A pair of Imperial Russian two-tone gilding porcelain campana urns
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A pair of Imperial Russian two-tone gilding porcelain campana urns

BY THE RUSSIAN IMPERIAL PORCELAIN FACTORY, ST PETERSBURG, PERIOD OF NICHOLAS I, CIRCA 1835

Details
A pair of Imperial Russian two-tone gilding porcelain campana urns
By the Russian Imperial Porcelain Factory, St Petersburg, Period of Nicholas I, Circa 1835
Each with an egg-and-dart overhanging rim, the body centred to the front by a Dutch 17th century interior scene, the back and sides with geometrical patterns, scrolling acanthus leaves and stylised foliage, on an Aubergine-coloured ground, above a gadrooned lower section, flanked to each side by a fluted handle, supported by two female masks, on a fluted spreading circular socle, with a scroll frieze, on a square bronze base; the white inside of the body with the blue underglaze mark H 1 surmounted by a crown
28½ in. (72.5 cm.) high (2)
Special notice
No VAT will be charged on the hammer price, but VAT at 17.5% will be added to the buyer's premium which is invoiced on a VAT inclusive basis.

Lot Essay

As the Russian Imperial Porcelain Factory was in the domain of the Emperor. These vases would have been ordered by the Tsar himself, possibly as a personal or diplomatic gift.

The decoration on the reverse of these vases is reminiscent of the traditional old Russian style, as may be seen on the renowned Kremlin Porcelain Service. It was during the reign of Nicholas I that the technique of gilding reached its zenith.

It was a custom to depict on Imperial gifts palaces or paintings belonging to the Imperial collections. In the present case, one of the scenes is after Gerard Terbosch's 'Country Postman', still in the Hermitage Museum. Painted circa 1655, it was subsequently bought by Catherine The Great in the last quarter of the 18th Century (from the Crozat or the La Vallière collection, Hermitage Catalogue 1958, No. 833). The model for the other scene is probably a painting executed by an artist working in the circle of Nicolaes Maes, possibly Quiringh Gerritsz van Brekelenkam, also part of the Hermitage collections at the time.

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