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SILVER INCENSE BOAT (NAVICULAE). WITH HALLMARKS. POSSIBLY PORTUGAL, 18...

Naveta. Silver. Possibly Portugal, 18th century. Counterweighted base. With hallmarks. A boat with an oval base decorated with elements in relief and mouldings, a balustraded base and a body with a slight boat shape, presenting a lid with hinges at the front, a widening in the lower area towards the foot and a decoration distributed throughout the exterior based on rocaille motifs and vegetal elements (the same theme is presented on the foot and the base) on a lustre-painted background, with an angel's head on two small wings in relief towards the spout, accompanied by vegetal elements (which protrude from the edge of the lid). Although the shape of the piece generally follows the most common prototypes of these incense vessels used in the liturgy, it should be noted that it was more common to find them more similar to a boat. The belonging of the naveta to the Rococo influence is clear both from the lines of the object and from the decoration already mentioned (rocailles, moving plant elements, volutes with pronounced curves, contrasts between concave and convex lines...), and it is also possible to find some points in common with Portuguese works (a silver naveta with a spoon by Leandro Gagliardi made in Rome between 1744 and 1750, which is preserved in the Sao Roque Museum in Lisbon, Portugal, has a finial with an angel's head in relief; compare this with the gilded silver censer that the same master made between 1749 and 1751 for the Chapel of St. John the Baptist in the Church of St. Roque in Lisbon). The hallmarks present on the upper part of the naveta (the capital letters “de” in a rectangular space), although it should also be noted that this work does not follow the most striking typology of navetas related to this centre (18th century silver naveta from the Church of Alcántara in Maranhao, Brazil; naveta by Sebastiao Bernardes dos Santos dated 1747 from the Sé do Funchal which is preserved in the Museu de Arte Sacra Do Funchal in Madeira –Portugal-). Weight: 715 gr (base with counterweight).

· Size: 19x9x14 cms.
ANTIQUES

Ref.: ZE244
POCKET WATCH, ANDRÉ HESSEN. GOLD, ENAMEL, ETC. PARIS, FRANCE, CIRCA LA...

Pocket watch, engraved André Hessen. Gold, enamel. Paris, France, towards the end of the 18th century. It has some flaws. Pocket watch with a case decorated with enamel on the back (within a band of pearls you can see a composition with a clear classicist influence with a female figure, perhaps an allegory of the arts), and a white dial with Roman numerals for the hours and lines and Arabic numerals for the minutes, on which you can see the text Adré Hessen. The delicately decorated movement has a number (549) and the name Adré Hessen (1745-1805), a watchmaker who settled in Paris, France, in 1767 and who was very well-known and appreciated in his time.

· Size: 7x5x1.5 cms.
ANTIQUES

Ref.: ZE326
LOVERS WITH CAGE. PORCELAIN.

Courtiers and cage. Enameled porcelain. Johann Joachim model. Circa 1800 Enameled porcelain figure with a base resembling rocks and a pair of lovers dressed in 18th century style, with the boy reaching out his left hand towards a large birdcage. The piece is very similar to some figures entitled “Lovers with a Cage” made by Du Paquier (who opened a porcelain factory in Vienna in 1719) in 1737 and of which there are preserved examples in the Metropolitan Museum of New York or the Indianapolis Museum of Art. In turn, Du Paquier took his inspiration from works made in Meissen thanks to Johan Joachim Kaendler around 1736-1740 (varying in details such as the substitution of the table that the German ones have for the cage of the Viennese ones in some examples, or colours, for example). If the present work is compared with the works of Du Paquier, notable similarities can be appreciated in poses, elements, etc., but also important differences (colouring, details, base of the figure...).

· Size: 14x12x13 cms.
ANTIQUES

Ref.: ZF0445
FIGURE FOR HOLDING A CANDLE. POLYCHROMED WOOD, WROUGHT IRON. CASTILLIA...

Torch-bearing figure. Carved and polychrome wood, wrought iron. Castilian school, 16th-17th centuries. A carved and polychrome wooden sculpture placed on a simple base showing a half-naked male figure, holding in his hands a cloth that covers the lower part of his body in front and holding up a wrought iron cone intended to hold a candle. The nude, the study of anatomy, the contrapposto and the twist of the torso and waist of the figure are details that would speak of a classicist influence in the sculpture. It is also worth highlighting the movement that the posture brings to the piece, placing one foot behind the other and turned with respect to it and slightly turning the waist. Wood was the most worked material in Spanish Renaissance sculpture, normally with a polychrome finish and with gilding and upholstery. It was not until the second third of the 16th century when sculptors emerged in Spain who reached great heights in the Spanish Renaissance, inspired by Italian forms, but adding their own national touch, creating different schools, and with a clear preference for polychrome and upholstery wood. At this time, one of the main workshops was Valladolid, with names such as Alonso Berruguete and Juan de Juni. Later, art evolved towards a classicist or Romanist mannerism, with a significant influence from Italian masters, with a clear influence from Michelangelo and names such as Gaspar Becerra, Esteban Jordán, Juan de Ancheta, etc.

· Size: 18x18x48 cms.
ANTIQUES

Ref.: ZF0461
PORCELAIN BOX. POTSCHAPPEL-DRESDEN, GERMANY, 19TH.

Box. Enameled porcelain. Potschappel-Dresden, Germany, 19th century. With mark on the base. Rectangular box with a slightly curved lid made of enamelled porcelain with gold metal trim and hinges. The box features a decoration on the outside of figurative scenes of couples in natural landscapes with a clear Rococo feel, enhanced by gold frames and scale elements in pink tones. On the inside, on the lid, another scene of this type appears. The base of the piece bears a mark alluding to the factory responsible for it. In 1872, Carl Thieme (Carl Johann Gottlieb Thieme) converted his porcelain painting business into a porcelain factory, keeping the headquarters in Dresden and calling it Sächische Porzellanfabrik zu Potschappel (Dresden) von Carl Thieme. A mark such as the one seen on this piece was used there between 1888 and the beginning of the 20th century.

· Size: 12x8x7 cms
ANTIQUES

Ref.: ZF0702
PAIR OF PORCELAIN VASES.19TH CENTURY.

Pair of vases. Enameled porcelain. 19th century. Pair of circular vases with a cylindrical body in the centre and a long neck and mouth open towards the outside, decorated with bands in pink tones, gold edges, grouped flowers and two genre scenes (humble characters dancing in rural landscapes; on the other side, similar scenes). They have been presented placed on metal feet, decorated with openwork elements and with claw-shaped legs finished with vegetal elements of classicist influence. They have marks on the base.

· Size: 24x24x62 cms
ANTIQUES

Ref.: ZF0884
VIRGIN MARY (TO DRESS UP). WOOD, METAL. SPANISH SCHOOL, 17TH CENTURY.

Virgin of Dressing. Wood, metal. Spanish school, 17th century. It has faults (hand, etc.). Sculpture made of polychrome wood showing a woman, with the head, neck and hands carved and polychrome in detail, a sketched dress and arms in exposed wood. Iconographically, it is probably a Virgin Mary, made in this way because it was designed to be dressed and adorned with hairpieces (hence the work on the skull area). It is worth highlighting the folds on the front, not common in this type of work, resembling clothing. It has a closed royal crown. Dress carvings were very common during the Spanish Baroque, and there may be cases of works in which the unseen part was barely roughed out and others in which the entire carving is found, with many intermediate points (see the present case). Remember the San Antonio Abad by Benito Silveira made in the second half of the 18th century that is in the National Museum of Sculpture in Valladolid, a San Francisco de Paula from the 18th century in the Museo del Carmen in Maipú (Santiago de Chile), etc.

· Size: 44x28x86 cms
ANTIQUES

Ref.: ZF1182
CORINTHIAN CHAPITEL. STONE. 17TH CENTURY.

Corinthian capital. Carved sandstone. 17th century. Capital made of sandstone carved in its colour, with two bands of acanthus leaves, volutes in the corners and towards the centre and a decorative vegetal element in the centre of the upper part. Due to its decorative elements, it can be linked to the Corinthian order, the most ornate of the architectural orders of Classical Antiquity and whose first known example was in the Temple of Apollo in Basas in 427 BC. Later it was very common to find it (with its derivations) in European art. Compare with the columns of the Pantheon in Rome, Italy.

· Size: 40x40x33 cms.
ANTIQUES

Ref.: ZF1272
HENRI II STYLE PENDULUM CLOCK, 19TH CENTURY.

“Henri II” style wall clock, 19th century. The dial, in white, has Arabic numerals and is protected by glass. The clock case, made of carved wood, shows a decoration based on architectural elements (diamond points, columns, vases, etc.) and leaves a rectangular space with a dark wood decoration based on putti and plant motifs in which there is a hole to see the pendulum, which is highlighted by a decoration in gilded metal. The Henri II style (“Henri II”) was the name given to an artistic style that emerged in France in the 19th century and was inspired by the Renaissance of this country, creating a series of furniture with the type of decoration that we see in this work. It was so successful that it was revived in the Neo-Renaissance style, which lasted well into the 20th century.

· Size: 45x23x130 cms.
ANTIQUES
MISCELLANEOUS;CLOCKS

Ref.: Z0484
WALNUT FAUTEUIL. 18TH CENTURY, CONTEMPORARY UPHOLSTERY.

Armchair in carved walnut wood, gilded and in its colour. 18th century, with current upholstery. Armchair with slightly cabriole-shaped legs secured with H-shaped frames, curved arms decorated with a scroll at the front, a queen-shaped backrest with a crown made up of a plant garland around a circular mirror and plant bows. Some elements are Neoclassical, but the armchair typology still retains some of the characteristic movement of Baroque furniture, but in a very softer way.

· Size: 63x69x127 cms.
ANTIQUES
FURNITURE

Ref.: Z3792
POCKET CLOCK, JAQS BLANC. GOLD, ENAMEL, ETC. POSSIBLY CIRCA LATE 18TH ...

Pocket watch, Jaqs Blanc. Gold, enamel, etc. Possibly circa late 18th century. Pocket watch with white dial and Arabic numerals for the hours and lines and Arabic numerals every fifteen units for the minutes with movement decorated and engraved with a serial number and the words Mavit and Jaqs Blanc. The box that contains and decorates it has, on the back, an architectural decoration with a clear classicist influence.

· Size: 6x5x1.5 cms
ANTIQUES

Ref.: ZE328
SILVER CUP. PERU, 18TH CENTURY.

Bernegal. Silver. Peru, 17th century. A silver-coloured tembladera or catavinos, with “S”-shaped handles (or “C”-shaped handles with a lower finish) with volutes and masks, and the rest of the piece plain. Bernegales and tembladeras were the most common types of silverware in 17th century Spain (although they continued to be popular in the 18th century, especially in centres far from the main creative centres). In the case of this piece, it is the handles that could indicate an American manufacture, although there are similar cases that are thought to have been made in the Iberian Peninsula. Compare this piece with works such as the tembladera by Antonio Sánchez dated between 1655 and 1689 from the Convent of the Clarissan Mothers of Villacastín, others kept in the National Museum of Decorative Arts in Madrid, etc. Weight: 270 gr.

· Size: 19.5x14x8 cms.
ANTIQUES

Ref.: ZF0553
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PYX. WOOD. SPANISH SCHOOL, 16TH CENTURY.

Pyx. Carved and polychrome wood. Spanish school, 16th century. A box with a circular base and a truncated cone-shaped body with a domed lid topped with a moulded knob. It is made of carved wood and retains traces of gilding on its outer surface and also on the inside (lid and base). In this area it is decorated with carvings of plant themes on the lid and winged angel heads joined by curved textiles reminiscent of garlands on the front of the body. Typologically, the piece is reminiscent in its shape of silver pyxes: compare with two 16th-century examples from the Burgos Museum (one with a flatter body than the present piece, but with a similarly shaped lid; another similar to this one), a pyx from around the middle of the 14th century from the Cluny Museum with proportions similar to this wooden box, etc. Likewise, it would be necessary to mention at least the one known as the San Fernando Salt Shaker (Convent of San Clemente in Seville). Pyxises or hosts made of wood are not common, either because metal was preferred for these liturgical objects, or because they are less well preserved or are replaced more frequently than silver ones. One is known from the 16th century from the Balkans or Venetia, preserved in the Victoria and Albert Museum in London; there is a wooden pyx case in the same museum dated between 1470 and 1540; etc.

· Size: 14,5x14,5x14,5 cms
ANTIQUES

Ref.: ZF1041
SILVER CUP WITH INSCRIPTION. POSSIBLY SOUTH AMERICAN, 18TH CENTURY.

Tembladera or bernegal with ownership inscription. Possibly Hispanic American, 18th century. Silver-coloured trinket dish with a wide, circular base and a mouth of greater diameter than this, a body with a fine line engraved towards the edge and an inscription of ownership on the front (Lucas Vilacha) made with small dots. It also has two handles decorated with vegetal elements and grotesques with human heads, and shapes similar to lions or dogs can be seen on the upper part. In Spanish silversmithing, the Baroque trends were maintained for almost the first two thirds of the 18th century, except in the capital, where Rococo forms were introduced without displacing the previous ones. It was not until 1740 when French silversmiths introduced these innovations in Madrid, which would slowly spread to the rest of the centres, depending on the area and the masters. This survival of the 17th century forms can be seen in the handles of the tembladera: the grotesques with human heads are very prominent, decorative abundance that contrasts with the clean lines of the rest of the work but is common in this type of work. The lack of hallmarks does not allow the work or the artist to be located, although it is precisely this that speaks in favour of a secondary silversmithing centre, where the lack of control of these works was more common due to the lack of masters and the means to ensure compliance with the marking regulations. Bernegales and tembladeras were the most common types of silverware in 17th century Spain (although they continued to be popular in the 18th century, especially in centres far from the main centres of creation). In the case of this piece, the handles could indicate that it was made in the Americas, although there are similar cases that are thought to have been made in the Iberian Peninsula. It is worth mentioning that there is evidence of the baptism of a Lucas Vilachá in 1783 in Lanza (La Paz, Bolivia). Compare with works such as the tembladera by Antonio Sánchez dated between 1655 and 1689 from the Convent of the Clarisas Mothers of Villacastín, others preserved in the National Museum of Decorative Arts in Madrid, etc. Weight: 325 grams.

· Size: 20x15x7,6 cms.
ANTIQUES

Ref.: ZF1058
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MATERNITY. BRONZE. FRANCE, CIRCA LATE 19TH CENTURY. PAUL DUBOIS.

Maternity. Bronze. France, towards the end of the 19th century, PAUL DUBOIS, Paul (Nogent-sur-Seine, 1829-Paris, 1905). With inscriptions, signature and foundry seal (A. Collas). Bronze sculpture with a simple base with inscriptions and on which a humbly dressed female figure sits, looking down at the two children she is cradling in her arms. These, naked, one is asleep and the other is breastfeeding. On the rocky area where the woman sits, one can read “P. Dubois”. Paul Dubois was a French sculptor and painter who enjoyed great recognition for the elegance and delicacy of his works, so appreciated that they were widely distributed by important publishers. He trained at the École natinale supérieure des beaux-arts and went to Rome. His work was recognized with awards (Medal at the Paris Salon of 1863, Medal of Honor at the 1865 Salon, etc.) and with important positions (Director of the National School of Fine Arts, Grand Cross of the Legion of Honor, etc.). His work can be seen in prominent private collections and in institutions such as the Musée Faure (Aix-les-Bains, France), Petit Palais (Paris), Musée d'Orsay, the Louvre, the Metropolitan Museum of New York (United States of America), etc. This sculpture, in particular, is inspired, in a much smaller size, by the bronze sculpture of Charity (work of Paul Dubois) from the cenotaph of General La Moricière (Louis Juchault de Lamoricière, 1806-1865), installed and inaugurated in 1879 in the Cathedral of Nantes (France). At the base there is a foundry stamp (“Reduction Mecanique Brevete/ A. Collas”). Achille Collas (Paris, 1795-1859) was a French engineer, engraver and illustrator known for his works and for being the inventor of a procedure for reproducing and reducing (in size) sculptures that became very well known and appreciated since he presented it at the Universal Exhibition in Paris in 1855. On the front you can read “À Madame Nivromont / 1882-1892”. On the side it appears “F. Barbedienne, Fondeur, Paris”. Ferdinand Barbedienne (L´Oudon, 1810-Paris, 1892) was a French cabinetmaker and bronze worker, considered one of the leading artists of the Second Empire. In 1839 he partnered with the aforementioned Achille Collas to set up a bronze factory specialising in small sculptures (also furniture and silver pieces, all in various styles), which came to have three hundred workers. Weight 15 kg.

· Size: 16x22x49cms
ANTIQUES

Ref.: ZF1178
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SAINT JOHN THE BAPTIST. POLYCHROMED BOXWOOD. 17TH CENTURY.

“San Juan”. Carved and polychrome boxwood. 17th century. Standing on a simple base is the figure of Saint John the Baptist, partially dressed in a red tunic that reveals his anatomy by showing part of his body and identified by the lamb that accompanies him (in the Bible, Jesus is called “the Lamb of God,” hence this animal is one of his most common iconographic attributes). Stylistically, and to appreciate the stylistic differences, compare it with the Saint John the Baptist of the “Retablo de San Juan Bautista” by Juan de Juni and Inocencio Berruguete, dated 1551 and today in the National Museum of Sculpture in Valladolid, or with the carving of the same subject by Alonso Cano (commissioned in 1634) and which is in the same museum. It is also necessary to mention works such as that of Juan de Ávila from the Oratory of San Felipe Neri in Valladolid (today in the Diocesan and Cathedral Museum of Valladolid; dated 1699) or the carving by Juan de Mesa that is in the Museum of Fine Arts in Seville.

· Size: 11,5x7x31 cms.
ANTIQUES
SCULPTURE

Ref.: Z5790
KEYS, IRON FITTING AND LOCK COLLECTION. WROUGHT IRON. 17TH-19TH CENTUR...

Collection of keys with padlock. Wrought iron, 17th to 19th centuries. Collection consisting of thirty-two keys and a padlock with its key, all made of wrought iron, with some pieces retaining their original patina. The variety of decoration on the rings and teeth and the shape of the blades allow us to distinguish which period they belong to. It is essential to highlight the great variety and different chronology of the elements that make up this set. There are several keys that, due to the shape of their ring, can be dated to the Baroque (some with a circle or teardrop inscribed on the ring opposite the bit, which ends in the extension of the stem). Those with a simpler ring (large key) usually correspond to the 19th century, more focused on the utilitarian purpose of the object without stopping to give them a decorative touch as is done in the previous examples. Note the presence of double keys (with bits at both ends and a piece to open the door or whatever they are locking) and that there are some with interesting elements on their rings.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z5334A
CERAMIC JAR. 18TH CENTURY

Jug from Villafeliche, Aragon, 18th century. Glazed ceramic. Late Baroque style jug made of ceramic and decorated with high-temperature enamels on a white tin slip. These enamelled motifs are combined with mould-made relief decorations. The typology of the piece combines the Italian jug, with an ovoid belly and vertically arched handle, with that of the typically Spanish spouted jug, characterised by the protruding spout that starts from the mouth. The decorations reveal an oriental influence, with large floral bouquets arranged asymmetrically and complex landscapes with architecture and palm trees, in which some figures are removed, these now totally western. The motifs appear brushed in manganese black, and coloured with mainly ochre, blue, green and red enamels. Aragonese pottery from the 17th to the 19th century was characterised by a strong personality, combined with the influences of Talavera and Catalonia. It had three main centres: Teruel, Muel and Villafeliche, the first two with a tradition dating back to the 16th century, and the third created at the end of the 17th century. The pottery from Villafeliche was generally very popular, although pieces of greater quality and complexity, both typological and ornamental, were also made in the 18th century.

· Size: 25x18x42 cms.
ANTIQUES
MISCELLANEOUS;CERAMIC

Ref.: Z2627
TORCH STAND, GILT AND POLYCROMED WOOD, ROCOCO, 18TH CENTURY. RECONVERT...

Carved, gilded and polychrome wooden torch holder, Rococo, 18th century. Converted into a floor lamp. A lamp with a triangular base on scroll-shaped legs and a base formed by a vase under a baluster that has been decorated on its surface with rocailles, putti heads, mirrors and gilded plant scrolls. Made to hold a candle, it has been converted into a floor lamp, allowing it to be used in a modern interior.

· Size: Alt. 166 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z5286
LOUIS XVI STYLE SETTEE. GOLDEN WOOD. UPHOLSTERY IN NEED OF RESTORATION...

Louis XVI style sofa. Gilded wood. Upholstery to restore or replace. Sofa on turned stipes legs and waist with flower-shaped cubes, repeating the decoration of the legs on the two columns on the sides. The lines and decoration show, for the realization of this work, the inspiration in Louis XVI furniture, a French style also known as “Style à la grecque” inspired by Antiquity and dated, approximately, between 1760 and 1789.

· Size: 181x70x102 cms.
ANTIQUES
FURNITURE

Ref.: Z5379
SILVER CHEST, AFTER 17TH CENTURY MODELS. POSSIBLY, 20TH CENTURY.

Chest inspired by 17th century models. Silver. Spain, 20th century. Rectangular casket made of silver in its colour, with four legs in the corners in the shape of a scroll and finished in a claw, decorated on the fronts with a decoration of mouldings, bands and motifs within rectangles (yokes, a bundle of arrows, a letter f crowned between two pomegranates, a letter y crowned between two pomegranates) in clear allusion to the Catholic Monarchs. The stepped lid presents a composition of scrolls, architectural elements and plant motifs on a background with a lustre-like finish, and a small rectangular “diamond” as a finish. It closes with a pin and a chain at the front. Compare, for example, with the 17th century silver casket in the museum of the Monastery of Santa María de la Caridad in Tudela, or with the so-called Casket of the Holy Martyrs of the parish of Santa María de Manlleu which is in the Episcopal Museum of Vic. Weight: 526 grams.

· Size: 16x11x11 cms.
ANTIQUES

Ref.: ZE280
DIAL AND COMPASS. BRONZE. SCHRETTEGGER, JOHAN. AUGSBURG, GERMANY, CIRC...

Sundial and compass with case. Bronze. SCHRETTEGGER, Johan. Augsburg, Germany, circa 1800. A polygonal sundial made of bronze, engraved with plant elements on the front, placed around the centre, where a compass is shown. On the back, the name of the author and the place where the work was created have been engraved. The instrument is accompanied by a case, also polygonal, with a flap closure and lined with textile on the inside. Johan Schrettegger (1797-1843), son of Andreas Vogler, worked in that German city creating pieces such as this one.

· Size: 6 x 5,5 x 1,5 cm/ Estuche:7x6,5x2 cms
ANTIQUES

Ref.: ZE311
SILVER AND GILT SILVER PYX. 16TH CENTURY.

Cast and chased silver pyx. Spain, towards the end of the 16th century. Cylindrical box with a moulded base under a wide frieze with latticework of bands and simplified plant elements. Moulded lid decorated with bands creating figures of 8 alternating with flowers and fleur-de-lis motifs, topped with a small cone with pearl, on which stands a three-nailed Crucifix with a loincloth around the knees and a cartouche. Given the gilding on the interior, this stemless host was perhaps used to contain the Holy Hosts in the tabernacle of some church. The decorative elements of the work and the figure of Christ in the upper part respond to the influence of the Renaissance, but also show Gothic memories. The Renaissance appeared in Castilian silverwork a little before 1520, and it was only from the end of the reign of Philip III that we usually speak of Baroque. In the Crown of Aragon, the political and economic decline of the area caused a significant decline in the number and quality of production, with the notable exception of Aragon and, above all, Zaragoza, which reached unequalled splendour later on. The same thing happens with the form: although there are similar examples during the Gothic period (a hostiary by Diego de Abanza or one of his sons, made in Burgos towards the end of the 15th century and preserved in the Diocesan Museum of Sigüenza, Guadalajara), this typology would continue even in the Baroque with numerous variations. Compare this with works such as a hostiary in the Museum of Malaga (BA/CE00305), with a similar cover and decoration, or, above all, with the one in the Ángel Quílez collection (inventory CAQ-47) of the future Museum of Alcáñiz (Teruel), with a similar profile and decoration, both from the end of the 16th century. And note the difference with, for example, the Castilian from the last third of the century preserved in the National Museum of Decorative Arts (CE19659) or that of Juan de Bendígar from the Lázaro Galdiano Museum (inventory 02165) from the second third of the century, with greater Renaissance influence. Weight: 176 gr.

· Size: 10x10x9,5 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: ZA5725
PORCELAIN CENTREPIECE. VOLKSTEDT, RUDOLSTADT, GERMANY. CA END 19TH CEN...

Centerpiece. Volkstedt, Rudolstadt, Germany. Towards the end of the 19th century. Glazed porcelain. A circular centrepiece raised on simple legs, displaying a delicate multi-level composition. The children are arranged using a large stone and a tree trunk, with one child on top wearing a purple band holding flowers; below, there are four others, also half-naked, holding glasses, flowers, etc. Both the figures and the composition show a clear influence of Neoclassical models. This same relationship explains the theme: it is a series of figures linked to classical mythology, dealing with a pleasant and secondary theme (only a slight relationship with a bacchanal can be intuited by a cup that is presented), highly appreciated for the rich interiors of the period for maintaining the decorum required at the time. The factory's signature is clearly visible at the bottom in the centre and is in blue tones, with a signature (Marion) "engraved" below it. The Volkstedt factory, located in Rudolstadt (Thuringia, Germany), was founded at the official request of Georg Heinrich Macheleid in 1760, who had worked at the Glücksthal glassworks and had allegedly developed the porcelain formula on his own, without any contact with the Meissen ceramists Ehrenfried Walther von Tschirnhaus and Johann Friedrick Böttger. The privilege was granted in 1762 by Johann Friederich (Prince of Schwarzburg-Rudolstadt), specifying that it be established at that point, close to his court and under his personal direction. After several changes of hands over the years, it remains in force today.

· Size: 34x34x56cms.
ANTIQUES

Ref.: ZF0144