Lot 36: A German Gothic revival KPM porcelain and carved oak triptych

The porcelain plaque by the Berlin Konigliche Porzellan Manufaktur, After the painting by Stefan Lochner, Circa 1860 Surmounted by a cross, flanked to each side by two foliate finials, on a pireced foliate backplate, centred by two cupboard doors, each decorated with fleurs de lys, scrolling foliage and arcades, centred by a cross, opening to reveal three plaques depicting the Virgin Mary to the centre, St Ursula to the left, St Gereon to the right, each plaque impressed KPM, above double ogives, on a steppd spreading base, supported by a wall bracket with a pierced roundel frieze, above pireced scrolling foliage 561/4 in. (143 cm.) high; 31 in. (79 cm.) wide open; 61/4 in. (16 cm.) deep NOTES The Berlin Konigliche Porzellan Manufaktur, known as KPM, was founded in the first half of the 18th century and, after financial difficulties, was taken over by Frederik the Great in 1763. Royal participation in the factory continued with particular interest being shown by Frederik Wilhelm III (1777-1840) whose royal patronage, together with growing demand from an increasingly wealthy middle class, provided it with a solid base in the early 19th century. The production of decorated porcelain plaques had already begun in the latter part of the 18th century, but was to flourish from the 1840s onwards. From about 1810, many well-known artists, trained at the Berlin Academy, were employed to copy old masters as well as produce original works for transferral porcelain. At first, this decoration was chiefly applied to decorative vases and display cups, but it was soon realized that a porcelain plaque could be used just like a canvas, while exploiting the luminosity of the porcelain body, and from the mid-1840s, KPM manufactured and sold increasing quantities. Few factory records have survived relating to the production of porcelain plaques, however, they are recorded as having been exhibited at the 1851 Great Exhibition in London, where their style of painting often reflected the contemporary trends of taste in the fine arts. Prices paid for the plaques were often considerable, particularly for the large and very finely executed pieces, and this extended to the 'blanks' that were sold for decoration outside the factory. The consequence of this high price for blanks was that they tended to be used by the best of the decorating workshops. The range of subject matter found on the plaques is extensive with many excellent copies made after old masters of the Northern and Italian schools, such as the present plaques. The present plaques are after a painting by the German artist Stefan Lochner (c.1400-1451), now in Cologne's Cathedral. This altarpiece, depicting the Virgin Mary, Patron Saint of Cologne, was first installed in the City's council's chapel 'St Mary in Jerusalem'. The subject matter is of a very local character, with the central panel showing the Adoration of the Magi. This was a Biblical episode particularly important and close to the inhabitants of Cologne, as may be seen again in the 'Three Kings' Gate', adjacent to the chapel. The higly intricately sculpted frame is redolent of the 19th century romantic appeal for Gothic design. Frederick William IV was King fo Prussia form 1840 to 1888.