96
A Ludwigsburg Tea, Coffee and Chocolate Service, Circa 1775 | Ein Ludwigsburg Tee-, Kaffee- und Scho
1/4
Beschreibung
probably painted by Christian Gotthelff Grossmann, Philipp Jakob Ihle and Georg Michael Steinbrenner, each piece with battle scenes including Turkish and various European soldiers, on foot and on horseback, in combat beside canons and in encampments, and with scattered flower sprigs, below ozier-moulded borders and gilt-edged rims, comprising:
a coffeepot and cover, the coffeepot with three scroll feet,
a teapot and cover,
a gilt-metal-mounted tea canister and cover,
a hot-milk jug and cover, the jug with three scroll feet,
a chocolate pot and cover, with turned wood handle, the cover with gilt-metal handle,
a waste bowl,
a circular sugar bowl and cover,
a shaped oval spoon tray,
twelve teacups,
twelve coffee-cups,
and twenty-four saucers
crowned CC monogram marks in underglaze-blue, various impressed and incised letters and numerals. 62 pieces.
Height of coffeepot 8 1/4 in.
21 cm.
Literature
Horst Reber, Eine Rheinische Porzellan-Sammlung, Darmstadt, 2006, vol. II, pp. 208-235
Catalogue note
Battle scenes sometimes featured on wares made at Meissen and other German factories, but appear to be relatively rare on Ludwigsburg porcelain, the factory established in 1758 under the patronage of Duke Carl Eugen von Württemberg. This large tea, coffee and chocolate service, remarkable for its completeness, features equestrian battle scenes with European soldiers from various countries and regiments and Turkish soldiers, with scenes of soldiers at rest or preparing for battle in field encampments. Services of this type, with their detailed and complex compositions, were expensive to produce and were probably intended to appeal to the nobility from which the officer corps were drawn.
It is possible that the scenes on this service were intended to recall the siege of Belgrade of 1717, the successful attempt by Austrian troops under the command of Prince Eugene of Savoy to capture the strategically important city of Belgrade from the Ottoman Empire. While one might assume that by the 1770s such a battle subject might have been superseded by more recent conflicts, it has been noted by Flach that battles of this type were favoured subjects for porcelain painters due to the contrast in the warring parties costume, which was harder to differentiate between two European sides on such a small scale. Furthermore, it is interesting to note that according to the war order, at the siege of Belgrade, the infantries were led under Field Marshal Charles Alexander, Duke of Württemberg, a successful army-commander, in service of the Holy Roman Emperor, who had converted to Roman Catholicism in 1712. He was militarily successful under Prince Eugene of Savoy in the Spanish War of Succession as well as in the Seventh Ottoman-Venetian War of 1714 to 1718. His eldest son was Duke Carl Eugen von Württemberg, the Ludwigsburg porcelain factory’s founder. Given the connection between the factory’s founder and owner, and his father’s vital role in the battle with the Turks at Belgrade, it is possible that this type of subject matter was of particular significance in the repertoire of decoration at the Ludwigsburg factory.
Many of the equestrian battle scenes are distinguished by a sense of drama and movement and these were sometimes taken or adapted from prints by or after George Philipp Rugendas (1666-1742) of Augsburg and his followers, or Johann Elias Ridinger (1698-1767). The limited surface area of the various tea ware forms meant that the porcelain painters often had to take small sections of a print and adapt them to suit the individual form of an object. It is probable that more than one artist contributed to the decoration of this service, as indicated by a variation in the hand and palette from one piece to another. The most likely candidates are Christian Gotthelff Grossmann (active 1768-74), Philipp Jakob Ihle (active 1763-81), and Georg Michael Steinbrenner (active at the factory 1763-1824), all of whom are recorded as painting battle scenes at the factory. For a full discussion of this genre of painting on Ludwigsburg porcelain see Hans Dieter Flach, Malerei auf Ludwigsburger Porzellan 1759 bis um 1850, Regensburg, 2005, pp. 179-195. A very similar, smaller service, painted with battle scenes and signed by Ihle, was offered by Christie's London, 15 October 1990, lot 91.
Additional Notices & Disclaimers
Please note that Condition 12 of the Conditions of Business for Buyers (Online Only) is not applicable to this lot.
a coffeepot and cover, the coffeepot with three scroll feet,
a teapot and cover,
a gilt-metal-mounted tea canister and cover,
a hot-milk jug and cover, the jug with three scroll feet,
a chocolate pot and cover, with turned wood handle, the cover with gilt-metal handle,
a waste bowl,
a circular sugar bowl and cover,
a shaped oval spoon tray,
twelve teacups,
twelve coffee-cups,
and twenty-four saucers
crowned CC monogram marks in underglaze-blue, various impressed and incised letters and numerals. 62 pieces.
Height of coffeepot 8 1/4 in.
21 cm.
Literature
Horst Reber, Eine Rheinische Porzellan-Sammlung, Darmstadt, 2006, vol. II, pp. 208-235
Catalogue note
Battle scenes sometimes featured on wares made at Meissen and other German factories, but appear to be relatively rare on Ludwigsburg porcelain, the factory established in 1758 under the patronage of Duke Carl Eugen von Württemberg. This large tea, coffee and chocolate service, remarkable for its completeness, features equestrian battle scenes with European soldiers from various countries and regiments and Turkish soldiers, with scenes of soldiers at rest or preparing for battle in field encampments. Services of this type, with their detailed and complex compositions, were expensive to produce and were probably intended to appeal to the nobility from which the officer corps were drawn.
It is possible that the scenes on this service were intended to recall the siege of Belgrade of 1717, the successful attempt by Austrian troops under the command of Prince Eugene of Savoy to capture the strategically important city of Belgrade from the Ottoman Empire. While one might assume that by the 1770s such a battle subject might have been superseded by more recent conflicts, it has been noted by Flach that battles of this type were favoured subjects for porcelain painters due to the contrast in the warring parties costume, which was harder to differentiate between two European sides on such a small scale. Furthermore, it is interesting to note that according to the war order, at the siege of Belgrade, the infantries were led under Field Marshal Charles Alexander, Duke of Württemberg, a successful army-commander, in service of the Holy Roman Emperor, who had converted to Roman Catholicism in 1712. He was militarily successful under Prince Eugene of Savoy in the Spanish War of Succession as well as in the Seventh Ottoman-Venetian War of 1714 to 1718. His eldest son was Duke Carl Eugen von Württemberg, the Ludwigsburg porcelain factory’s founder. Given the connection between the factory’s founder and owner, and his father’s vital role in the battle with the Turks at Belgrade, it is possible that this type of subject matter was of particular significance in the repertoire of decoration at the Ludwigsburg factory.
Many of the equestrian battle scenes are distinguished by a sense of drama and movement and these were sometimes taken or adapted from prints by or after George Philipp Rugendas (1666-1742) of Augsburg and his followers, or Johann Elias Ridinger (1698-1767). The limited surface area of the various tea ware forms meant that the porcelain painters often had to take small sections of a print and adapt them to suit the individual form of an object. It is probable that more than one artist contributed to the decoration of this service, as indicated by a variation in the hand and palette from one piece to another. The most likely candidates are Christian Gotthelff Grossmann (active 1768-74), Philipp Jakob Ihle (active 1763-81), and Georg Michael Steinbrenner (active at the factory 1763-1824), all of whom are recorded as painting battle scenes at the factory. For a full discussion of this genre of painting on Ludwigsburg porcelain see Hans Dieter Flach, Malerei auf Ludwigsburger Porzellan 1759 bis um 1850, Regensburg, 2005, pp. 179-195. A very similar, smaller service, painted with battle scenes and signed by Ihle, was offered by Christie's London, 15 October 1990, lot 91.
Additional Notices & Disclaimers
Please note that Condition 12 of the Conditions of Business for Buyers (Online Only) is not applicable to this lot.
Auktionsdetails
Versand
AGB & Wichtige Informationen
Stellen Sie dem Verkäufer eine Frage
probably painted by Christian Gotthelff Grossmann, Philipp Jakob Ihle and Georg Michael Steinbrenner, each piece with battle scenes including Turkish and various European soldiers, on foot and on horseback, in combat beside canons and in encampments, and with scattered flower sprigs, below ozier-moulded borders and gilt-edged rims, comprising:
a coffeepot and cover, the coffeepot with three scroll feet,
a teapot and cover,
a gilt-metal-mounted tea canister and cover,
a hot-milk jug and cover, the jug with three scroll feet,
a chocolate pot and cover, with turned wood handle, the cover with gilt-metal handle,
a waste bowl,
a circular sugar bowl and cover,
a shaped oval spoon tray,
twelve teacups,
twelve coffee-cups,
and twenty-four saucers
crowned CC monogram marks in underglaze-blue, various impressed and incised letters and numerals. 62 pieces.
Height of coffeepot 8 1/4 in.
21 cm.
Literature
Horst Reber, Eine Rheinische Porzellan-Sammlung, Darmstadt, 2006, vol. II, pp. 208-235
Catalogue note
Battle scenes sometimes featured on wares made at Meissen and other German factories, but appear to be relatively rare on Ludwigsburg porcelain, the factory established in 1758 under the patronage of Duke Carl Eugen von Württemberg. This large tea, coffee and chocolate service, remarkable for its completeness, features equestrian battle scenes with European soldiers from various countries and regiments and Turkish soldiers, with scenes of soldiers at rest or preparing for battle in field encampments. Services of this type, with their detailed and complex compositions, were expensive to produce and were probably intended to appeal to the nobility from which the officer corps were drawn.
It is possible that the scenes on this service were intended to recall the siege of Belgrade of 1717, the successful attempt by Austrian troops under the command of Prince Eugene of Savoy to capture the strategically important city of Belgrade from the Ottoman Empire. While one might assume that by the 1770s such a battle subject might have been superseded by more recent conflicts, it has been noted by Flach that battles of this type were favoured subjects for porcelain painters due to the contrast in the warring parties costume, which was harder to differentiate between two European sides on such a small scale. Furthermore, it is interesting to note that according to the war order, at the siege of Belgrade, the infantries were led under Field Marshal Charles Alexander, Duke of Württemberg, a successful army-commander, in service of the Holy Roman Emperor, who had converted to Roman Catholicism in 1712. He was militarily successful under Prince Eugene of Savoy in the Spanish War of Succession as well as in the Seventh Ottoman-Venetian War of 1714 to 1718. His eldest son was Duke Carl Eugen von Württemberg, the Ludwigsburg porcelain factory’s founder. Given the connection between the factory’s founder and owner, and his father’s vital role in the battle with the Turks at Belgrade, it is possible that this type of subject matter was of particular significance in the repertoire of decoration at the Ludwigsburg factory.
Many of the equestrian battle scenes are distinguished by a sense of drama and movement and these were sometimes taken or adapted from prints by or after George Philipp Rugendas (1666-1742) of Augsburg and his followers, or Johann Elias Ridinger (1698-1767). The limited surface area of the various tea ware forms meant that the porcelain painters often had to take small sections of a print and adapt them to suit the individual form of an object. It is probable that more than one artist contributed to the decoration of this service, as indicated by a variation in the hand and palette from one piece to another. The most likely candidates are Christian Gotthelff Grossmann (active 1768-74), Philipp Jakob Ihle (active 1763-81), and Georg Michael Steinbrenner (active at the factory 1763-1824), all of whom are recorded as painting battle scenes at the factory. For a full discussion of this genre of painting on Ludwigsburg porcelain see Hans Dieter Flach, Malerei auf Ludwigsburger Porzellan 1759 bis um 1850, Regensburg, 2005, pp. 179-195. A very similar, smaller service, painted with battle scenes and signed by Ihle, was offered by Christie's London, 15 October 1990, lot 91.
Additional Notices & Disclaimers
Please note that Condition 12 of the Conditions of Business for Buyers (Online Only) is not applicable to this lot.
a coffeepot and cover, the coffeepot with three scroll feet,
a teapot and cover,
a gilt-metal-mounted tea canister and cover,
a hot-milk jug and cover, the jug with three scroll feet,
a chocolate pot and cover, with turned wood handle, the cover with gilt-metal handle,
a waste bowl,
a circular sugar bowl and cover,
a shaped oval spoon tray,
twelve teacups,
twelve coffee-cups,
and twenty-four saucers
crowned CC monogram marks in underglaze-blue, various impressed and incised letters and numerals. 62 pieces.
Height of coffeepot 8 1/4 in.
21 cm.
Literature
Horst Reber, Eine Rheinische Porzellan-Sammlung, Darmstadt, 2006, vol. II, pp. 208-235
Catalogue note
Battle scenes sometimes featured on wares made at Meissen and other German factories, but appear to be relatively rare on Ludwigsburg porcelain, the factory established in 1758 under the patronage of Duke Carl Eugen von Württemberg. This large tea, coffee and chocolate service, remarkable for its completeness, features equestrian battle scenes with European soldiers from various countries and regiments and Turkish soldiers, with scenes of soldiers at rest or preparing for battle in field encampments. Services of this type, with their detailed and complex compositions, were expensive to produce and were probably intended to appeal to the nobility from which the officer corps were drawn.
It is possible that the scenes on this service were intended to recall the siege of Belgrade of 1717, the successful attempt by Austrian troops under the command of Prince Eugene of Savoy to capture the strategically important city of Belgrade from the Ottoman Empire. While one might assume that by the 1770s such a battle subject might have been superseded by more recent conflicts, it has been noted by Flach that battles of this type were favoured subjects for porcelain painters due to the contrast in the warring parties costume, which was harder to differentiate between two European sides on such a small scale. Furthermore, it is interesting to note that according to the war order, at the siege of Belgrade, the infantries were led under Field Marshal Charles Alexander, Duke of Württemberg, a successful army-commander, in service of the Holy Roman Emperor, who had converted to Roman Catholicism in 1712. He was militarily successful under Prince Eugene of Savoy in the Spanish War of Succession as well as in the Seventh Ottoman-Venetian War of 1714 to 1718. His eldest son was Duke Carl Eugen von Württemberg, the Ludwigsburg porcelain factory’s founder. Given the connection between the factory’s founder and owner, and his father’s vital role in the battle with the Turks at Belgrade, it is possible that this type of subject matter was of particular significance in the repertoire of decoration at the Ludwigsburg factory.
Many of the equestrian battle scenes are distinguished by a sense of drama and movement and these were sometimes taken or adapted from prints by or after George Philipp Rugendas (1666-1742) of Augsburg and his followers, or Johann Elias Ridinger (1698-1767). The limited surface area of the various tea ware forms meant that the porcelain painters often had to take small sections of a print and adapt them to suit the individual form of an object. It is probable that more than one artist contributed to the decoration of this service, as indicated by a variation in the hand and palette from one piece to another. The most likely candidates are Christian Gotthelff Grossmann (active 1768-74), Philipp Jakob Ihle (active 1763-81), and Georg Michael Steinbrenner (active at the factory 1763-1824), all of whom are recorded as painting battle scenes at the factory. For a full discussion of this genre of painting on Ludwigsburg porcelain see Hans Dieter Flach, Malerei auf Ludwigsburger Porzellan 1759 bis um 1850, Regensburg, 2005, pp. 179-195. A very similar, smaller service, painted with battle scenes and signed by Ihle, was offered by Christie's London, 15 October 1990, lot 91.
Additional Notices & Disclaimers
Please note that Condition 12 of the Conditions of Business for Buyers (Online Only) is not applicable to this lot.
The Ehlen Collection - Eine Rheinische Porzellansammlung
Auktionsdatum
Ort der Versteigerung
Cologne
Germany
Germany
Generelle Versandinformationen vom Auktionshaus verfügbar
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Wichtige Informationen
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AGB
https://www.sothebys.com/en/docs/pdf/conditions-of-business-for-buyers-cologne-en-14.11.23.pdf
