A Gothic revival Berlin (KPM) mounted carved oak triptych
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A Gothic revival Berlin (KPM) mounted carved oak triptych

CIRCA 1880, THE PLAQUES FINELY PAINTED AFTER STEFAN LOCHNER, WITH IMPRESSED MONOGRAM AND SCEPTRE MARKS

Details
A Gothic revival Berlin (KPM) mounted carved oak triptych
Circa 1880, The plaques finely painted after Stefan Lochner, with impressed monogram and sceptre marks
Of architectural form, with cross surmount flanked to each side by two spire finials, the pierced foliate backplate centred by a pair of doors, each carved with fleurs de lys, scrolling foliage, arcades and tracery and fronted by a cross, opening to reveal three plaques depicting the Virgin Mary to the centre, St Ursula to the left, St Gereon to the right, above double ogives, on a steppd spreading base, supported by a wall bracket with pierced quatrefoil frieze, above pierced scrolling foliage
Overall: 56¼ in. (143 cm.) high; 31 in. (79 cm.) wide, open; 6¼ in. (16 cm.) deep
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

The Berlin Königliche Porzellan Manufaktur, known as KPM, was founded in the first half of the 18th century and, after financial difficulties, was taken over by Frederik the Great in 1763. Royal participation in the factory continued with particular interest being shown by Frederik Wilhelm III (1777-1840) whose royal patronage, together with growing demand from an increasingly wealthy middle class, provided it with a solid base in the early 19th century. The production of decorated porcelain plaques had already begun in the latter part of the 18th century, but was to flourish from the 1840s onwards. From about 1810, many well-known artists, trained at the Berlin Academy, were employed to copy old masters as well as produce original works for transferral porcelain. At first, this decoration was chiefly applied to decorative vases and display cups, but it was soon realized that a porcelain plaque could be used just like a canvas, while exploiting the luminosity of the porcelain body, and from the mid-1840s, KPM manufactured and sold increasing quantities.

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