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    Sale 5199

    Oak Furniture & Works of Art

    6 November 2007, London, South Kensington

  • Lot 154


    CIRCA 1670-1700, FRANKFURT

    Price Realised  


    CIRCA 1670-1700, FRANKFURT
    The plain body below a pan-topped waisted neck, applied with a tapering scroll handle enriched in cobalt blue, manganese and ochre, the hinged pewter cover with ball thumb-piece inset with a medallion of the Resurrection of Christ, the foot with a pewter rim
    11 3/8 in. (28.9 cm.) high

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    See Margrit Bauer, 'Frankfurter Fayence aus der Zeit des Barock', Catalogue (Frankfurt am Main, 1988), nos. 175-179 for wares decorated in a similar manner to the present lot.

    Special Notice

    No VAT will be charged on the hammer price, but VAT at 15% will be added to the buyer's premium which is invoiced on a VAT inclusive basis.

    Pre-Lot Text

    The terms 'fayence', 'delftware' and 'maiolica' refer to wares made not only in Germany, but across Europe, from the Renaissance to the 19th century. The common thread throughout these 'tin-glaze' earthenwares is the body; a buff or red coloured earthenware covered in a lead glaze made white and opaque by the addition of tin ashes. Northern Europe, in particular, produced wares to simulate the precious white porcelains from the East, unattainable to most.

    The Dutch were an immensely important mercantile nation in the 17th century, importing vast quantities of goods, especially from Japan and China. The Delft potters were influenced by Japanese blue and white vessels, sometimes embellished with silver mounts, and Chinese wares from the late Ming dynasty. They, in turn, influenced production in Germany, with wares and techniques flowing between the two countries. Enghalskrug, Birnkrug and Walzenkrug are, however, distinctly German forms, originating from the earliest stonewares; and the number of examples in the present collection from factories across Southern Germany is evidence of its national identity. Indeed, these most characteristic forms are linked to both the winemaking and brewing traditions, leading to tankards, beakers and jugs being amongst the most popular items produced.

    Early wares in Northern Europe were often limited in their decorative palette of blue and purple on a plain or pale-blue ground colour. Later, these were augmented to the so called 'grand feu' range of colours from metallic oxides, notably blue from cobalt, purple from manganese, green from copper and yellow from antimony. The skilled decorator would paint directly on to the unfired 'canvas' of wet glaze producing a very immediate and bold design. The middle of the 18th century saw the development of the 'petit feu' technique, with a second lower temperature firing enabling colours to be added to the palette such as pink and crimson.

    The 'Baroque' period is regarded as the zenith of German fayence production, with the decoration at factories and workshops in Bayreuth, Nuremburg and Ansbach being amongst the finest, all well represented in this collection. This offering is also particularly rich in fayence from Kunersberg, one of the more unusual and desirable factories. From about 1730 onwards, the style of decoration was influenced by the new porcelains being produced in Europe, the Meissen factory, of course, being a key source of inspiration with its brightly coloured indianische Blumen. Later 18th and 19th century wares from Durlach and Cologne are notable in the oeuvre of German pottery.

    Although the pieces from this well-chosen collection are generally in good order and of good appearance, we recommend that you obtain a full condition report from us, available on-line or directly from the department.