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High KPM Berlin Lidded Porcelain Vase with Colourfully Painted Scenery ca 1918

$11,681.86

About

Petrarca And Laura At The Pope In Avignon Porcelain, 4 parts plugged into each other, lid, neck, base and foot with a cobalt blue background, gold rims, golden impasto meander frieze and laurel wreath with acanthus leaves, wide gold rims and fluting with golden pearl strips, arched borders, yellow metal frame with laurel branches in relief, baluster with a magnificent interior painteing all around precious inventory, large golden centerpieces with rose bouquets and rose garlands, the young monk Francesco Petrarca and a young bride whom he called Laura, the Cardinal Colonna Giovanni and probably the bridegroom de Noves, laterally surrounded by the festival community, arcade openings with trees in the garden and tower at wall square, signed J. Gunt 1613 on the reverse. Round base with three different colored scenes in the interior: the queen sits on the throne and says goodbye to the young prince while she and the cardinal hold his hand, a priest observes the interior from the side with vaults and a table, on which lies an open book This is pointed at by two gentlemen, they urge the queen standing next to sign, the queen is holding a lace cloth in her left hand to dry her tears, opposite is the commandant to check, a middle-class room with family, around the table - the father, the little son and grandmother reading, the mother watching them standing beside. Each picture signed A. Wenz at the bottom right, the pictures are labeled 1616, 1649, 351, total height 75 cm KPM-Berlin, underglaze blue scepter mark, year mark O 1914 and S 1918, blue stamp F, Vienna, Austria, the porcelain-painting Dörfl, early 20th century. Francesco Petrarca, Arezzo July 20, 1304-19. July 1374 Arqua, Italian poet and historian. His father was banished from Florence as a supporter of the Pope, at the age of 7 Petrarch followed him to Avignon, from 1316 he studied law in Montpellier, from 1320 in Bologna. In 1326 he returned to Avignon and received minor orders. On April 6, 1327 on Easter Monday, he saw a young woman whom he called Laura and who was possibly identical to the then 16-year-old and young married Laura de Noves. Her impression had a very strong effect on him that he adored her as an ideal female figure and a permanent source of his poetic inspiration, from the beginning of love in 1327 until her death in 1348. Manufactory: KPM Royal Porcelain Manufactory Berlin, Germany Dating: circa 1918 Material: handmade porcelain, hand painted, glossy finish Painting: Porcelain Painting Dörfl Vienna Signatures: Painting of the vase body: J. Gunt. 1613, base pictures: A. Wenz 1616 / 1649 / 351 Dimensions: Height 75.0 cm / 29.52 in Diameter 23.5 cm / 9.25 in Marks: blue KPM underglaze scepter mark year's signs O (1914) + S (1918) blue stamp F, Vienna, Austria - porcelain painting Dörfl Vienna Condition: Excellent.

Details

  • Creator
    KPM Porcelain (Manufacturer)
  • Dimensions
    Height: 29.52 in. (74.99 cm)Diameter: 9.25 in. (23.5 cm)
  • Style
    Romantic (In the Style Of)
  • Materials and Techniques
  • Place of Origin
  • Period
    1910-1919
  • Date of Manufacture
    circa 1918
  • Condition
    .
  • Seller Location
    Vienna, AT
  • Reference Number
    1stDibs: LU1014421899492

Shipping & Returns

  • Shipping
    $368.90 Standard Shipping
    to anywhere in the world, arrives in 8-12 days.
    We recommend this shipping type based on item size, type and fragility.
    Estimated Customs Duties & Taxes to the Continental US: $0.
    Ships From: Vienna, Austria
  • Return Policy

    A return for this item may be initiated within 7 days of delivery.

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About KPM Porcelain (Manufacturer)

The Königliche Porzellan-Manufaktur Berlin, or KPM (Royal Porcelain Factory, Berlin, in English) was one of the most influential porcelain factories to emerge in 18th-century Germany, along with Nymphenburg and Meissen. KPM was the third incarnation of a company originally founded in 1751 by Wilhelm Caspar Wegely to take advantage of the burgeoning market for “white gold.” On the verge of bankruptcy, Wegely sold his inventory and tools to Johann Ernst Gotzkowsky, who in 1761 established another porcelain factory, which also failed, and was subsequently taken over by Frederick II of Prussia in 1763. Like Augustus II, Elector of Saxony, the patron of Meissen and a keen collector who described himself as suffering (quite happily) from “porcelain sickness,” Frederick II was proud to refer to himself as KPM’s “best customer.” KPM produces china and figurines to this day, and throughout its long history, it has been a style-setter for elegant tableware, particularly in the 1930’s, the period during which their popular patterns Urbino, Urania and Arkadia were designed.

Thanks to its royal patronage, KPM had the resources and contacts necessary to establish itself as a leading luxury producer, and supplied Russian and European elites with tableware in the Rococo and Neoclassical styles, as well as monumental vases, and decorative plaques. Many of these objects can be found today in major museums as a result of Frederick II’s penchant for sending KPM porcelain as diplomatic gifts throughout Europe. Unlike Meissen, which was known for crafting porcelain sculptures of dazzling complexity, KPM is revered for the precision and splendor of its surface decoration, and for its porcelain plaques depicting scenes from history and mythology. One especially lovely example circa 1790 is a neocalssical-style tea service decorated with gold accents and a grisaille design of figures from the ancient world. By contrast, this boldly colorful narrative cup and saucer set from the 1840’s depicts scenes from real life as colorfully as a painting. The set was commissioned by a gentleman for his wife as a tongue-in-cheek gift commemorating her misadventures while in town for a visit to the opera, which resulted in her opera glasses being stolen. The saucer shows the thief and the glasses, and the cup reveals the scene of the crime in vivid hues.

KPM was forced to move from its original location in 1867 due to the building of the new Prussian Parliament building, and this afforded the company the opportunity to to create a new factory with the newest equipment and materials of the day. With the growing popularity of Art Nouveau and the western fascination with Asian ceramics, KPM began formulating glazes that evoked the color palette and rich surfaces of Chinese porcelain. By the turn of the century, KPM was exhibiting its wares to a global audience at international expositions. At the end of World War I with the collapse of the Prussian monarchy, KPM was renamed the State Porcelain Manufactory Berlin, continuing to use the name KPM and its use of the cobalt blue sceptre mark that is painted on the bottom of every piece.

By the late 1920’s, the designers and craftsmen of KPM were inspired by the tenets of Modernism, particularly the styles of the Bauhaus and the Deutscher Werkbund. During this period, the firm’s aim was to produce useful household porcelain for a range of consumers, rather than catering to a small elite. Among the most successful patterns of this era was designer Trude Petri’s Urbino line, which is still produced today. Following World War II, KPM was temporarily housed in the town of Selb, and only returned to its rebuilt quarters in Berlin in 1957. In the 1980s, KPM became an private company independent of the state, and began to focus production on the preservation of historic forms, designs, and techniques. KPM continues to collaborate with designers from all over the world, most recently on the Berlin dinnerware service with designer Enzo Mari, and a collaboration with the luxury brands Bottega Veneta and Bugatti.

About the Seller
4.9 / 5
Located in Vienna, Austria
Platinum Seller
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Established in 1988
1stDibs seller since 2013
172 sales on 1stDibs
Typical response time: 2 hours
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