der%20Porzellan%20Hausmaler

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Apostolos Ntelakos

der Porzellan Hausmaler 2010 / 12

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decoration on fayen

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“ Decoration on Fayenc Porcelain” Kurt M. Semon σ can Collector Archives, ένα περ κυκλοφόρησε από το 1933 εως για εμπόρους και συλλέκτες αντ άρθρο από την ιστοσελίδα http: lectorsweekly.com/articles/haus oration-on-fayence-and-porcela can Collector Archives.

This article discusses hausmale individual German painters who fayence or porcelain, noting som

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porcelain, noting some specific their designs.

s a province of Germanic art not many of us. If there are no awe eaks and no big rushing stream eless a pleasant landscape. Of usmaler, literally house painters, y. were home painters, individuals alization of their artistic ambition d in most cases, added income. es they were modest, underpaid rkers; sometimes gentlemen of nerant artists. It was always the he individual against the factory. must have in mind that Germany

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of the 17th Century was not yet sianized, imperialistic Reich forg mark. There were many minor p and it was only during the later h hausmaler period that Frederick Prussia, made his appearance.

We can roughly divide the haus as those who painted on fayenc those who painted on porcelain, ter of course a much finer ware trous, smooth surface.

The first fayence factories being in Hanau and the nearby Frankf and 1666, they began by allowin decorated ware to come into oth

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deemed good publicity if a finely signed piece by an outsider crerger demand also for the factory But with growing industrialization was reversed and the hausmaler definitely an unwanted competifactory employed good painters want them to sell signed pieces home because that might make us and another factory might try et them away with a better offer.

II: Fayence Jug by Shaper: An “Schwarzlot� painting done circa piece has copper-gilt mountings. ly all hausmaler decoration was laze, low fired and the start was

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restricted color scheme. This wa “Schwarzlot,� black with sparse red and gold. As to the style, we that the fayence painting was de Germanic; later the decoration o lain followed the different styles Dutch, and the Chinese vogue. the main centers of the hausma the southern and middle part of also spreading to Bohemia and The period runs from the secon the 17th Century through the 18 may add that only illustrations in could do full justice to the contra terplay of different colors and hu times heightened by intricate go ments. The first artist of note to

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deemed good publicity if a finely signed piece by an outsider crerger demand also for the factory But with growing industrialization was reversed and the hausmaler definitely an unwanted competifactory employed good painters want them to sell signed pieces home because that might make us and another factory might try et them away with a better offer.

II: Fayence Jug by Shaper: An “Schwarzlot� painting done circa piece has copper-gilt mountings. ly all hausmaler decoration was laze, low fired and the start was

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restricted color scheme. This wa “Schwarzlot,� black with sparse red and gold. As to the style, we that the fayence painting was de Germanic; later the decoration o lain followed the different styles Dutch, and the Chinese vogue. the main centers of the hausma the southern and middle part of also spreading to Bohemia and The period runs from the secon the 17th Century through the 18 may add that only illustrations in could do full justice to the contra terplay of different colors and hu times heightened by intricate go ments. The first artist of note to

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Fig.14 Interior

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Lost data.

A CHINESE PORCELAIN BLUE AND WHITE `LOTUS` BOTTLE VASE QING DYNASTY, 18TH CENTURY painted with

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Vaas Collectie: Groninger Museum Nr. 1904.0003 Een kalebasvormige vaas op voetrand (uit de wand gevormd, dus schijnbaar op de bodem

Lost data.

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The Dresden porcelain collection, The Dresden Porcelain Collection, China, Japan, Meissen, 9783-422-06655-7, page 114, Tureen from the service with the >yellow lion< Meissen, 1738, H.23,8 cm, diameter 26cm, Mark: blue crossed swords in overglaze enamel Inv.no.P.E.1252. The service

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The Dresden porcelain collection, The Dresden Porcelain Collection, China, Japan, Meissen, 978-3-422-0665 page 109, The Dresden Porcelain Collection, China, Japan, Meissen. This book presents outstanding masterpie from the Dresden Porcelain Collection, which comprises some 20,000 pieces, including: Chinese porcelain from

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Another Bustelli group, The Tempestuous Lovers, 1760, 14.4 cm high. See note for the same group in plain white, from another view.[1] ^ example in white from Swansea, and a different colour

Tureen “Swan Service”, H 52 cm, Limitierte Auflage, SKU:397 180-05028, Weight: 6500 gr, Limited to 10 pieces per year. Do you have questions? MEISSEN ® Customer Service: +49 3521 468 6650 Re-

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The lady has a self-confident expression on her face and holds a fan coquettishly in her right hand. Her hair is bound in the style popular in the Genroku period (1688-1704). The figourine bears considerable similarity to contemporary portreyals of courtesans on the woodcuts of the >ukiyo-e< (>pictures of the

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Lot 45 / Sale 7813 TWO DUBLIN DELFT PLATES CIRCA 1760-65, ONE WITH MANGANESE 6 MARK, THE WORLD’S END POTTERY, WILLIAM DELAMAIN & SAMUEL WILKINSON PERIOD Price Realized £5,625 ($8,483) Sales totals are hammer price plus buyer’s premium and do not reflect costs, financing fees or application of buyer’s or seller’s credits. Estimate £3,000 - £5,000 ($4,506 -

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Save your Interest Join Track lots, view condition reports, place bids, and watch auctions in real time with Liveâ&#x201E;˘ Sign in or Join View Site Demo Bid Live Take a moment to provide your feedback on our website Start Survey Contact Us Job Opportunities FAQ Privacy Security Terms & Conditions Site Map Site Demo Partners Features On the Go Online Communities The following are the terms and

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Ambacht versus industrie Vertel over uw stuk Hedendaagse inspiratie Ontdek de geheimen achter de labels Merken en Symbolen Index Glos-

C / Campen, van 1993 Campen, van 2003 F/ Fitski 1993 H / Harrisson 1979 Harrisson 1986 Harrisson 1987A J Jรถrg 2003-A Jรถrg 2002 Jรถrg 2003-

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In September K채ndler described his cockatoo in a report. This model was used for life-size porcelain sculptures, although a smaller version was also introduced. It is more than evident that K채n-

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mimosa

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1 Genus, whose generic name is derived from the Greek word μίμος that means ‘mimic’. / Gledhill, D. (2008). The Names of Plants (4 ed.). Cambridge University Press. p. 356. ISBN 978-0-521-86645-3.

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The Meissen(dark)

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White Gold 18th Century Porcelain from Meissen and Du Paquier Property of The Byrnes Children Trust Sale 7815 London, King Street 12 May 2010 Related Content RELEASE: WHITE GOLD - TWO IMPORTANT SALES OF

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modelled by Johann Gottlob Kirchner at the actory at Meissen. It was here that many ptures were produced in the1730’s. This as described as an ‘Indianischer Rabe’ hite porcelain is painted in bright colours: caw’s head; red and yellow for the tail.

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780 otha, Mokka- e, Sahnegießer Untertasse, 780 otha tt (Ausschnitt) 780 otha, Deckel- mit Untertasse, gen Inschrift utlich 1780 MOCCASERVICE, Meissen, Staatl Manuf, Porz, bunt-gold, „Schwanendessin“, bestehend aus Mocca

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epilogue

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end 105

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ΑΦΙΕΡΩΣΕΙΣ / DEDICATIONS

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To έργο ‘der Porzellan Hausmaler’, αφιερώνεται στα βιβλία των οποίων οι εικόνες το συνέθεσαν και στο βιβλίο ‘Parallel Encyclopedia’ της Batia Suter, Romapublications, Amsterdam, 2007.

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The work ‘der Porzellan Hausmaler is dedicated to all the books, whose images were used to make it up and to Batia Suter’s book ‘Parallel Encyclopedia’, Romapublications, Amsterdam, 2007.

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ΚΟΛΟΦΩΝΑΣ / COLOPHON

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‘der Porzellan Hausmaler’, artist’s book, σελ.112, noEditions, Βόλος, Σεπτέμβριος 2012 αύξων αριθμός βιβλίου:

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επιμέλεια - σχεδίαση: Α. Ντελάκος www.apostolos-ntelakos.com © Απόστολος Ντελάκος, 2012 en

‘der Porzellan Hausmaler΄, artist’s book, 112 pages, noEditions, Volos, GR, September 2012 copy number:

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editing - design: Apostolos Ntelakos www.apostolos-ntelakos.com © Apostolos Ntelakos, 2012

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The work “der Porzellan Hausmaler” brings together images collected (mainly) from other books during a research on the phenomenon of 17th century individual porcelain painters. At the same time it functions as an autonomous visual work in itself as well as a metabook, a book on books. Το “der Porzellan Hausmaler” συγκεντρώνει εικόνες οι οποίες επιλέχθηκαν από άλλα βιβλία στη διάρκεια έρευνας για το ιστορικό φαινόμενο των Hausmaler (ανεξάρτητοι ζωγράφοι πορσελάνης του 17ου αιώνα). Το βιβλίο λειτουργεί ως αυτόνομο εικαστικό έργο και ταυτόχρονα ως μεταβιβλίο, ένα βιβλίο για τα βιβλία.