\n\n\n\n
\"Guitare<\/a><\/figure>\n\n\n\n
\"Guitare<\/a><\/figure>\n\n\n\n
\"Guitare<\/a><\/figure>\n\n\n\n
\"Guitare<\/a><\/figure>\n
Guitare d’enfant de Joachim TIELKE
Instrument mis en vente par Vichy Ench\u00e8res le 13 avril 2024 \u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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Due to its reduced size and its rich decoration, this child\u2019s guitar by Tielke is a technical and artistic feat. The decoration, meticulously composed of ivory inlays, is both floral and figurative. The floral inlays cover the back of the instrument and extend onto the neck, pegbox, headstock and sides. On the back, the neck and the sides, the patterns are set around a scroll whose undulations draw hollows within which are inserted various botanical representations, whose accuracy suggests that Tielke was working from botanical books, in fashion since the beginning of the 17th century.<\/p>\n<\/div>\n\n\n\n

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Although he was certainly inspired by popular scientific representations, he developed his own interpretation of these forms, creating unique floral designs throughout his career. His instruments demonstrate his unrivalled talent at floral ornamentation.<\/p>\n\n\n\n

These ornaments are inlaid, a technique at which Joachim Tielke excelled and which is typical of his work. The ornamental range used by Tielke seems to have become more elaborate as the years went on, ranging from wavy scrolls decorated with simple flowers, to denser compositions, rich in flowers, panicles and bouquets of varied shapes.<\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/div>\n\n\n\n
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\"John<\/a>
John Parkinsons, Paradisi in Sole ParadisusTerrestris, 1640<\/figcaption><\/figure>\n\n\n\n
\"Adriaen<\/a>
Adriaen Collaert, Florilegium, Anvers, fin XVI\u00e8me si\u00e8cle<\/figcaption><\/figure>\n\n\n\n
\"Nicolas<\/a>
Nicolas Robert, Variae ac Multiformes Florum species appressae ad vivum, Museum d’Histoire Naturelle, Paris, 1640<\/figcaption><\/figure>\n\n\n\n
\"Joachim<\/a>
Joachim Tielke, Guitare, v.1695-99, Metropolitan Museum of NY<\/figcaption><\/figure>\n\n\n\n
\"Joachim<\/a>
Joachim Tielke, Guitare, 1703, Yale University, Collection of Musical Instruments<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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As exemplified by this child’s guitar, Tielke organized the different ornamental elements by playing on symmetry, arranging them vertically or horizontally depending on the instruments.<\/p>\n<\/div>\n\n\n\n

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The decorations are set in a clever play of marquetry, and are meticulously enhanced with streaks giving them greater depth and realism.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Guitare<\/a>
Guitare d’enfant de Joachim TIELKE\nInstrument mis en vente par Vichy Ench\u00e8res le 13 avril 2024 \n\u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
\"Guitare<\/a>
Guitare d’enfant de Joachim TIELKE\nInstrument mis en vente par Vichy Ench\u00e8res le 13 avril 2024 \n\u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
\"Joachim<\/a>
Joachim Tielke, Cithare, v. , Metropolitan Museum of NY<\/figcaption><\/figure>\n\n\n\n
\"Guitare<\/a>
Guitare d’enfant de Joachim TIELKE\nInstrument mis en vente par Vichy Ench\u00e8res le 13 avril 2024 \n\u00a9 C. Darbelet<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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One of the first instruments with figurative decoration<\/h1>\n\n\n\n
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\"Guitare<\/a><\/figure>\n\n\n\n
\"Guitare<\/a><\/figure>\n\n\n\n
\"Guitare<\/a><\/figure>\n
Guitare d’enfant de Joachim TIELKE
Instrument mis en vente par Vichy Ench\u00e8res le 13 avril 2024 \u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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Unlike other instruments known from the period, such as the guitar from the Klassik Stiftung of Weimar also dated 1684, this child’s guitar features figures alongside floral ornaments.<\/p>\n\n\n\n

Indeed, the back features four connected scenes, level with the side bands and separated from the centre by ivory purfling.<\/p>\n<\/div>\n\n\n\n

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\"Joachim
Joachim Tielke, Guitare, 1684, Klassik Stiftung, Weimar<\/figcaption><\/figure>\n<\/figure>\n<\/div>\n<\/div>\n\n\n\n
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\"Guitare<\/a><\/figure>\n\n\n\n
\"Guitare<\/a><\/figure>\n\n\n\n
\"Guitare<\/a><\/figure>\n\n\n\n
\"Guitare<\/a><\/figure>\n
Guitare d’enfant de Joachim TIELKE
Instrument mis en vente par Vichy Ench\u00e8res le 13 avril 2024 \u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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These scenes represent putti devoting themselves to the lyrical arts and idleness. They are set in rural landscapes made up of trees, embankments and architecture, which echo the floral representations. They are finely crafted, and their contours and details have been enhanced with carvings, giving them more life. They depict a cherub playing the guitar, another picking up a fruit, a dozing cherub and finally, one holding a sheet of music in his hand and appearing to sing. As was often the case, our maker drew inspiration from the engravings in circulation in the 17th century, in particular, the Armorum Emblemata by Otto van Veen (1608), the Emblemata amatoria by Daniel Heinsius (1616), the Jeux et Plaisirs de l\u2019Enfance by Jacques Stella (1657) and even the Devises et Embleme Anciennes et Modernes by Henri van Offelen (1695)[1]<\/sup><\/a>.<\/p>\n\n\n\n

It is interesting to note that Tielke used a series of recurring figures, in particular some inspired by Greco-Roman mythology, in the form of winged angels and various representations of the gods of Olympus. For instance, we find the figure of a woman holding a bow and arrows, half-upright in a chariot pulled by deer, on several viola da gamba.<\/p>\n\n\n\n

Furthermore, and as demonstrated by this child’s guitar featuring cherubs playing music, the representation of instruments or musicians is frequent in Tielke’s work. It plays both on the mise en abyme of the object, but also on all the symbolism associated with music. As a result, these figurative elements can sometimes become moralistic \u2013 as with emblem books \u2013 and include messages or epigrams brandished by the cherubs, alluding to music as a great form of art and love.<\/p>\n\n\n\n

This use of iconic decorative elements highlights Tielke’s ability to integrate symbolic elements into his works, providing an additional artistic and narrative dimension to his instruments.<\/p>\n\n\n\n

The decoration on this child’s guitar demonstrates Joachim Tielke’s exceptional talent as inlayer and his ability for merging art and music. The various decorative elements, from representations of instruments to scenes inspired by mythology, give his creations a unique visual identity, making each instrument a work of art in its own right.<\/p>\n\n\n\n

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[1]<\/sup><\/a> Barbara Hellwig, Friedemann Hellwig, Joachim Tielke \u2013 kunstvolle Musikinstrumente des Barock, Deutscher kunstverlag 2011<\/p>\n<\/div>\n\n\n\n

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\"Otto<\/a>
Otto van Veen, Amorum Emblemata, 1608<\/figcaption><\/figure>\n\n\n\n
\"Otto<\/a>
Otto van Veen, Amorum Emblemata, 1608<\/figcaption><\/figure>\n\n\n\n
\"Daniel<\/a>
Daniel Hensius, Nederduytsche Poemata, Amsterdam, 1616<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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\"Joachim<\/a>
Joachim Tielke, Viole de gambe, 1691, Bayerisches National Museum, d\u00e9tail<\/figcaption><\/figure>\n\n\n\n
\"Cornelis<\/a>
Cornelis (I) Danckerts, Nouveau livre des Dieux et D\u00e9esses de la Marine de l’invention de Henri de Caiser, Amsterdam, c.1620 et 1656<\/figcaption><\/figure>\n<\/figure>\n<\/div>\n<\/div>\n\n\n\n
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\"Joachim<\/a>
Joachim Tielke, Guitare, 1703, Yale University, Collection of Musical Instruments<\/figcaption><\/figure>\n\n\n\n
\"Joachim<\/a>
Joachim Tielke, Guitare, 1703, Yale University, Collection of Musical Instruments<\/figcaption><\/figure>\n\n\n\n
\"Daniel<\/a>
Daniel Hensius, Nederduytsche Poemata, Amsterdam, 1616<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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The head and the signature<\/h1>\n\n\n\n
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\"Guitare<\/a><\/figure>\n\n\n\n
\"Guitare<\/a><\/figure>\n\n\n\n
\"Guitare<\/a><\/figure>\n\n\n\n
\"Guitare<\/a><\/figure>\n
Guitare d’enfant de Joachim TIELKE
Instrument mis en vente par Vichy Ench\u00e8res le 13 avril 2024 \u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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In addition to the intricacy of its ornamentation, this guitar was made from rare and precious materials in order to satisfy the requirements of an aristocratic clientele. The head, in particular, has retained several of its original ivory pegs.<\/p>\n\n\n\n

As with the vast majority of instruments by Joachim Tielke, this child’s guitar bears his signature on an internal label, inscribed: “Ioaquim Tielke in Hamburg, an.1684”. We also find his name engraved in an ivory medallion on the head, which reads: \u201cIoachim Tielke in Hamburg fecit 1684\u201d.<\/p>\n\n\n\n

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\"Guitare<\/a><\/figure>\n\n\n\n
\"Guitare<\/a><\/figure>\n
Guitare d’enfant de Joachim TIELKE
Instrument mis en vente par Vichy Ench\u00e8res le 13 avril 2024 \u00a9 C. Darbelet<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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The spelling of his name in the signatures on his instruments can sometimes vary; it can appear as \u201cTielke\u201d or \u201cTielcke\u201d. This change in his name\u2019s spelling over the years is somewhat puzzling. Handwritten labels from the years 1669 to 1673 reveal the use of both spellings, with a predominance for \u201cTielke\u201d in the years 1671-73. Labels printed from 1672 also use this same spelling. From the year 1700, all engraved signatures seem to adopt the spelling \u201cTielcke\u201d, while printed labels continue to use the earlier one. Printed labels, introduced in 1672, are used consistently and follow different formats[1]<\/sup><\/a>. The first line, always in block capitals, bears the name “JOACHIM TIELKE”, followed by a second line indicating “in Hamburg\/ An. 16\u2026”, as can be seen on the label of the child’s guitar in the Vichy Ench\u00e8res sale on 13 April 2024.<\/p>\n\n\n\n

The signature engraved on the head is very elegant, being inscribed in a cartouche flanked by two flowers. Finally, this guitar has an intricate headstock, drawing waves echoing the sinuosity of the floral decorations that adorn the instrument. This head is of type B, if we use the classification established by Friedemann and Barbara Hellwig[2]<\/sup><\/a>.  <\/p>\n\n\n\n

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[1]<\/sup><\/a> G\u00fcnther Hellwig, Joachim Tielke, Ein Hamburger Lauten und Violenmacher der Barockzeit<\/em>, 1980<\/p>\n\n\n\n

[2]<\/sup><\/a> Barbara Hellwig, Friedemann Hellwig, Joachim Tielke \u2013 kunstvolle Musikinstrumente des Barock, Deutscher kunstverlag 2011<\/p>\n<\/div>\n<\/div>\n\n\n\n

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We hope you will visit us to discover this unique child’s guitar made by Joachim Tielke, during our viewing days which will precede the sale of the instrument on 13 April 2024.<\/p>\n<\/blockquote>\n\n\n\n

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\ud83d\ude80 Suivez-nous !<\/strong><\/h2>\n\n\n\n