An ormolu mounted mahogany veneer courtly gueridon.
A round decorative table set with a central porcelain plaque painted with cows by a river, probably after Paulus Potter. The porcelain plaque to the top monogrammed CAM 1813. The wood restored, the porcelain with typical age-related wear. H 77, diameter 54 cm.
Württemberg, ca. 1810 - 25, the furniture attributed to Johannes Klinckerfuß, the porcelain painted by Charlotte Auguste Mathilde of Württemberg.
Cf. Wiese, Johannes Klinckerfuß, Sigmaringen, 1988, p. 91, illus. M65. and p. 142.
For this porcelain painter, cf.: Flach, Charlotte Auguste Mathilde (1766 - 1828), Kronprinzessin von Gross-Britannien und Königin von Württemberg - Hausmalerin auf Ludwigsburger Porzellan, in: Keramos205/2009, p. 37 ff.
Cf. Pazaurek, Deutsche Fayence- und Hausmaler, vol. 2, Stuttgart 1971, p. 418 ff.
Born Charlotte Augusta Mathilda, the English princess and eldest daughter of George III had an interest in painting since her childhood. Thomas Gainsborough gave her mother drawing lessons, and the princess was taught flower painting and later copper engraving. A letter to her father from 30th March 1805 provides us with a terminus post quem for her occupation as a “hausmaler” for the Ludwigsburg manufactory. The white porcelain pieces which she decorated were then fired at a low heat in the nearby factory. Her oeuvre is identifiable through her CAM signature and according to Flach encompasses 147 items, ranging from cups and services to vases and plaques for furniture. She presumably began painting porcelain for furniture décor when these became fashionable at the French court. The sepia and grisaille toned palette was probably also chosen because it was technically easier to manage and due to the princess's training in drawing and engraving, but it was also perfectly suited the neoclassical taste and looked particularly elegant in combination with the mahogany veneers of the furniture. Her preferred motifs were bucolic scenes after Johann Elias Ridinger and Paulus Potter. A secretaire made by the court cabinetmaker Johannes Klinckerfuß dated 1825 and bearing two oval and an identical round plaque. However, the direct counterpart to the current work is still kept in the princess's former rooms in Ludwigsburg residence.