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Postament mit prächtigen Bataillenszenen

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Postament mit prächtigen Bataillenszenen - Bild 1 aus 7
Postament mit prächtigen Bataillenszenen - Bild 2 aus 7
Postament mit prächtigen Bataillenszenen - Bild 3 aus 7
Postament mit prächtigen Bataillenszenen - Bild 4 aus 7
Postament mit prächtigen Bataillenszenen - Bild 5 aus 7
Postament mit prächtigen Bataillenszenen - Bild 6 aus 7
Postament mit prächtigen Bataillenszenen - Bild 7 aus 7
Postament mit prächtigen Bataillenszenen - Bild 1 aus 7
Postament mit prächtigen Bataillenszenen - Bild 2 aus 7
Postament mit prächtigen Bataillenszenen - Bild 3 aus 7
Postament mit prächtigen Bataillenszenen - Bild 4 aus 7
Postament mit prächtigen Bataillenszenen - Bild 5 aus 7
Postament mit prächtigen Bataillenszenen - Bild 6 aus 7
Postament mit prächtigen Bataillenszenen - Bild 7 aus 7
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Postament mit prächtigen Bataillenszenen
Porzellan, polychromer Emaildekor, Vergoldung. Gestuft ansteigend, seitlich gerundet, belegt mit vier Rocaillenkartuschen im Relief. Zwei äußerst fein gemalte, vielfigurige Kampfszenen zu Land und Wasser, auf den Seitenflächen Soldaten in der Rast. Blaumarke Schwerter. Bestoßungen an den Rändern. Späterer Schaleneinsatz in vergoldetem Silber. H 11, B 24,7 cm.
Meissen, Mitte 18. Jh.

Es erstaunt zunächst, dass realistische, auch drastische Darstellungen von Kriegsereignissen zum malerischen Repertoire einer Porzellanmanufaktur zählen. Dabei darf man nicht vergessen, dass die Kriegsführung als höfische Kunst galt, also zum Alltag vieler Besteller gehörte, zumindest aber oft in deren Erinnerung fortlebte. In Meißen wurde nicht nur das erste Formenrepertoire entwickelt, sondern auch die malerischen Sujets auf Porzellan. Die Kupferstiche von Jacques Callot aus dem Dreißigjährigen Krieg prägten ein Genre, in dem nachfolgend auch Philips Wouwerman und Georg Philipp Rugendas tätig waren. Ihre Stiche wurden in der Manufaktur z.B. von Philipp Ernst Schindler, Johann George Heintze oder Bonaventura Häuer als Vorlagen für die Bemalung bestimmter Stücke verwendet, die in ihrer Aussage darüber hinausgingen, was man von den Tischporzellanen als „conversation piece“ erwartete. Auf diesem Postament könnte eine Porzellanuhr oder eine allegorische Figurengruppe gestanden haben, jedenfalls ein Objekt, das den Gedanken des Memento mori, der Vergänglichkeit, vergegenwärtigt und den Betrachter auffordert, sein Handeln zu hinterfragen.


Provenienz
Christie's London am 17. Oktober 1977, Lot 170.
Erworben bei Christie's London am 28. März 1983, Lot 138.

Literatur
Abgebildet im Kat. Blütenlese. Meißener Porzellan aus der Sammlung Tono Dreßen, München 2018, S. 135, Nr. 93.





A Meissen porcelain bracket with battle scenes
Stepped pedestal with rounded edges and four rocaille cartouche motifs in relief painted with detailed land and naval battle scenes, the sides with soldiers at rest. Blue crossed swords mark. Wear to the edges. With a later silver gilt dish insert. H 11, W 24.7 cm.
Mid-18th C.

It seems astonishing that a porcelain painter's repertoire would include such realistic and brutal battle scenes, but warfare was considered a courtly art. Battles were an almost everyday occurrence, or at least a vivid memory, for many of the Meissen manufactory's patrons. Meissen not only developed their own formal vocabulary, but also translated painted motifs to porcelain. The genre was heavily influenced by Jacques Callot's engravings from the Thirty Years' War, and was continued by Philips Wouwerman and Georg Philipp Rugendas. In the manufactory, their engravings functioned as prototypes for the designs of painters such as Philipp Ernst Schindler, Johann George Heintze and Bonaventura Häuer and their scope far outreached the usual expectations on porcelain tablewares to form "conversation pieces". This bracket may have been used as a stand for a porcelain clock or a group of allegorical figures. It would have been an object designed to evoke a sense of "memento mori", inviting the viewer to consider the transience of life and question their own actions.


Provenance
Christie's London, 17th October 1977, lot 170.
Acquired from Christie's London, 28th March 1983, lot 138.

Literature
Illus. in cat.: Blütenlese. Meißener Porzellan aus der Sammlung Tono Dreßen, Munich 2018, p. 135, no. 93.





Postament mit prächtigen Bataillenszenen
Porzellan, polychromer Emaildekor, Vergoldung. Gestuft ansteigend, seitlich gerundet, belegt mit vier Rocaillenkartuschen im Relief. Zwei äußerst fein gemalte, vielfigurige Kampfszenen zu Land und Wasser, auf den Seitenflächen Soldaten in der Rast. Blaumarke Schwerter. Bestoßungen an den Rändern. Späterer Schaleneinsatz in vergoldetem Silber. H 11, B 24,7 cm.
Meissen, Mitte 18. Jh.

Es erstaunt zunächst, dass realistische, auch drastische Darstellungen von Kriegsereignissen zum malerischen Repertoire einer Porzellanmanufaktur zählen. Dabei darf man nicht vergessen, dass die Kriegsführung als höfische Kunst galt, also zum Alltag vieler Besteller gehörte, zumindest aber oft in deren Erinnerung fortlebte. In Meißen wurde nicht nur das erste Formenrepertoire entwickelt, sondern auch die malerischen Sujets auf Porzellan. Die Kupferstiche von Jacques Callot aus dem Dreißigjährigen Krieg prägten ein Genre, in dem nachfolgend auch Philips Wouwerman und Georg Philipp Rugendas tätig waren. Ihre Stiche wurden in der Manufaktur z.B. von Philipp Ernst Schindler, Johann George Heintze oder Bonaventura Häuer als Vorlagen für die Bemalung bestimmter Stücke verwendet, die in ihrer Aussage darüber hinausgingen, was man von den Tischporzellanen als „conversation piece“ erwartete. Auf diesem Postament könnte eine Porzellanuhr oder eine allegorische Figurengruppe gestanden haben, jedenfalls ein Objekt, das den Gedanken des Memento mori, der Vergänglichkeit, vergegenwärtigt und den Betrachter auffordert, sein Handeln zu hinterfragen.


Provenienz
Christie's London am 17. Oktober 1977, Lot 170.
Erworben bei Christie's London am 28. März 1983, Lot 138.

Literatur
Abgebildet im Kat. Blütenlese. Meißener Porzellan aus der Sammlung Tono Dreßen, München 2018, S. 135, Nr. 93.





A Meissen porcelain bracket with battle scenes
Stepped pedestal with rounded edges and four rocaille cartouche motifs in relief painted with detailed land and naval battle scenes, the sides with soldiers at rest. Blue crossed swords mark. Wear to the edges. With a later silver gilt dish insert. H 11, W 24.7 cm.
Mid-18th C.

It seems astonishing that a porcelain painter's repertoire would include such realistic and brutal battle scenes, but warfare was considered a courtly art. Battles were an almost everyday occurrence, or at least a vivid memory, for many of the Meissen manufactory's patrons. Meissen not only developed their own formal vocabulary, but also translated painted motifs to porcelain. The genre was heavily influenced by Jacques Callot's engravings from the Thirty Years' War, and was continued by Philips Wouwerman and Georg Philipp Rugendas. In the manufactory, their engravings functioned as prototypes for the designs of painters such as Philipp Ernst Schindler, Johann George Heintze and Bonaventura Häuer and their scope far outreached the usual expectations on porcelain tablewares to form "conversation pieces". This bracket may have been used as a stand for a porcelain clock or a group of allegorical figures. It would have been an object designed to evoke a sense of "memento mori", inviting the viewer to consider the transience of life and question their own actions.


Provenance
Christie's London, 17th October 1977, lot 170.
Acquired from Christie's London, 28th March 1983, lot 138.

Literature
Illus. in cat.: Blütenlese. Meißener Porzellan aus der Sammlung Tono Dreßen, Munich 2018, p. 135, no. 93.




Modernes Kunstgewerbe / Sammlung Dreßen / Kunstgewerbe / Abraham & David Roentgen

Auktionsdatum
Lose: 300 - 365
Lose: 600 - 795
Lose: 800 - 1231
Lose: 400 - 415
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

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Conditions of Sale

1. The art auction house, Kunsthaus Lempertz KG (henceforth referred to as Lempertz), conducts public auctions in terms of § 383 paragraph 3 sentence 1 of the Civil Code as commissioning agent on behalf of the accounts of submitters, who remain anonymous. With regard to its auctioneering terms and conditions drawn up in other languages, the German version remains the official one.

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Henrik Hanstein, sworn public auctioneer
Takuro Ito, Kilian Jay von Seldeneck, auctioneers

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