Nymphenburg-Lorch Hand Colored “Large Baroque Lion Figurine”

Nymphenburg-Lorch Hand Colored “Large Baroque Lion Figurine”

Nymphenburg-Lorch Hand Colored “Large Baroque Lion Figurine”

This Nymphenburg Hand Colored “Large Nymphenburg Porcelain Baroque Lion Figurine” designed by Lorch was produced in Germany by Nymphenburg post 1945. This beautiful figurine of this charming measures 6.75 inches tall 4 inches at the widest width. It has two marks, one shield crest in base of the work in Green and 2000 inscribed in the base.

This is an impressive piece of work. The detail in the porcelain shows fine artistry. It is beautifully hand painted. It truly portrays a impressive “Lion and a Half”.

e-Bayers take Note: This is offered at $1,195.00 by the factory Representative Dealer in Chicago. Only Serious Offers will be considered and replied to…

At around the same time that Roman Anton Boos, as Sculptor to the Electoral Court, designed a series of statuettes of the ancient gods for the Nymphenburg Palace grounds, he also created a pair of lions holding an escutcheon. The animals, which are looking at each other, adorn the outside stairs on the Palace’s garden side. In 1958, Franz Xaver Lorch used them as a model and turned the attractive pair into two hand-span-sized porcelain figurines. Humble and modest, the two big cats, one on the left and one on the right, are crouching behind the magnificently framed escutcheon.

The Nymphenburg Porcelain Manufactory (in German: Porzellanmanufaktur Nymphenburg), manufacturer of Nymphenburg porcelain, is situated in the Nymphenburg Palace in Munich, capital of Bavaria, and since the mid-eighteenth century has been manufacturing porcelain of high artistic value.

After his accession in 1745 Maximilian III Joseph, Prince-Elector of Bavaria, commanded the establishment of manufacturing companies in order to bail out the state finances. From 1747 attempts were made to manufacture porcelain and at the end of that year the former Neudeck Castle in the area now the Munich suburb of Au-Haidhausen was made available for that purpose. Up to 1754 the experiments were a miserable failure and lost considerable amounts of money, but in that year the efforts to manufacture porcelain finally began to succeed. In 1755 the factory received its first commission from the Bavarian court and in 1756 came the first success in painting the porcelain in color. The management of the jurist and entrepreneur Count Sigmund von Haimhausen from 1758 ensured that the factory was placed on a sound commercial footing. By 1761 it had moved to the Nymphenburg Palace, where it still is today.

Among the great artists who followed Bustelli were Dominikus Auliczek the elder (1734—1804) and Johann Peter Melchior. A great promoter of the works was Ludwig I who gave them many commissions. Particular favorites were dinner services with copies of famous paintings or with Bavarian landscapes in an antique style.

In 1822 Friedrich von Garner, the fashionable architect, was appointed artistic director of the factory. In the middle of the 19th century its financial position deteriorated to the extent that in 1856 all artistic production was halted and it was decide to privatize the factory. It was leased out for the first time in 1862 and its focus shifted to the production of technical, medical and sanitary porcelain goods.

In 1887 Albert Bäuml (1855—1929) took a lease of the factory. His aim was to regain the previous high artistic level of the factory’s products: it was Bäuml, for example, who “rediscovered” Bustelli. This aim was realized at around the turn of the 19th and 20th centuries and besides historical copies, elegant Jugendstil ceramics were developed.

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Homayoon Memari

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