HISTORICAL MUSEUM ROYAL BONN GERMANY GAINSBOROUGH PORTRAIT VASE VIENNA TYPE

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HISTORICAL MUSEUM ROYAL BONN GERMANY GAINSBOROUGH PORTRAIT VASE VIENNA TYPE :
$349.45

BACKGROUND:

Importantone-of-a-kind museum quality signed vase of historical significance,quite possibly a special commission order by the descendant family ofeither the portrait\'s sitter, the Hon. Mrs. Thomas Graham née MaryCathcart (1757-1792) or that of her husband, the Scottisharistocrat, the Hon. Thomas Graham, later to become 1stBaron Lynedoch (1748 –1843).

MaryGraham was the daughter of the Baron, Charles, 9th LordCathcart, a clever politician and ambassador to the court ofCatherine the Great. Growing up in Russia and being exposed to thesplendor and sophistication of the Imperial Court at St. Petersburg,Mary was reputed to be a witty and delightful woman with an alluringappeal. In addition, if her later portraits are to be taken astrue-to-life, she was incredibly beautiful, so that upon her returnto England she was the toast of Georgian society and ardently pursuedby many suitors. She ultimately married Thomas Graham, and it issaid that theirs was a great love match. Unfortunately, their storyhad a tragic ending as Mary contracted tuberculosis and died at just35 years of age, after only 18 years of marriage. Thomas spent therest of his long life in sorrow grieving for her, and he neverremarried. There are numerous websites that contain additionalpersonal stories and biographical information on this interesting18th century couple.

Marywas so beautiful that she captivated the great portrait and landscapeartist, Thomas Gainsborough and he painted her several times indifferent poses. The painting from which the portrait on this vasetook its inspiration, was done c. 1775 and it now hangs in theNational Gallery of Art in Washington, D.C.

Thelast image is a photograph of Gainsborough\'s actual painting of Mrs.Graham from which the portrait on this vase drew its inspiration.

DESCRIPTION:

Theportrait is hand painted in brown sepia tones with the artistmastering the sitter\'s exquisitely delicate facial features and thecomplicated pouf hairstyle of the times made popular by Queen MarieAntoinette of France. The caliber of the hand painting rivals thequality of KPM or ROYAL VIENNA.

Itis signed by the artist whose name appears to be “N. Asche.”

Theportrait is enclosed within a gilded paste frame, as if it is anactual oil painting, and the body of the torpedo-shaped vase is donein shaded ombré tones of graduated brown to burnt umber.

Theportrait is glazed and evidences a network of random fine lines(called crazing or crackling), whereas the body of the vase is a flator matte finish, with no crazing. Crazing of the glaze on Royal Bonnpieces is an extremely common occurrence.

Thereare heavy raised gold paste embellishments that cover the front andside of the vase, whereas the back is left unadorned. The gold pasteis in exceptionally strong condition, and there is only a loss ofgold on the interior of the rim.

Thethickly textured gold paste consists of a complicated pattern ofexuberant foliate swirls which mimic the thorny branches of apomegranate tree, and there are hundreds of little thorn-like needlesaccenting the design throughout.

Ihave consulted with an art expert who feels that the choice of thepomegranate tree and thorns is a sentimental reference to the factthat in Greek mythology, pomegranates represent death (Google thestory of Persephone and the pomegranate seeds), and the Baron neverrecovered from the loss of his wife.

CONDITION:

Thereare no chips, cracks, hairlines or losses of any kind with theexception of the crazing in the glazed portrait as previouslydescribed, and the loss of gold at the rim.

Thevase was obviously cherished by its previous owners and lovinglycared for, as its condition is excellent with the few apologieslisted above (crazing in the glaze of the portrait portion only, andloss of gold at rim).

DIMENSIONS:

Thevase is 13” tall.

Theportrait portion within the frame is 5” tall x approximately 4-1/4” wideat bottom of frame. The width of frame at the top is slightly lessto accommodate the softly rounded torpedo shaped nature of the vaseand give the appearance of a perfectly proportioned frame. This is anamazing detail that the artist has incorporated to achieve the properperspective on the vase.

DATEHALLMARK:

Thebases bears the hallmark used between 1890 and 1920. It consists ofthe word “ROYAL” over a cartouche of a crowned shield with theinterlaced stylized letters “F – A – M” and the date 1755,over “BONN” over “GERMANY” in brown. The intials “FAM”stand for the pottery factory named after Franz Anton Mehlem

Note:The date “1755” refers to earlier Bonn pottery manufacturers andis not the date the piece was produced.

Thebase also shows a series of impressed / incised & hand paintedinventory and decorator identification info:

Capitalletters: BF (impressed)

Number“ 2847” (impressed)

Diamondshaped lozenge

Letters “C554” (hand painted)

Circularmark which is illegible to me except forthe word “BONN” on the lower part of thecircle (impressed)

Whatelse is there to say about this magnificent vase? It appears to be a one-of-a-kindspecially commissioned piece of possible historical importance and tomy mind, it belongs in a museum or in an advanced collection.
SKU 10792

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