42
A Vienna porcelain cup and saucer with motifs after Angelika KauffmannOf tapering cylindrical form
1/3
Das Auktionshaus hat für dieses Los keine Ergebnisse veröffentlicht
Berlin
Beschreibung
Tasse und Untertasse mit Szenen nach Angelika Kauffmann
Porzellan, himmelblauer Fond, farbiger Aufglasurdekor, reliefierte Vergoldung. Konisch, mit zugehöriger UT. Auf der Tasse eine ovale Reserve mit Ceres, Cupido und Füllhorn, auf der UT eine Rundreserve mit der Geburt Shakespeares. Blaumarke Bindenschild, Jahresstempel 800 und 801 (UT), Drehernummer 39 (UT) für Ferdinand Ebenberger.
Wien, Kaiserliche Manufaktur unter Konrad von Sorgenthal, 1801.
Selbst ein Mythos: Angelika Kauffmann (1741-1807)
Melitta Kunze-Köllensperger
Längst vor Zeiten von Emanzipation, Gender Studies oder Pop-Stars wurde sie als La Madonna gehandelt - ihr Profil entspricht durchaus dem einer modernen Frau: sie war Kosmopolitin und polyglott, sie sprach vier Sprachen und war auf jedem europäischen Parkett zu Hause, sie war gebildet, intellektuell und trotz ihrer sensationellen Karriere charmant und bescheiden.
Die Faszination um diese Ausnahmekünstlerin, ihr Erfolg und ihr Talent werden bereits zu ihren Lebzeiten vielfach kommentiert. Goethe, Herder und Winckelmann - um nur einige zu nennen - zählten in Rom zu Angelika Kauffmann's Freundeskreis und rühmten Intellekt und Anmut dieser Frau in Zitaten wie „ein Weib von ungeheurem Talent“, die „vielleicht kultivierteste Frau Europas“ oder die „zehnte Muse Roms“. In London wurde sie infolge ihrer Nominierung durch Sir Joshua Reynolds 1768 Gründungsmitglied der Royal Academy.
Kopien nach berühmten Gemälden sind eine beliebte Dekor-Variante auf Wiener Porzellanen der Sorgenthal-Periode, dessen wesentliche Prämisse Aktualität in puncto Zeitgeist, Bildungsauftrag, technischer Entwicklung etc. war. Daher ist es nicht verwunderlich, dass neben Alten Meistern wie zum Beispiel Carlo Cignani (1628 - 1719), siehe Lot 48 - das Gemälde ist im Kunsthistorischen Museum in Wien seit 1783 nachweisbar - auch zahlreiche Kompositionen von Angelika Kauffmann (*1741 in Chur + 1807 in Rom) auf Tassen, Tellern, Vasen etc. der Wiener Manufaktur wiedergegeben sind. Formate en miniature eigneten sich schließlich auch für private Kunstkammern und Sammlungen des Bürgertums.
In Zeiten vor Ausstellungsprojekten und Kunstpublikationen kam der druckgraphischen Reproduktion von Gemälden eine bedeutende Rolle zu, die der Popularität von Künstlern*innen und deren Werk sowie dem Image ihrer Besitzer diente. Bereits 1810 existierten 280 Stiche zu Gemälden von Angelika Kauffmann.
Mythologische Sujets zählten zur Gattung der Historienmalerei, die als wichtigen Aspekt der aufgeklärten Kunstbetrachtung das Studium lehrreicher Sujets in den Focus stellte. Somit reflektieren die moralisierend stilisierten Emotionen Angelika Kauffmann's den sensiblen Geschmack der Zeit. Die Stichvorlagen, die oftmals von der Graphischen Sammlung Albertina in Wien angekauft wurden, konnten von den Malern der Wiener Porzellanmanufaktur studiert und kopiert werden: so ist zum Beispiel ein Blatt in der Graphischen Sammlung in der Albertina in Wien als „Fancy's sweetest Child“ betitelt. Es wurde 1782 von Francesco Bartolozzi gestochen und bezieht sich auf Verse aus dem Gedicht „The Enthusiast or the L
A Vienna porcelain cup and saucer with motifs after Angelika Kauffmann
Of tapering cylindrical form with original saucer. The cup decorated with a scene of Ceres, Cupid, and a cornucopia in an oval reserve, the saucer with the birth of Shakespeare in a round reserve. Blue bindenschild mark, year stamp 800 and 801 (saucer), dreher's number 39 (saucer) for Ferdinand Ebenberger.
Imperial Porcelain Manufactory under Konrad von Sorgenthal, 1801.
A legend in her own right: Angelika Kauffmann (1741-1807)
Melitta Kunze-Köllensperger
Known as La Madonna long before the days of emancipation, gender studies, or pop stars, her profile could have been that of a modern woman: A cosmopolitan polyglot who spoke four languages and was at home on every European stage, Angelika Kauffmann was educated and intellectual whilst still remaining charming and humble despite her glittering career.
People's fascination with this exceptional artist, her success, and her talent, were already the subject of commentary during her lifetime. Goethe, Herder, and Winckelmann were among her many friends in Rome and praised Angelika Kauffmann's intellect and grace: “A woman of enormous talent”, “perhaps the most cultivated woman in Europe”, the “tenth Muse of Rome”. In London she was nominated by Sir Joshua Reynolds to become a founding member of the Royal Academy in 1768.
Copies of her famous paintings were a popular motif on Vienna porcelain of the Sorgenthal period, a time in which the manufactory was more concerned than ever with appealing to the contemporary zeitgeist, creating edifying products, and advancing technologically. It therefore seems only natural that alongside the works of old masters such as Carlo Cignani (1628 - 1719) - as in lot 48, which shows a painting proven to have been housed in the Kunsthistorisches Museum Vienna since 1783 - the cups, plates, and vases of the Vienna manufactory should feature numerous compositions by Angelika Kauffmann (*1741 in Chur + 1807 in Rome). These miniature sized pieces were perfectly suited to decorate the private art collections of the upper middle classes.
In the days before exhibitions and artistic publications, printed reproductions of paintings played an important role in promoting the fame of their artists and elevating the image of their owners. Around 280 engravings of works by Angelika Kauffmann were already available in the year 1810.
Mythological subjects belonged to the genre of history painting, which placed a focus on the study of instructive subjects as an important aspect of an enlightened observation of art. Thus, the moralised and stylised emotions found in Angelika Kauffmann's works reflected the sensitive tastes of her era. The engravings made of these works, many of which were acquired by graphics collection of the Albertina in Vienna, were frequently studied and copied by the artists of the imperial porcelain manufactory. For example, a print in the collection of the Albertina entitled “Fancy's sweetest Child” which was engraved in 1782 by Francesco Bartolozzi and references a verse from Thomas Wharton's poem “The Enthusiast or the Love of Nature”. The verse describes how the personification of fancy discovers Shakespeare as a baby, brings him to a cave and charms his ears with the most beautiful of songs. Angelika Kauffmann depicts the “Birth of Shakespeare” with the curious child sitting in the lap of an allegory of fancy with wings in her hair - a composition which the porcelain painters of Royal Vienna interpreted on a saucer as a mother and child (lot 42).
The world of nymphs, graces, maenads, and Cupid formed an inexhaustible and perennially popular source of inspiration: “Two Nymphs awakening Love”, engraved by William Wynne Ryland in 1776 and painted on a Vienna porcelain cup symbolises the moment in which young girls discover love for the first time (lot 43). The design of a further teacup (lot 44) shows one of the Graces, Euphrosyne, as an allegory of joy confiscating Cupid's bow so that he can no longer create mischief or break any more hearts. Angelika Kauffmann was inspired to this motif by a poem by Pietro Metastasio (known as Pietro Trapassi) entitled “Le Grazie vendicate” (1735). An engraving of this work made by Thomas Burke in 1784 can be found in the Albertina in Vienna under the title “Cupid disarmed by Euphrosyne”.
Provenance
Viennese private collection.
Literature
A plate with the same decor as the saucer in cat.: Verrückt nach Angelika, Düsseldorf 1998, no. 15.
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Stellen Sie dem Verkäufer eine Frage
Tasse und Untertasse mit Szenen nach Angelika Kauffmann
Porzellan, himmelblauer Fond, farbiger Aufglasurdekor, reliefierte Vergoldung. Konisch, mit zugehöriger UT. Auf der Tasse eine ovale Reserve mit Ceres, Cupido und Füllhorn, auf der UT eine Rundreserve mit der Geburt Shakespeares. Blaumarke Bindenschild, Jahresstempel 800 und 801 (UT), Drehernummer 39 (UT) für Ferdinand Ebenberger.
Wien, Kaiserliche Manufaktur unter Konrad von Sorgenthal, 1801.
Selbst ein Mythos: Angelika Kauffmann (1741-1807)
Melitta Kunze-Köllensperger
Längst vor Zeiten von Emanzipation, Gender Studies oder Pop-Stars wurde sie als La Madonna gehandelt - ihr Profil entspricht durchaus dem einer modernen Frau: sie war Kosmopolitin und polyglott, sie sprach vier Sprachen und war auf jedem europäischen Parkett zu Hause, sie war gebildet, intellektuell und trotz ihrer sensationellen Karriere charmant und bescheiden.
Die Faszination um diese Ausnahmekünstlerin, ihr Erfolg und ihr Talent werden bereits zu ihren Lebzeiten vielfach kommentiert. Goethe, Herder und Winckelmann - um nur einige zu nennen - zählten in Rom zu Angelika Kauffmann's Freundeskreis und rühmten Intellekt und Anmut dieser Frau in Zitaten wie „ein Weib von ungeheurem Talent“, die „vielleicht kultivierteste Frau Europas“ oder die „zehnte Muse Roms“. In London wurde sie infolge ihrer Nominierung durch Sir Joshua Reynolds 1768 Gründungsmitglied der Royal Academy.
Kopien nach berühmten Gemälden sind eine beliebte Dekor-Variante auf Wiener Porzellanen der Sorgenthal-Periode, dessen wesentliche Prämisse Aktualität in puncto Zeitgeist, Bildungsauftrag, technischer Entwicklung etc. war. Daher ist es nicht verwunderlich, dass neben Alten Meistern wie zum Beispiel Carlo Cignani (1628 - 1719), siehe Lot 48 - das Gemälde ist im Kunsthistorischen Museum in Wien seit 1783 nachweisbar - auch zahlreiche Kompositionen von Angelika Kauffmann (*1741 in Chur + 1807 in Rom) auf Tassen, Tellern, Vasen etc. der Wiener Manufaktur wiedergegeben sind. Formate en miniature eigneten sich schließlich auch für private Kunstkammern und Sammlungen des Bürgertums.
In Zeiten vor Ausstellungsprojekten und Kunstpublikationen kam der druckgraphischen Reproduktion von Gemälden eine bedeutende Rolle zu, die der Popularität von Künstlern*innen und deren Werk sowie dem Image ihrer Besitzer diente. Bereits 1810 existierten 280 Stiche zu Gemälden von Angelika Kauffmann.
Mythologische Sujets zählten zur Gattung der Historienmalerei, die als wichtigen Aspekt der aufgeklärten Kunstbetrachtung das Studium lehrreicher Sujets in den Focus stellte. Somit reflektieren die moralisierend stilisierten Emotionen Angelika Kauffmann's den sensiblen Geschmack der Zeit. Die Stichvorlagen, die oftmals von der Graphischen Sammlung Albertina in Wien angekauft wurden, konnten von den Malern der Wiener Porzellanmanufaktur studiert und kopiert werden: so ist zum Beispiel ein Blatt in der Graphischen Sammlung in der Albertina in Wien als „Fancy's sweetest Child“ betitelt. Es wurde 1782 von Francesco Bartolozzi gestochen und bezieht sich auf Verse aus dem Gedicht „The Enthusiast or the L
A Vienna porcelain cup and saucer with motifs after Angelika Kauffmann
Of tapering cylindrical form with original saucer. The cup decorated with a scene of Ceres, Cupid, and a cornucopia in an oval reserve, the saucer with the birth of Shakespeare in a round reserve. Blue bindenschild mark, year stamp 800 and 801 (saucer), dreher's number 39 (saucer) for Ferdinand Ebenberger.
Imperial Porcelain Manufactory under Konrad von Sorgenthal, 1801.
A legend in her own right: Angelika Kauffmann (1741-1807)
Melitta Kunze-Köllensperger
Known as La Madonna long before the days of emancipation, gender studies, or pop stars, her profile could have been that of a modern woman: A cosmopolitan polyglot who spoke four languages and was at home on every European stage, Angelika Kauffmann was educated and intellectual whilst still remaining charming and humble despite her glittering career.
People's fascination with this exceptional artist, her success, and her talent, were already the subject of commentary during her lifetime. Goethe, Herder, and Winckelmann were among her many friends in Rome and praised Angelika Kauffmann's intellect and grace: “A woman of enormous talent”, “perhaps the most cultivated woman in Europe”, the “tenth Muse of Rome”. In London she was nominated by Sir Joshua Reynolds to become a founding member of the Royal Academy in 1768.
Copies of her famous paintings were a popular motif on Vienna porcelain of the Sorgenthal period, a time in which the manufactory was more concerned than ever with appealing to the contemporary zeitgeist, creating edifying products, and advancing technologically. It therefore seems only natural that alongside the works of old masters such as Carlo Cignani (1628 - 1719) - as in lot 48, which shows a painting proven to have been housed in the Kunsthistorisches Museum Vienna since 1783 - the cups, plates, and vases of the Vienna manufactory should feature numerous compositions by Angelika Kauffmann (*1741 in Chur + 1807 in Rome). These miniature sized pieces were perfectly suited to decorate the private art collections of the upper middle classes.
In the days before exhibitions and artistic publications, printed reproductions of paintings played an important role in promoting the fame of their artists and elevating the image of their owners. Around 280 engravings of works by Angelika Kauffmann were already available in the year 1810.
Mythological subjects belonged to the genre of history painting, which placed a focus on the study of instructive subjects as an important aspect of an enlightened observation of art. Thus, the moralised and stylised emotions found in Angelika Kauffmann's works reflected the sensitive tastes of her era. The engravings made of these works, many of which were acquired by graphics collection of the Albertina in Vienna, were frequently studied and copied by the artists of the imperial porcelain manufactory. For example, a print in the collection of the Albertina entitled “Fancy's sweetest Child” which was engraved in 1782 by Francesco Bartolozzi and references a verse from Thomas Wharton's poem “The Enthusiast or the Love of Nature”. The verse describes how the personification of fancy discovers Shakespeare as a baby, brings him to a cave and charms his ears with the most beautiful of songs. Angelika Kauffmann depicts the “Birth of Shakespeare” with the curious child sitting in the lap of an allegory of fancy with wings in her hair - a composition which the porcelain painters of Royal Vienna interpreted on a saucer as a mother and child (lot 42).
The world of nymphs, graces, maenads, and Cupid formed an inexhaustible and perennially popular source of inspiration: “Two Nymphs awakening Love”, engraved by William Wynne Ryland in 1776 and painted on a Vienna porcelain cup symbolises the moment in which young girls discover love for the first time (lot 43). The design of a further teacup (lot 44) shows one of the Graces, Euphrosyne, as an allegory of joy confiscating Cupid's bow so that he can no longer create mischief or break any more hearts. Angelika Kauffmann was inspired to this motif by a poem by Pietro Metastasio (known as Pietro Trapassi) entitled “Le Grazie vendicate” (1735). An engraving of this work made by Thomas Burke in 1784 can be found in the Albertina in Vienna under the title “Cupid disarmed by Euphrosyne”.
Provenance
Viennese private collection.
Literature
A plate with the same decor as the saucer in cat.: Verrückt nach Angelika, Düsseldorf 1998, no. 15.
The Prussian Sale / Vienna Porcelain from a Private Collection (Lempertz Berlin)
Auktionsdatum
Ort der Versteigerung
Poststraße 22
Berlin
10178
Germany
Für Kunsthaus Lempertz Versandinformtation bitte wählen Sie +49 (0)30 27876080.
Wichtige Informationen
Nothing important.
AGB
standard | standard
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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3. All lots put up for sale may be viewed and inspected prior to the auction. The catalogue specifications and related specifications appearing on the internet, which have both been compiled in good conscience, do not form part of the contractually agreed to conditions. These specifications have been derived from the status of the information available at the time of compiling the catalogue. They do not serve as a guarantee in legal terms and their purpose is purely in the information they provide. The same applies to any reports on an item’s condition or any other information, either in oral or written form. Certificates or certifications from artists, their estates or experts relevant to each case only form a contractual part of the agreement if they are specifically mentioned in the catalogue text. The state of the item is generally not mentioned in the catalogue. Likewise missing specifications do not constitute an agreement on quality. All items are used goods.
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6. Submission of bids. Bids in attendance: The floor bidder receives a bidding number on presentation of a photo ID. Lempertz reserves the right to grant entry to the auction. If the bidder is not known to Lempertz, registration must take place 24 hours before the auction is due to begin in writing on presentation of a current bank reference. Bids in absentia: Bids can also be submitted either in writing, telephonically or via the internet. The placing of bids in absentia must reach Lempertz 24 hours before the auction to ensure the proper processing thereof. The item must be mentioned in the bid placed, together with the lot number and item description. In the event of ambiguities, the listed lot number becomes applicable. The placement of a bid must be signed by the applicant. The regulations regarding revocations and the right to return the goods in the case of long distance agreements (§ 312b-d of the Civil Code) do not apply. Telephone bids: Establishing and maintaining a connection cannot be vouched for. In submitting a bid placement, the bidder declares that he agrees to the recording of the bidding process. Bids via the internet: They will only be accepted by Lempertz if the bidder registered himself on the internet website beforehand. Lempertz will treat such bids in the same way as bids in writing.
7. Carrying out the auction: The hammer will come down when no higher bids are submitted after three calls for a bid. In extenuating circumstances, the auctioneer reserves the right to bring down the hammer or he can refuse to accept a bid. If several individuals make the same bid at the same time, and after the third call, no higher bid ensues, then the ticket becomes the deciding factor. The auctioneer can retract his acceptance of the bid and auction the item once more if a higher bid that was submitted on time, was erroneously overlooked and immediately queried by the bidder, or if any doubts regarding its acceptance arise. Written bids are only played to an absolute maximum by Lempertz if this is deemed necessary to outbid
another bid. The auctioneer can bid on behalf of the submitter up to the agreed limit, without revealing this and irrespective of whether other bids are submitted. Even if bids have been placed and the hammer has not come down, the auctioneer is only liable to the bidder in the event of premeditation or gross negligence.
8. Once a lot has been knocked down, the successful bidder is obliged to buy it. If a bid is accepted conditionally, the bidder is bound by his bid until four weeks after the auction unless he immediately withdraws from the conditionally accepted bid. From the fall of the hammer, possession and risk pass directly to the buyer, while ownership passes to the buyer only after full payment has been received.
9. Up to a hammer price of € 400,000 a premium of 24 % calculated on the hammer price plus 19 % value added tax (VAT) calculated on the premium only is levied. The premium will be reduced to 20 % (plus VAT) on any amount surpassing € 400,000 (margin scheme). On lots which are characterized by N, an additional 7 % for import tax will be charged. On lots which are characterized by an D, 35% is calculated on the hammer price (24% buyer´s premium + 19% VAT on the premium only + import tax). 31% is calculated on the amount surpassing € 400.000. The D objects contain all taxes, and tehy can not be carried away immediately. On lots which are characterized by an R, the buyer shall pay a premium of 24 % on the hammer price up to € 400,000 and 20 % on the surpassing amount; onto this (hammer price and premium) the statutory VAT of 19 % will be added (regular scheme). Exports to third (i.e. non-EU) countries will be exempt from VAT, and so will be exports made by companies from other EU member states if they state their VAT identification number. For original works of art, whose authors are either still alive or died after 31.12.1948, a charge of 1.8 % on the hammer price will be levied for the droit de suite. The maximum charge is € 12,500. If a buyer exports an object to a third country personally, the VAT will be refunded, as soon as Lempertz receives the export and import papers. All invoices issued on the day of auction or soon after remain under provision.
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11. In the case of payment default, Lempertz will charge 1% interest on the outstanding amount of the gross price per month.. If the buyer defaults in payment, Lempertz may at its discretion insist on performance of the purchase contract or, after allowing a period of grace, claim damages for non-performance. In the latter case, Lempertz may determine the amount of the damages by putting the lot or lots up for auction again, in which case the defaulting buyer will bear the amount of any reduction in the proceeds compared with the earlier auction, plus the cost of resale, including the premium.
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13. As far as this can be agreed, the place of performance and jurisdiction is Cologne. German law applies; the German law for the protection of cultural goods applies; the provisions of the United Nations Convention on Contracts for the International Sale of Goods (CISG) are not applicable. Should any provision herein be wholly or partially ineffective, this will not affect the validity of the remaining provisions.
Henrik Hanstein, sworn public auctioneer
Takuro Ito, Kilian Jay von Seldeneck, auctioneers
