Sold Ceramics - Sold Chine de commande - Westeren Subjects 1680-1800 - Mythological and Religious Subjects - Mythological Subjects - Page 1
Height 91 mm (3.58 inch), diameter of mouthrim 33 mm (1.30 inch), diameter of footring 33 mm (1.30 inch), weight 136 grams (4.80 ounce (oz.))
Milk jug on footring, pear shaped body with handle, small triangular spout at the rim. The handle is placed opposite the spout. The original cover is missing. Decorated in encre de Chine and gold with 'Ceres' the Roman goddess of agriculture, grain crops, fertility and motherly relationships. She is wearing her classical attributes: a wheat-crown while holding a wheat spray and sickle. On the rim a border of floral festoons, cornucopia (in Latin also cornu copiae or horn of plenty) and foliate-scrolls after an early 18th century laub- und bandelwerk Viennese design.
In 1722 Père d'Entrecolles reported that the Chinese were experimenting with painting in black, so far unsuccessfully. Black or schwarzlot, decoration, was also then just being developed in Europe, and in fact the German Hausmaler was putting it primarily on Chinese imported in the white, rather than on wares from the newly established Meissen factory. It must have been these hybrids that were sent back to Canton for imitation at the time of Père d'Entrecolle's letter, but the perfection of the technique and its translation into commercial export porcelain came only later, under the direct influence of the Du Paquier period (1719-1744).
Also unique to the Viennese Du Paquier porcelain factory was the laub- und bandelwerk border, based on two series of engravings by Paul Decker (d.1713). Continually modified and varied its essential elements were strapwork, palmettes, trelliswork cartouches, and foliate scrolls combined into a rhythmical pattern of baroque formality. Other China trade versions of the laub- und bandelwerk border, such as the more usual one with the addition of peacock and with panels of quilting rather than trellis- or scale work, are farther removed from their Viennese factory prototypes, and are perhaps derived from Hausmaler variants. (Corbeiller 1974, pp.68-69)
For an identically decorated saucer, please see:
- La porcelaine des Compagnies des Indes a décor Occidental, (F. & N. Hervouët & Y. Bruneau, Flammarion - Pere Castor, Paris 1986), p.297, cat. 13.24,
For similarly decorated objects, please see:
- La porcelaine des Compagnies des Indes a décor Occidental, (F. & N. Hervouët & Y. Bruneau, Flammarion - Pere Castor, Paris 1986), p.297, cat. 13.25 & 13.26.
The name Ceres originates from the Latin word 'Cerealis' meaning "of grain" from which we derive the modern word 'cereal'. The Cerealia festival was celebrated in her honour commenced on the 12th April and was connected with the growth of corn. The Romans saw her as the counterpart of the Greek goddess Demeter. whose mythology was reinterpreted for Ceres in Roman art and literature. (talesbeyondbelief.com)
This particular design is derived from a series of prints by Claude III Audran (1658-1734) representing the months of the year, in which Ceres symbolizes August. (Hervouët 1986, p.296)
For Venus symbolzing April in this series, please see:
- Sold Ceramics - Sold Chine de commande - Western Subjects 1680-1800 - Mythological and Religious Subjects - Mythological Subjects - Object 2010490.
For Juno symbolzing June in this series, please see:
- Sold Ceramics - Sold Chine de commande - Western Subjects 1680-1800 - Mythological and Religious Subjects - Mythological Subjects - Object 2010375.
Condition: A frit to the spout and two frits with a connected hairline to the rim.