Allegorical Group the Disarming of Cupid by E. Andresen for Meissen, Germany, 1890

Description

Very delicate meissen porcelain group of the late 19th century: three beautiful young women with artfully pinned-up hair and wrapped … more Very delicate meissen porcelain group of the late 19th century: three beautiful young women with artfully pinned-up hair and wrapped in loose cloths grouped on a high towering rock, two facing each other seated on red velvet cushions with gold cords, the third leaning on the shoulder of one of them, leaning over the two and stretching out her hand to the angry cupid boy, who is bedded next to them on a white cloth in his sleep, robbed of his bow and love arrows by the graceful woman seated in the middle, two doves courting in the foreground on the left. The group is based on an oval rock base with a decorative lateral frieze with gold heightening and gold rims. Excellent modeling of the figures and details. This rare depiction was most probably inspired by a painting by angelika kauffmann (1741 - 1807), who in turn illustrated the poem 'love disarmed' by matthew prior (1664 - 1721) for her cycle of graces in 1777. Designer: emmerich andresen (1843 - 1902) sculptor, based in dresden since 1870, made his debut at the berlin art exhibition in 1871, 1886-1902 head and professor of the design department of the meissen manufactory, modeled various clock cases, mirrors, groups of soldiers, allegories and busts. Design of model o 190 in 1889-1890. Manufactory: meissen germany dating: made ca. 1890 material: white porcelain, glossy finish technique: handmade and finest hand painting size: height: 34,5 cm / 13.58 inches width: 34,0 cm / 13.38 inches depth: 24,0 cm / 9.44 inches marks: blue meissen underglaze crossed sword mark circa 1890, 'pommels on hilts' / first quality model number o 190 / former's number 100 / painter's number 7 bibliography: thomas & sabine bergmann, supplement the art of meissen figures, model numbers a 100 - z 300, erlangen germany 2018, catalog number 2190, on page 100. Condition: very good this piece is attributed to the mentioned designer/maker. It has no attribution mark and no
official proof of authenticity,
however it is well documented in design history. I take full responsibility for any authenticity



issues arising from misattribution less