Posts Tagged ‘mythological scenes’

Antiques Recently Found on Antcollectors (3) - Scandinavia

THE GREAT BRITISH VICTORIES of Abukir
(1798) and Trafalgar (1805), which opened up trade along the North Sea coastline, suggest that sympathy for Britain and British design could be evident in Scandinavian furniture. This was not always the case. Denmark and Sweden’s ambivalence to France encouraged the British Prime Minister, Pitt, to destroy the Danish fleet and bombard Copenhagen, creating much animosity towards the British. This affected trade and shipping and left the Danish-Norwegian economy at the point of bankruptcy in 1813.
So, although there are traces of British Neoclassicism in early 19th-century Scandinavian furniture, it was often due either to the residual effect of late 18th-century design, or it had filtered through the influence of north German cabinet-making.
The one positive outcome of these hostilities was that local craftsmen were protected from British competition and were encouraged to develop their own workshops and styles. As in the rest of Europe, the Empire style predominated, although it had marked local characteristics.
DANISH EMPIRE
A traditional preference for simplicity, and the need for frugality as a result of war and financial hardship, gave rise to a version of the prevailing French style called Danish Empire, which was taken up by three of the Scandinavian countries. Although mahogany was
favoured, and was used in the larger, wealthier cities, it was difficult to obtain due to war. As a result, the Danish Empire style made use of light local woods, such as alder, maple, ash, and birch, which could be polished to look like satinwood. Mahogany furniture did reappear after 1815, and was generally veneered on pine rather than oak pieces.
Danish furniture was often inlaid with contrasting woods, such as citrus, rather than having ormolu mounts. Inlaid lunettes and arched details were popular, as was the occasional pressed brass or giltwood detail.
One of the most distinctive chairs produced in Denmark was the klismos chair, designed by Nicolai Abilgaard in 1800 and now in the Copenhagen
Museum of Decorative Arts. Similar
to a chair later designed by the sculptor Hermann Freund (now in the Fredericksborg Castle), it mimics the ancient Greek original.
The Danish custom of using one room as a combined dining room, drawing room, and study at this time resulted in some unique types
of furniture. One of these, the Chatol, consisted of a cylinder bureau with a retractable writing slide, surmounted by cupboards for storing cutlery and glassware. Another was a divan, which had cupboards in the sides.
HETSCH STYLE
In Denmark, the Neoclassical style lasted into the 1840s, thanks to the late Empire style popularized by Gustav Friedrich Hetsch. Hetsch had studied with Charles Percier in Paris earlier in the century, returning to Copenhagen to direct the porcelain factory. He was also a designer and his works were often scholarly reproductions of antique prototypes. This style, which favoured the use of carved appliques and mouldings over mounts, is sometimes confusingly called Christian VIII after the Danish king who reigned from 1839 to 1848.
SWEDEN
Sweden was slightly more francophile in its tastes than Denmark, particularly in Court circles. The furniture in the Yellow Room at Rosendal Castle in Stockholm, created for the king in the 1820s, is closer to true French Empire style than any furniture produced in Scandinavia during the early 19th
century It was designed by Lorenz Wilhelm Lundelius, the leading craftsman in Stockholm.
A famous secretaire, made by Johan Pettey Berg in 1811, demonstrates how Swedish cabinet-makers absorbed German heaviness, combined it with Empire motifs (such as white marble pilasters), and added the occasional British reference, such as the Sheraton-inspired inlaid shell.
The Hetsch style eventually arrived in Sweden, but it did not become dominant because Neo-Gothic had taken hold there quite early Indeed, by 1828, there was already a room decorated in the Gothic style in the Royal palace in Stockholm.

BIEDERMEIER LOVE SEAT
This mahogany, Biedermeier-style love seat has a solid, rectangular form with outswept arms. The back and sides of the seat have brass-moulded panels and fan spandrels. The arms have rosette terminals and mahogany
facings. The seat rail has brass mounts and is supported on verdigris brackets, carved in the shape of drapery. The piece terminates in massive gilt and verdigris claw-and-ball front feet. The love seat has an upholstered back, sides, and seat. Early 19th century.

SWEDISH SECRETAIRE
The tall, flame-veneered case of this Swedish Empire secretaire has tapering sides. The upper section of the case has a fall front positioned beneath a shallow drawer. The lower section consists of three graduated drawers; the bottom
drawer has a cut-away arched shape. The piece is raised on rectangular block feet. This secretaire is made in the style of furniture from towards the end of the period and is a move away from the Empire style. It was possibly made by J.C. Reher. 1841.

DANISH ARMCHAIR
The substantial hooped-back, upholstered backrest of this mahogany armchair is raised on curved supports. The upholstered seat has square, tapered legs at the front and sabre legs at the rear. Early 19th century.
EVE LATE GUSTAVIAN ARMCHAIR
This Swedish gilt-and-painted armchair has an upholstered seat and back, a curved top rail with lion’s head terminals, and carved, down-sweeping arms. The padded seat is supported on a carved seat rail and is raised on turned and fluted legs at the front and sabre legs at the rear. Early 19th century.
LADY’S WORKTABLE
This late Gustavian Swedish worktable has an oval, galleried top above a single frieze drawer. The table top is supported on tapering legs terminating in brass caps and casters and joined by a shaped cross-stretcher.

Porcelain
Hausmaler
From the 17th century in Germany and Bohemia there Was an important industry of freelance artists who decorated faience, to help factories meet the demand for highly decorated pottery. These decorators, known as “Hausmaler” (”home painters”), worked in their own studios or workshops. Additionally, hoping to profit from the new porcelain industry, Hausmaler in Augsburg and elsewhere bought whitewares from Meissen in bulk and decorated them.
AUGSBURG
Hausmaler from Augsburg were among the first to decorate Meissen porcelain outside the factory, and thus their decoration is usually found on tableware of the 1720s. Gilt decoration is particularly associated with the Augsburg workshops and is the most common form of Hausmaler work found today. The best-known and most prolific studio was that of the brothers Abraham and Bartholomaus Seuter (1688-1747 and 1678-1754), who specialized in gilt decoration, particularly chinoiserie scenes in the manner of Johann Gregorius Horoldt ( 1696-1775) of Meissen, and hunting, genre, and mythological scenes set within ornate gilt scrollwork or foliate borders, or reversed on a solid gilt ground.
The other major Hausmaler workshop in Augsburg during the first half of the 18th century was that of the Auffenwerths, who painted chinoiseries in a style that is very similar to the Seuter workshop but which can be distinguished by its more feathery appearance. Sabina Auffenwerth (b.1706) is the best known of the family, for her polychrome chinoiserie panels in the style of Meissen, and genre scenes with large figures, sometimes painted in monochrome black, purple, or red, with the faces and arms highlighted in flesh tones.
OTHER CENTRES OF PRODUCTION
One of the most important Hausmaler in Germany was Ignaz Bottengruber (active 1720-30), who worked in Breslau. His work is characterized by detailed designs, high-quality gilding, and varied and subtle tones. He specialized in Bacchic, hunting, and military scenes framed by rich scrollwork, in addition to mythological and allegorical subjects. Ignaz Preissler (1670-1741), the son of a celebrated glass-decorator, Daniel Preissler ( 1736-1733), also worked in Breslau and later in Bohemia; he painted townscapes, landscapes, chinoiseries, and mythological scenes in black monochrome, known as “Schwarzlot” (”black lead”), or even in red monochrome.
The most prolific Hausmaler workshop of the later 18th century was that of Franz Ferdinand Meyer (active 1747-94) who worked in Pressnitz,
Bohemia. His work is recognizable by a
cool palette dominated by light green
and iron red, broad gilt scrollwork borders, and bouquets of flowers around the borders. The painter
F.J. Ferner (active 1745-50) may
have been one of Meyer’s assistants, because his style is similar. Ferner added enamelled and gilt decoration
of flowers, animals, figures, and trees to pieces decorated in underglaze blue at the Meissen factory.
KEY FACTS
• PALL I 1E monochrome red, purple, or black, and gilding are most typical of Hausmaler wares, but polychrome decoration is also found
• SUBJECTS chinoiseries, large figure scenes, landscapes,
mythological, and hunting scenes
Marks
Pieces decorated by Meyer and Ferner generally have the :Meissen crossed swords mark in underglaze blue; after c.1760 Meissen
introduced the cancelled crossed swords mark on imperfect or blank wares in order to prevent its products from being associated with the work of incompetent decorators