Boy with Fruits Figurine
Ernst Bohne Söhne Porcelain Manufactory
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Porcelain is a noble and the most refined type of ceramics. It is fashioned from a blend of various clay varieties, primarily composed of kaolin. The body is either coated with a transparent glaze or left unglazed, which is known as biscuit porcelain. The wares undergo at least two main stages of thermal treatment and are fired at exceptionally high temperatures. Fine ceramic objects are characterised by their white colour, resonance, strength, and translucency. Two fundamentally different decoration methods are employed in its production: relief modelling and painting.
Porcelain originated in China around the 6th–7th centuries, where the secret of its manufacture was closely guarded. Chinese porcelain items reached Europe during the Middle Ages and were valued more highly than gold, which later earned them the moniker "white gold". For centuries, European masters attempted to replicate this material, creating only fragile, soft imitations instead. The secret of the Chinese craftsmen was finally unlocked only at the beginning of the 18th century in Saxony.
The first manufacture in Europe to produce hard-paste porcelain was founded in 1710 by the Saxon Elector and King of Poland, Augustus II the Strong, near Dresden in the town of Meissen. Its establishment followed the development of kaolin clay mines and the invention of the porcelain paste recipe in 1709 by the alchemist Johann Friedrich Böttger. Throughout the 18th century, the Meissen manufacture experienced its most illustrious period of flourish, shaped by the work of such prominent masters as Johann Gregor Höroldt, Johann Gottlieb Kirchner, Johann Joachim Kändler, Michel Victor Acier, and others. This was an era of bold experimentation, technological refinement, and the creation of iconic models.
Apart from the world-renowned Meissen Porcelain Manufactory, numerous other porcelain factories operated throughout Germany. Chief among these was the Royal Porcelain Factory in Berlin (KPM). No less popular was the production of the enterprises in Dresden, Nymphenburg, Volkstedt, Ludwigsburg, Frankenthal, and Selb.
The presented porcelain statuette, titled "Boy with Fruits Figurine", stands as a beautiful specimen of the development of German artistic plastic art from the early 20th century. The subject of the work turns to pastoral themes popular in European cabinet art, presenting a barefoot boy in a graceful, relaxed pose. The youth is dressed in a rich cobalt blue cloak with a refined golden border and a wide-brimmed hat, from under which curly hair falls. In his left hand, he carefully holds a ripe golden pear, and his movements are filled with childish serenity and natural grace. The masterpiece of modelling is evident in the complex play of the clothing draperies and the detailing of the circular base, decorated with a relief gilded ornament.
The bottom of the product bears a clear underglaze blue mark in the form of a letter "N" under a five-point crown, which serves as the trademark of the renowned Thuringian manufactory "Ernst Bohne Söhne" (Rudolstadt, Germany). The factory achieved international recognition for its high-quality replications in the stylistics of Capodimonte and Dresden. The sculpture demonstrates a flawless level of execution, is characterised by the poetic naivety of the image, and transmits the refined aesthetics of German cabinet plastic art of its era.
Porcelain originated in China around the 6th–7th centuries, where the secret of its manufacture was closely guarded. Chinese porcelain items reached Europe during the Middle Ages and were valued more highly than gold, which later earned them the moniker "white gold". For centuries, European masters attempted to replicate this material, creating only fragile, soft imitations instead. The secret of the Chinese craftsmen was finally unlocked only at the beginning of the 18th century in Saxony.
The first manufacture in Europe to produce hard-paste porcelain was founded in 1710 by the Saxon Elector and King of Poland, Augustus II the Strong, near Dresden in the town of Meissen. Its establishment followed the development of kaolin clay mines and the invention of the porcelain paste recipe in 1709 by the alchemist Johann Friedrich Böttger. Throughout the 18th century, the Meissen manufacture experienced its most illustrious period of flourish, shaped by the work of such prominent masters as Johann Gregor Höroldt, Johann Gottlieb Kirchner, Johann Joachim Kändler, Michel Victor Acier, and others. This was an era of bold experimentation, technological refinement, and the creation of iconic models.
Apart from the world-renowned Meissen Porcelain Manufactory, numerous other porcelain factories operated throughout Germany. Chief among these was the Royal Porcelain Factory in Berlin (KPM). No less popular was the production of the enterprises in Dresden, Nymphenburg, Volkstedt, Ludwigsburg, Frankenthal, and Selb.
The presented porcelain statuette, titled "Boy with Fruits Figurine", stands as a beautiful specimen of the development of German artistic plastic art from the early 20th century. The subject of the work turns to pastoral themes popular in European cabinet art, presenting a barefoot boy in a graceful, relaxed pose. The youth is dressed in a rich cobalt blue cloak with a refined golden border and a wide-brimmed hat, from under which curly hair falls. In his left hand, he carefully holds a ripe golden pear, and his movements are filled with childish serenity and natural grace. The masterpiece of modelling is evident in the complex play of the clothing draperies and the detailing of the circular base, decorated with a relief gilded ornament.
The bottom of the product bears a clear underglaze blue mark in the form of a letter "N" under a five-point crown, which serves as the trademark of the renowned Thuringian manufactory "Ernst Bohne Söhne" (Rudolstadt, Germany). The factory achieved international recognition for its high-quality replications in the stylistics of Capodimonte and Dresden. The sculpture demonstrates a flawless level of execution, is characterised by the poetic naivety of the image, and transmits the refined aesthetics of German cabinet plastic art of its era.
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