Świetna grafika z XVI wieku słynnego flamandzkiego malarza i grafika Martina de Vos
4 talerze wykonane w ekskluzywnej książęcej fabryce porcelany Tettau – manierystyczny drzeworyt nałożony jest na złotą amalię. Niezwykle trwała i piękna technika- złoto pokryło się szlachetną piekną patyną starego złota w kolorze dojrzałego koniaku .
Ale najciekawsze sa same drzeworyty- pocztówki ze świata sprzed 400 lat. Ich treść stanowia dary jakie otrzymujemy od czerech żywiołów – terra – ziemia, Ignis – ogień, Aer – powierze i Aqua – woda… Naprawdę warto wziąć szkło powiększające i przenieść się w tym wehikule czasu w niezwykły świat - w którym zaskoczą nas – uroda kobiet- wyszukane stroje bohaterów- zupełnie współcześnie wyglądające naczynia… ale przede wszystkim kunszt rytownika, który przy pomocy precyzyjnych złobień stworzył świetne portrety i obrazy…
Talerze mają średnicę 19,6 cm – z tyłu umocowane sa zawieszki do zawieszenia na ścianie . Głebokość talerzyków 2,2 cm
Wystawiamy każdy oddzielnie – ale mam nadzieję, że sprzedadzą się wszystkie razem.
Terra – ziemia – pokazuje owoce i sprzęty jakie rodzi ziemia. Instrumenty wykonane z drewna, owoce, kwiaty, papier, meble, naczynia – piękna altana , wspaniałe stroje, tort, domy… między głowami drzewo jabłoni- alegoria utraconego raju – odzyskanego na ziemi…
Sygnatura Tettau Atelier pojawiła się w roku 1968… - czyli nasz talerz ma już pół wieku- stąd ta świetna patyna… dotyczy limitowanych edycji talerzy o wartości artystycznych – na których prezentowane wybitne arcydzieła malarstwa i grafiki.
Polecam – kolekcjonerski rarytas – ozdoba każdej kolekcji.
Martin de Vos
Martin de Vos także Marten lub Maarten (ur. 1532 w Antwerpii, zm. 1603 tamże) – flamandzki malarz rysownik i rytownik okresu manieryzmu.
W młodości naśladował Fransa Florisa, podczas pobytu we Włoszech wzorował się na twórczości Jacopo Tintoretto. Po powrocie do Antwerpii został mistrzem cechowym w gildii św. Łukasza (1558). Później pracował pod wyraźnym wpływem Pietera Aertsena.
De Vos był wszechstronnym i płodnym artystą, malował początkowo portrety i sceny figuralne, później poruszał głównie tematykę biblijną i rzadziej mitologiczną. Jego prace odznaczają się dynamizmem oraz ciepłą i bogatą kolorystyką.
Święty Paweł w Efezie, 1568,
Niewierny Tomasz, 1590
Historia Rebeki, 1570-1600,
Panny mądre i panny głupie.
He was born in Antwerp as the youngest of the four children of Peter (Pieter) de Vos and Anna de Heere. His father was born in Leiden and relocated to Antwerp where he was recorded at the age of 17 years as a pupil of Jeroom Scuelens. Maerten and his brother, also called Pieter, first trained with their father. A pupilage with the leading mid-16th century leading history painter Frans Floris has been surmised by some art historians but there is no documentary evidence for this.
As a trip to Italy had become a rite of passage for Flemish artists in the 16th century, de Vos travelled to Italy where he resided between 1550 and 1558. It is possible that he made at least part of his trip to the south in the company of Pieter Brueghel the Elder. He likely resided in Rome, Florence and Venice. De Vos' work shows a strong influence of the colors of the Venetians The 17th-century Italian artist biographer Carlo Ridolfi wrote that de Vos worked in the studio of Tintoretto in Venice, which would explain this influence.
Upon his return to Antwerp in 1558 de Vos became a member of the Antwerp Guild of Saint Luke. It is possible that he returned to Antwerp earlier if the date of 1556 on a portrait painting is correct. He married Joanna le Boucq whose family was originally from Valenciennes in France. The couple had five daughters and three sons. At the time, Frans Floris was the leading history painter in Flanders and he operated a large workshop in Antwerp. This made it more difficult for other artists to find commissions. De Vos was lucky to obtain in 1564 commissions from the rich Antwerp merchant Gillis Hooftman.
In the 1560s Flanders suffered from the Beeldenstorm, the iconoclastic fury that reached its peak in 1566. During the period of iconoclasm, Catholic art and many forms of church fittings and decoration were destroyed by nominally Calvinist Protestant crowds as part of the Protestant Reformation. Frans Floris who was at the time the leading Flemish history painter never recovered from the shock of seeing his artworks destroyed. Floris found himself in a downward spiral in both his personal and professional affairs. As Floris virtually stopped painting after 1566, a younger generation of artists seized the opportunity to take over his important position in history painting in the Habsburg Netherlands. Among these artists Maerten de Vos became the most prominent.
De Vos received in 1570 the commission to decorate the palatine chapel of William, Duke of Brunswick-Lüneburg in Celle, Germany. His reputation grew and in 1572 he was appointed dean of the Antwerp guild. De Vos had initially converted to the Lutheran faith, but he reconverted to Catholicism after the Fall of Antwerp and the defeat of the Protestant cause in the Habsburg Netherlands. His career took off as he was awarded important commissions from the brotherhoods and guilds of Antwerp. De Vos executed monumental altarpieces in the Antwerp Cathedral and other Antwerp churches. De Vos was deacon of the Antwerp Guild of Saint Luke in 1572-1573.
His reputation was such that in 1589 de Vos together with Ambrosius Francken I was appointed by the Ghent magistrate to value the painting of the Last Judgment by Raphael Coxie. Raphael Coxie was involved in a dispute with the Ghent magistrate, who had commissioned the painting but whom Coxie felt was offering a sum that was too low for his masterpiece. Maerten de Vos and Ambrosius Francken were also chosen as the chief designers of the decorations for the 1594 Joyous Entry into Antwerp of the newly appointed governor of the Southern Netherlands, Archduke Ernest of Austria. Maerten de Vos was further one of the founders of the Guild of Romanists, which was established in 1572 in Antwerp's Cathedral of Our Lady. The Guild brought together artists, connoisseurs and humanists who had travelled to Rome and appreciated humanist culture. The diversity of the membership offered artists a good opportunity to network with potential patrons. To meet the strong demand for his work, including from foreign patrons, de Vos developed a streamlined workshop practice.
Maerten de Vos had 11 pupils between 1564 and 1599: Balten Vlierden (1564), Wenzel Coebergher (1573), Hans Snyers (1575), Merten Boly (1577), Jaeckes Keerel (1577), Jan Adriansen Cnottaert (1584), Peeter Goutsteen (1588), Hans Cnottaert (1594), Hans van Alten (1595), Hans de La Torte (1595) and Abraham van Lievendale (1599). His two sons Daniel de Vos (1568–1605) and Maerten de Vos the Younger became painters but their work is hardly known.
 : Königlich privilegierte Porzellanmanufaktur Tettau, Schmidt & Greiner (1794 until 1852):
This well known factory started after the German naturalist Alexander von Humbold had put in a good word for the would-be founders during meetings with the Prussian King Friedrich Wilhelm II and so Johann Friedrich Paul Schmidt from Coburg and the brothers Wilhelm Heinrich Immanuel Greiner and Georg Christian Friedmann Greiner from Kloster Veilsdorf on December 28th 1794 finally received the required permission. The first Bavarian porcelain factory at first concentrated on normal household items as well as coffee, tea and cocoa sets but soon also started to create complete dinner settings. Even if the original permit was only valid for fifteen years, it was later transformed into an unlimited permission due to the success of the factory which greatly pleased the King. During the later years, Wilhelm Heinrich Immanuel Greiner's son Balthasar was also involved, however he did not share the same interest in the factory and then decided to sell it.
 : Königlich privilegierte Porzellanmanufaktur Tettau, Ferdinand Klaus (1852 until 1866)
In 1852 Ferdinand Klaus took over the company and continued to use the same markings. He also kept the product range and only made minor changes in decoration style; the further decorators employed increased the workforce to around 70 people.
 : Königlich privilegierte Porzellanmanufaktur Tettau, Sontag & Birkner (1866 until 1879)
Only fourteens years later, the company was sold again, this time to Wilhelm Sontag and Karl Birkner.
 : Königlich privilegierte Porzellanmanufaktur Tettau, Sontag & Maisel (1879 until 1902)
After Birkner retired from business his place was taken by the investor and businessman Ludwig Maisel. In 1897 a large blaze completely destroyed the factory and based on the very promising business forecast the owners instantly started to rebuild the factory, only much larger this time. Following the successful restart of operations, Maisel decided to retire and his former partner was joined by his sons.
 : Königlich privilegierte Porzellanmanufaktur Tettau, Sontag & Söhne (1902 until 1915)
Sontag's sons were very active and next to running the business in Tettau they also opened a decoration studio in the Thuringian town of Geiersthal where they next to other items mainly decorated goods made by the 'Fraureuth Porzellan' company. During the next years the factory was constantly modernized and prospered, leading to the transformation into a corporation in the year 1915.
 : Porzellanmanufaktur Tettau A.G. (1915 until 1958)
Since around 1913 the very successful business had specialized on restaurantware and hotel porcelain as well as special sets for children; its very wide product range was exported worldwide. Only from around 1930 did the factory actually produce large numbers of items decorated in 'Strohblume' (strawflower) and 'Zwiebelmuster' (Blue Onion) styles. Until around 1937 the factory only employed around 250 workers and that number is a great example of how modern and well structured the factory was; in comparison other companies at the same time employed far more people and created less output per year. This success did not go unnoticed and the company had for some time caught the attention of the 'Christian Seltmann' company.
 : Königlich privilegierte Porzellanmanufaktur Tettau G.m.b.H. (1958 until ...)
The owner of the Porzellanfabrik Christian Seltmann G.m.b.H. in Weiden Wilhelm Seltmann became main shareholder of the factory in 1957 and shortly afterwards took over completely, integrating it into the family-owned 'Seltmann Weiden' group after transforming the Tettau factory into a limited liability company
Our Royal Exclusive Porcelain range is called Koniglich Tettau which means 'Royal priviliged Porcelain Factory in Tettau of East Bavaria' was established in 1794 and is part of the Seltmann Group. Koniglich Tettau was endorsed by the King of Prussia, Friedrich Wilhelm II, an important step in those times. Royal Exclusive Porcelain is exquisite and undoubtedly some of the the finest porcelain on Earth. Koniglich Tettau Porcelain.
produced in the early 1900's are highly sought after pieces and adorn the shelves of museums and private porcelain collectors all over the world. The skill of producing such fine porcelain contains many facets which has been passed through the generations. Handicraft, Model Making and Fine painting are just some of these skills. These pieces are produced using the finest kaolin, quartz & feldspar minerals from the area and fired for extremely long periods at very high temperature. Although Royal Exclusive Porcelain's aethestic appeal looks refined, delicate and even translucent, because of the process the hardness of the porcelain has been independantly tested & rates above stainless steel in hardness & well above bone China. Koniglich Tettau is decorated using precious metals such as Gold, Titanium and Silver.
Koniglich Tettau's 'Royal Exclusive Porcelain' is an investment for life and a precious heirloom for the generations to come.