À propos du lot
n° 170
Titre : A Danish Terracotta Vase, PÉRIODE : 1843
Dimensions : H: 5 1/4 inNotes : Few decorative styles are as emblematic of the 18th and 19th centuries as the Neoclassical. At its height in the transitional decades of these centuries, the rediscoveries of Herculaneum in 1738 and Pompeii in 1748 ignited a classical revival whose echoes are still visible in both domestic and official architecture and decorative arts today. The Grand Tour of the early 19th century - defined both as a literal journey through the recently excavated wonders of ancient Greece, Rome, and Egypt, and as a more philosophical collecting category of objects and antiquities either directly from or representative of the ancient Mediterranean world - was an undertaking practically de rigueur for polite society in America, continental Europe, and, most especially, Britain. Young men (and even women) of means packed their trunks full of linen suits and headed off to Rome, and amassed specimen marbles, bronze models and maquettes, archaeological artifacts, maps, and prints that recreated the best of the Classical world. Chief among these objects was ceramics, already experiencing a revival since the mid-18th century with manufactories experimenting with new methods of porcelain production and glazing techniques. Discoveries of Greek and Roman pottery in ancient sites only served to enhance interest in the historic and decorative value of ceramics and, especially, terracotta. Important finds like the Portland Vase and the Hamilton Vases were widely reproduced, and humble red terracotta was elevated from the utilitarian to the chic as its restrained style was imitated in glass, porcelain, stoneware, and other media in varying levels of quality. Many craftsmen became highly adept at working in terracotta, turning this simple, terrestrial clay into light-as-air fantastical forms decorated in gentle palettes of pastels and golds punctuated by deft swipes of black. One of the foremost of such potters was Rasmus Peter Ipsen (Danish, 1815-1860), who rose from brick maker to artisan thrower at the Royal Copenhagen Manufacture before the age of 30. In 1842 he founded his own factory in Copenhagen, together with Professor Friedrich Hetsch (Danish, 1788-1864) of the Academy of Fine Arts and the Royal Copenhagen Manufacture. Their success was furthered by a storefront in 1848 and exhibitions at craft shows and international competitions by the early 1850s. Working in various shades of terracotta lightly decorated in oil and sometimes enriched with gold, his factory employed several noted artists and sculptors who created unique revival forms inspired by ancient Etruscan, Mycenaean, Greek, and Egyptian works, particularly those held in the Thorvaldsen Museum and King Christian VIII''s collection of antique vases. The factory also produced busts and statuettes after both Classical and contemporary sculpture. Peter Ipsen died suddenly in 1860, at only age 45. Continuing under the leadership of his wife, Lovise Christine Ipsen (1822-1905), and his eldest son, Bertel Ipsen (1846-1917), the factory submitted works at the Universal Exhibitions in Stockholm (1861), Paris (1867), London (1870), Philadelphia (1876), and Amsterdam (1883), winning first place prizes at each. The Centennial Exhibition in Philadelphia brought hundreds of the Ipsen Factory''s pots, sculptures, and busts to America for the first time, to great acclaim. The collection was remarkable for its chaste beauty, as one critic described it: the ornamentation of these is commonly in black, occasionally touched with dark red, on the uncolored buff body of the ware, and produces a pleasing effect. The final verdict from the Judges'' Review: Exhibit important and good. Lots 170-186 include 21 pieces of Ipsen terracotta representative of the variety of forms produced by the factory prior to 1876. These works have been held in a private collection for many years following their deaccession from the Reading Public Museum in West Reading, Pennsylvania. Established by Dr. Levi W. Mengel in 1904, it is not unreasonable to suspect that this collection of Ipsen terracotta originated at 1876 Centennial Exhibition in Philadelphia, purchased by a now-unknown buyer in the Philadelphia area and held for a generation before being acquired privately by Dr. Mengel for his Museum. This impressive group is offered together with English and Continental Neoclassical ceramics, important prints of ancient pottery, early Grand Tour photographs, Grand Tour artifacts, specimen marbles, and bronzes after the antique. Complemented by a fine selection of British, French, German, and Russian decorative arts and furnishings, this collection represents the breadth and elegance of Neoclassical Europe.Condition report : Overall good condition with no significant damage or repairs. Some heavy chips on both sides of rim. Painted decoration in very good condition with few scratches. Light surface grime. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.Freeman's, Salle de vente
, Philadelphia, US
🔓Accès libre sans carte bancaire.
Titre de la vente : British & European Furniture & Decorative Arts
Date de la vente : 25/05/2017
🔓Accès libre sans carte bancaire.
Référence de l'enchère
: Live Sale
