APPARENTLY UNMARKED, THE ENAMEL PLAQUE PROBABLY BY JACOB WASSERBERGER, LAST QUARTER OF THE 19TH CENTURY

Name: A VIENNESE GILT-METAL AND ENAMEL CHARGER
Brand: APPARENTLY UNMARKED, THE ENAMEL PLAQUE PROBABLY BY JACOB WASSERBERGER, LAST QUARTER OF THE 19TH CENTURY
Price: 26000.00 GBP
Availability: SoldOut

Price Realised GBP 32,760

Estimate

GBP 15,000 - GBP 25,000

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A VIENNESE GILT-METAL AND ENAMEL CHARGER

APPARENTLY UNMARKED, THE ENAMEL PLAQUE PROBABLY BY JACOB WASSERBERGER, LAST QUARTER OF THE 19TH CENTURY

Price Realised GBP 32,760

Circular on a spreading foot set with twelve plaques depicting a mythological scene, with caryatid figures and swans between, within a frame applied in relief with arabesque strapwork and masks, the central circular plaque depicting 'Une Assemblée des Dieux', the reverse of each plaque visible to the underside and inscribed with the title of each scene amidst scrolling foliage
22½ in. (57 cm.) diameter

Anonymous sale; Christie's, London, 17 March 2011, lot 56.

Please note this lot is the property of a consumer. See H1 of the Conditions of Sale.

Conditions of Sale
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Brought to you by

Amelia WalkerDirector, Specialist Head of Private & Iconic Collections

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Lot Essay

The central panel entitled the Council of the Gods is after a set of frescoes made by the Italian neoclassical painter Luigi Sabatelli (1772-1850) for the Illiad room at the Pitti Palace in Florence in 1819-1820. It depicts all the gods of Greek mythology and three goddesses of Roman mythology, the Moires 'Roman fates' gathered, at the request of Zeus, to discuss the sequence of events in their fight against the Titans.

The radiating panels, on the other hand, are contextually unrelated describing well loved myths: 'La Mort d'Eurydice', 'Vénus dans la forge de Vulcain', 'Le sacrifice d'Iphigénie', 'L'enlèvement d'Europe', 'Junon appairaissant à Barée', 'Le Triomphe d'Apollon', 'Vénus et Enée', 'Diane et Calliste', ' Pandore et Promethée', 'La Naissance de Vénus', 'Borée et Orythia' and 'Le Jugement de Paris'. Nonetheless much like the central panel, most are based on existing paintings: 'Diane et Calliste' is after Titian and 'Le Triomphe d'Apollon' is after Guido Reni's fresco 'Aurora' in The Palazzo Pallavicini-Rospigliosi in Rome.

An identical charger attributed to Hermann Ratzerdorfer, Vienna, 1866-1872 was illustrated in Pracht & Macht, Europas Glanz im 19. Jahrhundert, Privatsammlung Achim Neuse und Volker, Wurster, 2006, pp. 172-3.