The Home Beautiful: A Figure of Caritas, c. 1759

Caritas
Germany, 1759
The Victoria & Albert Museum

Made in Fürstenberg, Germany (presumably where the family of Diane is von), this figure group of hard-paste porcelain depicts a woman wearing a head-cloth and a flowered smock. Seated upon the sort of Rococo base one would expect from a German figure of the 1750s, the woman is nursing a child while other children are flitting about in various stages of dress. The group obviously is meant to represent Caritas (Charity). It’s the work of the Fürstenberg Porcelain Factory’s chief modeler Johann Christoph Rombrich and dates to about 1759. 

Figure of the Day: A Chinese “Pagod,” 1760

Pagod
Nymphenburg
1740-1760
The Victoria & Albert Museum

A “pagod” is, essentially, an idol. Here, we see a Chinese pagod of hard-paste porcelain and enamels dating to about 1760. The figure is the central piece of a table group of sixteen chinoiserie figures which was modeled by the great Franz Anton Bustelli for the Nymphenburg Porcelain Factory. The group also features figures of a priest, children and servants. Some are shown playing musical instruments, others are singing while some are shown bowing in worship.

The group was made during a period of great fascination with the orient. Meissen’s Kändler, a favorite of mine, began modeling chinoiserie figures in 1740 and the Nymphenburg factory followed suit.

Figure of the Day: The Pink Umbrella, c. 1773

Figure Group
Frankenthal, Germany
c. 1773
The Victoria & Albert Museum

Made by the Frankenthal Porcelain Factory of Germany around 1773, this hard-paste porcelain figure group is the work of modeler Konrad Linck. 

The group, painted in enamel colors, depicts a Chinese man and woman. The man lies beside a tall vessel composed of overlapping palm leaves. His companion leans against this vase, shielding her face with a pink umbrella. The base shows Rococo influence with its relief mound of plants and cabbages.

Sculpture of the Day: The Meissen Three Graces, c. 1785

The Three Graces
Meissen, 1784-1785
The Victoria & Albert Museum

This handsome figure group depicts the “Three Graces” as known from classical Greek mythology. They are called: Aglaea, Euphrosne and Thalia and they personify charm, beauty and joy (among other interpretations). These young ladies were the companions of Aphrodite, Apollo and Athena.

Made in Meissen, Germany around 1784-17855, the group of hard-paste porcelain is modeled after classical sculptures and murals depicting the subject—specifically one particular sculpture in the collection of Cardinal Borghese in Rome. The cardinal’s sculpture had been restored in the early Seventeenth Century. During this restoration, carved flowers were added to the hands. The sculpture was sketched and painted numerous times.

It is believed that the Meissen Factory’s J.E. Schenau, who ran the Meissen drawing school, sketched the design which was modeled by Christian Gotfried Jüchtzer. The group was so popular and produced in such numbers that, by 1789, the moulds had worn out and needed to be repaired by Jüchtzer. 

Sculpture of the Day: The Meissen Three Graces, c. 1785

The Three Graces
Meissen, 1784-1785
The Victoria & Albert Museum

This handsome figure group depicts the “Three Graces” as known from classical Greek mythology. They are called: Aglaea, Euphrosne and Thalia and they personify charm, beauty and joy (among other interpretations). These young ladies were the companions of Aphrodite, Apollo and Athena.

Made in Meissen, Germany around 1784-17855, the group of hard-paste porcelain is modeled after classical sculptures and murals depicting the subject—specifically one particular sculpture in the collection of Cardinal Borghese in Rome. The cardinal’s sculpture had been restored in the early Seventeenth Century. During this restoration, carved flowers were added to the hands. The sculpture was sketched and painted numerous times.

It is believed that the Meissen Factory’s J.E. Schenau, who ran the Meissen drawing school, sketched the design which was modeled by Christian Gotfried Jüchtzer. The group was so popular and produced in such numbers that, by 1789, the moulds had worn out and needed to be repaired by Jüchtzer. 

Figure of the Day: A Meissen Shepherd, c. 1750

Hard-paste Porcelain Figure
Meissen, c. 1750
The Victoria & Albert Museum

This Meissen figure was modeled by my preferred Eighteenth-Century, German porcelain guy, Johann Joachim Kändler, (1706 -1775). We’ve looked at several idealized depictions of shepherds and shepherdesses, like this one, which were made by Meissen during the 1750s. The fashion spread from France and Germany to Britain. While the French, and, sometimes the Germans, would, as we know, display these figure groups on a dining table as an amusement during the dessert course, the British, on the whole, preferred to use them as decorative objects in parlors and salons.

In Germany, these sorts of figures replaced figures which, from medieval times to the early Eighteenth Century, were made of sugar paste and wax. Originally, the figures would denote political and social allegiances or family milestones, but by the time they had begun to be made in the more permanent medium of porcelain, the depictions were largely decorative. 

It’s possible this figure was among a large lot of Meissen porcelain which had been smuggled into England around 1750. Before 1775, continental porcelain could only be imported if it was for personal use, and not for resale. Much porcelain from Germany was imported illegally, stated as for personal use, but, then re-sold. The figure seems to have been made for export to Britain. The shepherd is, after all, playing bagpipes and the enamel colors of puce, pale yellow and sea-green are certainly those which were most popular in Britain at the time.

Not surprisingly, he's part of a group of other bag-pipe wielding shepherds.   I'm not sure how many there are.

Object of the Day, Museum Edition: Summer, c. 1775

Figure of Summer
Bristol England, 1775
The Victoria & Albert Museum

Made in Bristol, England, this figure of hard-paste porcelain is painted with enamel colors and handsome gilded. A perfect representation of the pastoral style which was popular in the last quarter of the Eighteenth Century, the figure depicts a bare-legged shepherd boy holding a sheaf of wheat and a sickle. He has cast off his coat, throwing it over a bee-hive (which I don’t think is a good idea). Despite his curious choice of coat rack, he is obviously a representation of Summer. 

The Bristol Porcelain Factory, during the 1770s, was trying to rival the French and German porcelains which had become fashionable as table decorations on the continent. Such “farm” images were wildly popular, and the Bristol Factory found much success with their variations. 

Figure of the Day: A Meissen Shepherd, c. 1750

Hard-paste Porcelain Figure
Meissen, c. 1750
The Victoria & Albert Museum

This Meissen figure was modeled by my preferred Eighteenth-Century, German porcelain guy, Johann Joachim Kändler, (1706 -1775). We’ve looked at several idealized depictions of shepherds and shepherdesses, like this one, which were made by Meissen during the 1750s. The fashion spread from France and Germany to Britain. While the French, and, sometimes the Germans, would, as we know, display these figure groups on a dining table as an amusement during the dessert course, the British, on the whole, preferred to use them as decorative objects in parlors and salons.

In Germany, these sorts of figures replaced figures which, from medieval times to the early Eighteenth Century, were made of sugar paste and wax. Originally, the figures would denote political and social allegiances or family milestones, but by the time they had begun to be made in the more permanent medium of porcelain, the depictions were largely decorative. 

It’s possible this figure was among a large lot of Meissen porcelain which had been smuggled into England around 1750. Before 1775, continental porcelain could only be imported if it was for personal use, and not for resale. Much porcelain from Germany was imported illegally, stated as for personal use, but, then re-sold. The figure seems to have been made for export to Britain. The shepherd is, after all, playing bagpipes and the enamel colors of puce, pale yellow and sea-green are certainly those which were most popular in Britain at the time.

Not surprisingly, he's part of a group of other bag-pipe wielding shepherds.   I'm not sure how many there are.

Figure of the Day: A Chinese “Pagod,” 1760

Pagod
Nymphenburg
1740-1760
The Victoria & Albert Museum

A “pagod” is, essentially, an idol. Here, we see a Chinese pagod of hard-paste porcelain and enamels dating to about 1760. The figure is the central piece of a table group of sixteen chinoiserie figures which was modeled by the great Franz Anton Bustelli for the Nymphenburg Porcelain Factory. The group also features figures of a priest, children and servants. Some are shown playing musical instruments, others are singing while some are shown bowing in worship.

The group was made during a period of great fascination with the orient. Meissen’s Kändler, a favorite of mine, began modeling chinoiserie figures in 1740 and the Nymphenburg factory followed suit 

Figure of the Day: Caritas, c. 1759

Caritas
Germany, 1759
The Victoria & Albert Museum

Made in Fürstenberg, Germany (presumably where the family of Diane is von), this figure group of hard-paste porcelain depicts a woman wearing a head-cloth and a flowered smock. Seated upon the sort of Rococo base one would expect from a German figure of the 1750s, the woman is nursing a child while other children are flitting about in various stages of dress. The group obviously is meant to represent Caritas (Charity). It’s the work of the Fürstenberg Porcelain Factory’s chief modeler Johann Christoph Rombrich and dates to about 1759. 

Figure of the Day: Beltrame and Columbine, 1740

Beltrame and Columbine
Meissen, c. 1740
The Victoria & Albert Museum

Made in 1740, this figure group was manufactured by the Meissen Porcelain Factory and was modeled by my favorite Meissen modeler, Johann Joachim Kändler (1706 -1775). The group of hard-paste porcelain depicts the “Spanish Lovers,” Beltrame and Columbine. Both are dressed in the theatrical style which was favored by modelers of the time. Rococo flowers adorn the base.

Figure of the Day: The Pink Umbrella, c. 1773

Figure Group
Frankenthal, Germany
c. 1773
The Victoria & Albert Museum

Made by the Frankenthal Porcelain Factory of Germany around 1773, this hard-paste porcelain figure group is the work of modeler Konrad Linck. 

The group, painted in enamel colors, depicts a Chinese man and woman. The man lies beside a tall vessel composed of overlapping palm leaves. His companion leans against this vase, shielding her face with a pink umbrella. The base shows Rococo influence with its relief mound of plants and cabbages.

Sculpture of the Day: The Meissen Three Graces, c. 1785

The Three Graces
Meissen, 1784-1785
The Victoria & Albert Museum

This handsome figure group depicts the “Three Graces” as known from classical Greek mythology. They are called: Aglaea, Euphrosne and Thalia and they personify charm, beauty and joy (among other interpretations). These young ladies were the companions of Aphrodite, Apollo and Athena.

Made in Meissen, Germany around 1784-17855, the group of hard-paste porcelain is modeled after classical sculptures and murals depicting the subject—specifically one particular sculpture in the collection of Cardinal Borghese in Rome. The cardinal’s sculpture had been restored in the early Seventeenth Century. During this restoration, carved flowers were added to the hands. The sculpture was sketched and painted numerous times.

It is believed that the Meissen Factory’s J.E. Schenau, who ran the Meissen drawing school, sketched the design which was modeled by Christian Gotfried Jüchtzer. The group was so popular and produced in such numbers that, by 1789, the moulds had worn out and needed to be repaired by Jüchtzer.