Der Himmel über New York (German Edition)
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Many of the German immigrants coming around were fleeing social unrest at home and sought political and religious freedom as well as economic opportunity in the United States.
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Many other German social organizations followed, creating a vibrant community in the Crescent City. Himmel was born in Bavaria in and left his homeland during political turmoil in Himmel is first listed in the New Orleans city directory in The couple had at least three more children: Bertha born , Alvina born , and Frederick born Harriet Fellen Himmel died in , and her husband died a few years later.
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They had at least two other children: Jacob Oscar born and Bertha born The recent immigrants were between 25 and 30 years old and may have decided to work together because of a shared language and training history. They must have completed an apprenticeship before they left Germany, perhaps finishing training in New York, because they were skilled silversmiths when they started working in New Orleans.
Their partnership was short-lived, lasting from —53, but they produced numerous pieces of high-quality silver in that brief time. Even after they parted ways, both silversmiths continued to manufacture pieces for the retailer.
In , the firm moved into a prominent building on Canal Street, marked with a large golden pelican perched on the balcony Figure 1. They excelled at the typical tropes of the romantic style—cast branch handles, bold shell reserves on rounded bellies, and natural, asymmetric floral decoration Figure 6.
He utilized interchangeable parts, such as cast handles, milled borders, and rolled sheets of coin silver, to produce custom silver relatively quickly. Close study of his work shows an even hand at engraving and the ability to replicate foliate scenes using simple chasing tools Figure 8. The partners were listed as jewelers and silversmiths in the city directories for the next few years. None of their known work is marked by additional retailers. The set composes a hot water pot, coffeepot, teapot, covered sugar bowl, waste bowl, cream pitcher, and a large tray.
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Each piece features unique decoration, topped with finials in the shapes of fruits grown in the South, and accented with scroll handles and elongated egg and dart molding Figure 9. The decoration on each component follows the theme of trade in New Orleans.
On the hot water pot, the female personification of Commerce lounges amongst the many shipping containers that could be found on the levees at the Port of New Orleans. She leans on bales of cotton and hogsheads of other agricultural exports to her left, looking to the bundles, barrels, and crates of imported goods on her right. One of the crates has Chinese characters around the sides, indicating the wide reach of New Orleans commerce. The next piece in size, the coffeepot, shows a view of New Orleans on the Mississippi River, with the spire of St. Louis Cathedral among the recognizable landmarks.
Legend/Fallender Himmel (German Edition)
The teapot has a mythical version of this view, showing the Father of Waters pouring out the Mississippi from his jar Figure He sits in an Eden-like setting while the river he dispenses ventures south toward the tropical flora and fauna of Louisiana, including a palm tree and an alligator.
The sugar bowl is appropriately decorated with a Louisiana sugar plantation, showing a grand house sitting amongst fields, with a sugar mill in the background and a locomotive in the foreground. Symbols of industry and agriculture decorate the smaller faces of the waste bowl and cream pitcher. Unable to display preview.
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All translations are our own. Google Scholar. Toby Jurovics and Timothy H.
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Roger F. Wim Wenders, Emotion Pictures. Wim Wenders, quoted in Robert P. Kolker and Peter U. Schmidt, , CrossRef Google Scholar. Against the Wall?
Hoffman, Susan S.