Knight vs. Landsknecht vs. Cavalier - Beer Stein Imagery

by Robert Hurley


Armor has been around for thousands of years, and was used by the Greeks and Romans, as you will see images of Greek and Roman soldiers wearing armor as well as knights and soldiers..  Armor was used in combat and was utilitarian.  The more wealthy the army, the more heavily armed and armored the force could be.

A knight was considered to be someone of noble descent who was typically a landowner, serving a king.  Both knights and soldiers wore armor, but the armor of a noble or knight was typically of the highest quality.

There are three basic kinds of armor, that for combat, tournament, and parade.  The armor itself was engineered to great detail and was truly a work of art.  That is why this is often found today, even in art museums, such as the Met in New York, The Museum of Fine Arts in Detroit and Philadelphia and the Art Institute of Chicago.

  • Armor for combat was worn by everyday soldiers as well as for those leading the soldiers, which would be knights. Knights often wore plumes of feathers in their helmets as the colors of their house.
  • Tournaments were held for sport and entertainment, and were basically the sporting events of the middle ages.  Special armor was created for tournaments, often with greater design and embellishment, and plumes were worn here as well.
  • Parade armor is typically the most fancy and embellished and was for formal dress and not used for combat.  These are typically the very fancy armors that you might see in European museums. Nobles often are depicted in portraits and in formal court settings with parade armor.

Knights were romanticized with the Arthurian legend, and that romanticization has kept the image of knights in the public perception for hundreds of years. 

What we often see on a beer stein depicting a man in full armor, may be a knight, or merely a soldier wearing armor.

The landsknechte were formed by Maximilian I in the 16th Century as a group of men to serve and protect the land.  These men were paid for their services, and while some consider landsknechte an early mercenary force, they were not mercenaries in the sense where they were paid to do a single job.  They were simply a paid force of volunteers.  They were not forced into service. Some of these men were somewhat well to do and were landowners.  These men lived violent and short lives, as they were often killed in combat.  Because of their short life spans, Maximillian encouraged them to wear bright colors to differentiate themselves, and not any specific uniform.  You will see images of landsknecht with some armor, but most provided their own weapons including swords and their own outfits. They are often depicted with slashed sleeves, pantlegs of different pattern and color (checked or plaid on one, striped on the other), and with large hats or helmets with many feathers or plumes.  The outfit is very similar to that of the Swiss Guard, which may have been copied from the landsknecht. Landsknechte often wielded the zweihander (two-handed swords) as well as a katzenbalger sword.  They are also often depicted with a halberd.

We often hear the term "Cavalier" for a man depicted on a beer stein. So it is worth exploring, what is a cavalier?  A cavalier was a supporter of King Charles I and later Charles II in the English Civil Wars. The men supporting King Charles and the Monarchy had flowing locks or ringlets of hair and wore fancy, colorful clothing. They were criticized by the Puritanical Parliamentarians, who gave them the name “Cavalier” as an insult.  The original word comes from a word meaning “horse soldier”, and from the same root came the Spanish word Caballero. The Parliamentarians portrayed the cavaliers as a group of drunks with loose morals.  The cavaliers decided to take up the name and use it as a badge of honor.  They coined the name “roundheads” for the Parliamentarians to describe their close-cropped hair and Puritan style.  The roundheads were loyal to Oliver Cromwell.  

The English Civil Wars lasted quite some time, after King Charles death, his son, Charles II, declared himself king, and the wars continued. At one point he and his supporters were exiled to France, thus we think of cavaliers as being French. They are also similar in style to Musketeers as in the Dumas novel, "The Three Musketeers." 

Many stein collectors object to any description of the word “cavalier” for a beer stein because they don’t believe a German manufacturer would ever depict a French or English soldier.  I’m not so sure that is the case.  In the late 19th and early 20th Century, historical painting became very popular in the style of Ernest Meissonier, Ferdinand Roybet, and others.  Many of these subjects have found their way onto German beer steins, so I do believe that some steins clearly depict cavaliers and some clearly depict landsknecht, while others depict knights, kings, or soldiers in armor.

How do you tell the difference?  Typically a fully armored individual is more correctly referred to as a knight or soldier in armor.  Landsknecht had little armor.  While they may have a breastplate or gorget, and helmet, there will likely be no leg defenses, and they will be depicted with slashed balloon style sleeves, and very brightly colored outfits, with different patterned leggings and/or sleeves. They typically have large caps on, with plumes coming out of the cap, and often with full beards.

A cavalier, which is 17th century as opposed to the landsknecht of the 16th century will typically be portrayed with a more shaped hat with a brim, usually with full-colored or at least matching pattern outfits, sometimes with a sache, and sometimes with a ruff or lace collar, and even lace cuffs. Dutch gentleman of the 17th century were also depicted with lace collars as in many paintings by Rembrandt and other Dutch or Flemish artists.

My personal collection of beer steins as well as paintings include all of the above,: depictions of Kings, knights, landsknechte and cavaliers, skillfully and artfully created for us to enjoy a hundred or more years later.

 


A Unique Pitcher Based on a Poem by Robert Burns

by Robert Hurley


One of my most interesting finds, is an item that I have had in the past and sold, and recently found another.  It is an an antique salt-glazed pitcher made by Ridgeway and Sons and dated October 1, 1835 clearly on the bottom.

The decorative design is what makes this unique.  It features scenes from the poem Tam O'Shanter by the English poet, Robert Burns.  The pottery features a drinking tavern scene on one side, and on the other there are two witches chasing Tam on his horse, Meg at the edge of the river over a bridge, with one witch pulling on the horse's tail.  The handle of the pitcher is formed as the witch's arm grasping the horse's tail. For those of you that are not good at translating early British poetry, here is a synopsis of the poem from Wikipedia:

"Tam o' Shanter" is a narrative poem written by the Scottish poet Robert Burns in 1790, while living in Dumfries. First published in 1791, it is one of Burns' longer poems, and employs a mixture of Scots and English.

The poem describes the habits of Tam, a farmer who often gets drunk with his friends in a public house in the Scottish town of Ayr, and his thoughtless ways, specifically towards his wife, who is waiting at home for him, angry. At the conclusion of one such late-night revel after a market day, Tam rides home on his horse Meg while a storm is brewing. On the way he sees the local haunted church lit up, with witches and warlocks dancing and the devil playing the bagpipes. He is still drunk, still upon his horse, just on the edge of the light, watching, amazed to see the place bedecked with many gruesome things such as gibbet irons and knives that had been used to commit murders and other macabre artifacts. The witches are dancing as the music intensifies and, upon seeing one particularly wanton witch in a short dress he loses his reason and shouts,`Weel done, cutty-sark!' (cutty-sark : "short shirt"). Immediately, the lights go out, the music and dancing stops and many of the creatures lunge after Tam, with the witches leading. Tam spurs Meg to turn and flee and drives the horse on towards the River Doon as the creatures dare not cross a running stream. The creatures give chase and the witches come so close to catching Tam and Meg that they pull Meg's tail off just as she reaches the Brig o' Doon.

The pitcher has no damage at all that I can see, and is in perfect original condition. .  It is amazing when a historical item, such as this survives for over 150 years!  I believe it is just wonderful, and actually difficult to part with.  This type of pottery is referred to as "drabware" or "yellow-ware" pottery.  It is a type of salt-glazed pottery.

Please click on the item under Antique Inventory in order to see the photos of this beautiful pitcher and to consider purchase for yourself at an affordable price.

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A Fantastic Find and a Matching Oil Painting by Gaugin

by Robert Hurley


You may have noticed a recent addition to our inventory, a Norwegian Karelian Birch Lion Peg Tankard circa 1770.  This is a very unique item which is all made from Karelian Birch, a type of tree that grows in the region between Norway and Russia.  The grain of the wood is very similar to bird's eye maple, which is prized in furniture making.  By examining the bottom of the tankard, which you can see in the photos, it is carved from the body of a tree.  The lid is also wooden and carved with the depiction of a lion.  The thumb lift for the lid is also a full bodied lion as are the feet.  These were used in various ceremonies in Norway and passed down through families, often used at weddings and other feasts.

The reason this is so special other than the rarity and age of the piece, is that this tankard is the subject of an oil painting by Paul Gaugin that hangs in the Art Institute of Chicago's Impressionist wing.  The painting, completed in 1880 by Gaugin, features what appears to be the exact image of this lion peg tankard along with a metal pitcher.  The way he depicts the woodgrain of the Karelian birch with his brushstrokes is amazing.  If you click on this item in the Antique Inventory, you will see the photos of the tankard along with a few photos of Gaugin's painting.

Tankards of this age and size (1.8L) often sell for $2,500-$3,500.  Our price on this wonderful, rare piece of history is $1,995 including free shipping.

Here is the outstanding Karelian Birch Norweigan Lion Peg Tankard circa 1770 and below is the painting by Gaugin from 1880

Here is the outstanding Karelian Birch Norweigan Lion Peg Tankard circa 1770 and below is the painting by Gaugin from 1880

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New Items added for Spring!

by Robert Hurley


A number of new items have been added for Spring 2016 including a very large portrait of an Elizabethan woman in a ruff collar, a great painting of a cavalier in red in a goldleaf frame, a 19th century carved walnut fireplace bellows and an iron shield, which is a copy of a parade shield of Henry II of France.

A number of new Mettlach beer steins have been added as well.  If you are a stein collector, then you know Mettlach.  Mettlach is not actually a brand, but the town in Germany where they steins were made by Villeroy and Boch, the famed German stein company.  Their steins are considered the most collectable and typically have some of the highest values. They are creative with a vast array of characters and styles.  Beyond the artistry of their steins, every stein is marked clearly on the bottom with their maker's mark and the word "Mettlach" as well as the date of manufacture.  Most Mettlach steins of the golden era date from 1890-1910.  Look for a future blog post on the different types of Mettlach steins.

These are just a few of the new items added at ReivalHouseAntiques.com.  Please check out our site and you may also want to view our store on RubyLane.com and Etsy.com. 

Thanks for reading!


Bob