EARLY DERBY FIGURE GROUP OF 'TWO BACCHANTES ADORNING A BUST OF PAN'

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Location: Ely
Ships to: US,
Item: 326315660517

Restocking Fee:No
Return shipping will be paid by:Buyer
All returns accepted:Returns Accepted
Item must be returned within:60 Days
Refund will be given as:Money Back
Antique:Yes
Year Manufactured:1765
Style:Rococo
Production Technique:soft-paste porcelain
Features:Hand Painted
Production Style:Art Pottery
Time Period Manufactured:1750-1799
Color:Multicoloured
Material:Porcelain
Handmade:Yes
Country/Region of Manufacture:United Kingdom
Theme:mythology
Era:Georgian (1714-1837)
Original/Licensed Reproduction:Original
Product Line:Patch period
Type:Figurine
Derby:Derby
Subject:Bacchantes and Pan

EARLY DERBY FIGURE GROUP OF ‘TWO BACCHANTES ADORNING A BUST OF PAN’This product data sheet is originally written in English.CIRCA 1765, INCISED NO 196, ADAPTED FROM AN ENGRAVING BY FRANCESCO BARTOLOZZI AFTER ANGELICA KAUFFMANN. Figure group of ‘Two Bacchantes adorning Pan’, of soft-paste porcelain. One of the Bacchantes on the left, stands in a graceful attitude with her right arm raised above her head , and her right leg stretched behind her. The other on the right, is kneeling on her left knee with her left arm raised. They are binding with chains of flowers a terminal figure of Pan standing on a pedestal with a tree behind it. The whole is set on a thick irregular base strewn with leaves and flowers and also a jug, a tambourine and a thyrsus. “Patch marks” on the baseExtremely rare! Cf. Peter Bradshaw, Derby Porcelain Figures 1750-1848, 1990, pp. 297-298, no. 196 A similar figurine is in the British Museum collection, inventory number 1936.0715.119.CR This figurine appears to be part of a unique collection of porcelain Derby figurines, which has been meticulously gathered over many years The Derby Porcelain factory has its roots in the late 1740s, when Andrew Planché, a Walloon Huguenot refugee, started making simple porcelain toys shaped like animals in his back yard. In 1756 Staffordshire enameller William Duysbury and banker John Heath started a new porcelain factory with Planché and this was to grow out to the largest factory of its time, buying up the bankrupted Chelsea and Bow factories, as well as the stock of several other workshops including that of James Giles. The combination of various traditions, porcelain making skills and sophisticated clients enabled Duesbury to create one of the best porcelain factories of the 18th and 19th Centuries, which after many ups and downs is still operative today. The reputation of the factory’s output was at its 18th century peak and in self-published advertising material, the “Derby Porcelain Manufactory” was proclaiming itself to be “the second Dresden”. Duesbury maintained what would now be termed “retail space” independent of the Chelsea works, at a former pub – The Castle Tavern – in Bedford Street, Covent Garden. This was both a warehousing facility and an exhibition area, and was the shopfront for what had by now become “a very thriving and lucrative trade”. Derby porcelain was hand painted, some with with imari patterns, in London at the Chelsea pemises and the output from this dual operation is Chelsea Derby. Ultimately, the Chelsea site was closed down and the name Derby continued in increasingly splendid isolation, to the point where continued Royal patronage afforded Duesbury license to append a crown to his trademark, Royal Crown Derby Porcelain was born. It’s worth noting that Duesbury also used representations of the marks used on Sevres, Dresden and Berlin-made porcelain, as he considered his own wares to be superior to every other source other than those three. Antique British porcelain is never perfect. Kilns were fired on coal in the 1800s, and this meant that china from that period can have some firing specks from flying particles. British makers were also known for their experimentation, and sometimes this resulted in technically imperfect results. Due to the shrinkage in the kiln, items can have small firing lines or develop crazing over time, which should not be seen as damage but as an imperfection of the maker’s recipes, probably unknown at the time of making. Items have often been used for many years and can have normal signs of wear, and gilt can have signs of slight disintegration even if never handled. I will reflect any damage, repairs, obvious stress marks, crazing or heavy wear in the item description but some minor scratches, nicks, stains and gilt disintegration can be normal for vintage items and need to be taken into account. Height 28 cm 1984 g Standing Bacchantes – professional restoration to right arm and left hand, and left foot; ; losses to left foot; crack and possible restoration to left side of cape on reverse; crack and restoration where the bottom of the cape on reverse attaches to the column; losses to the garland that is supposed to stretch from Pan to the standing Bacchantes. Kneeling Bacchantes – professional restoration to left arm; small loss to left foot; cracks to bottom of dress on reverse; crack and restoration where the Bacchantes touches the column. Pan -repair to neck; repair to pedestal. Stand – crack that extends from pedestal to the front of the base; crack at the front of the base that extends to the underside of the base; small losses to leaves and petals; three cracks/repairs to reverse of stump; the lowest crack extends to the underside of the base. Please carefully regard all photos. If there are any questions, please pose the questions prior to buying. Item will be sent fully tracked and insured. Duesbury maintained what would now be termed “retail space” independent of the Chelsea works, at a former pub – The Castle Tavern – in Bedford Street, Covent Garden. This was both a warehousing facility and an exhibition area, and was the shopfront for what had by now become “a very thriving and lucrative trade”. Derby porcelain was hand painted, some with with imari patterns, in London at the Chelsea pemises and the output from this dual operation is Chelsea Derby. Ultimately, the Chelsea site was closed down and the name Derby continued in increasingly splendid isolation, to the point where continued Royal patronage afforded Duesbury license to append a crown to his trademark, Royal Crown Derby Porcelain was born. It’s worth noting that Duesbury also used representations of the marks use Handmade Yes Production Technique soft-paste porcelain Colour Multicoloured Country/Region of Manufacture United Kingdom Style Rococo Product Line Patch period Material Porcelain Theme mythology Type Figurine Features Hand Painted Antique Yes Year Manufactured 1765 Subject Bacchantes and Pan Brand Derby Production Style Art Pottery Original/Licensed Reproduction Original Time Period Manufactured 1750-1799 Era Georgian (1714-1837)

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