BEAKER AND SAUCER WITH EARLY CHINOISERIE DECORATION AND WITH A SILVER-GILT MOUNT Meissen, ca. 1723-24. The paintwork in the style of Johann Gregorius Höroldt.
Decorated with a Chinese figure on a patch of grass between flowering shrubs, in quatrefoil gold cartouches with Böttger luster and iron-red scrollwork, the rim with gold lace borders. The foot rings with a silver-gilt mount.
H 8.5 cm, Ø 13.5 cm.
Small chip to the rim.
Provenance:
- Art Dealer, Galerie Röbbig, Munich.
- Aristocratic private collection, Southern Germany.
The slim shape of the beaker and its silver-gilt mount at the foot are reminiscent of a small series of the earliest beakers painted by J.G. Höroldt in 1722 (Kirsch 2019, pp.108-123), which are so special, on the one hand, because of their high-quality paintwork and, on the other hand, because of their precious silver-gilt mount.
These beakers mark a temporal break and stand at the beginning of the chinoiserie period (Kirsch 2019, pp. 110-111). The silver-gilt mount made D. Lübke assume in 2003 that Augustus the Strong could have placed this order himself (Keramos 179/80 2003, pp. 21-38) or the order could be related to the early showpieces with chinoiserie decoration for the manufactory commission in order to present Augustus the Strong's new decoration program (Kirsch, p. 110).
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Decorated with a Chinese figure on a patch of grass between flowering shrubs, in quatrefoil gold cartouches with Böttger luster and iron-red scrollwork, the rim with gold lace borders. The foot rings with a silver-gilt mount.
H 8.5 cm, Ø 13.5 cm.
Small chip to the rim.
Provenance:
- Art Dealer, Galerie Röbbig, Munich.
- Aristocratic private collection, Southern Germany.
The slim shape of the beaker and its silver-gilt mount at the foot are reminiscent of a small series of the earliest beakers painted by J.G. Höroldt in 1722 (Kirsch 2019, pp.108-123), which are so special, on the one hand, because of their high-quality paintwork and, on the other hand, because of their precious silver-gilt mount.
These beakers mark a temporal break and stand at the beginning of the chinoiserie period (Kirsch 2019, pp. 110-111). The silver-gilt mount made D. Lübke assume in 2003 that Augustus the Strong could have placed this order himself (Keramos 179/80 2003, pp. 21-38) or the order could be related to the early showpieces with chinoiserie decoration for the manufactory commission in order to present Augustus the Strong's new decoration program (Kirsch, p. 110).