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akg8282601 EIGHT PORCELAIN FIGURES FROM THE ""WEDDING PROCESSION"". KPM. Berlin. 1906-1919, once without definite year mark. Models A. Amberg. Porcelain, colour and gold enriched. Japanese with fish, Arab with bag pipes, African with monkey, Indian with turkey, Goth with wind chime, African with bugle, bride and groom from the wedding procession by Adolf Amberg. 31.5 - 41.5cm. Sceptre mark, red imperial orb resp. bride with war mark 1918-19, Japanese/Arab/Bride/Bridegroom with blue imperial orb. Annual letters for 1908/1906/ four times with jubilee mark for 150th Anniversary 1913, various incised signs, embossing numbers and painter's signet. Condition A, once A/B and twice C. Provenance: Privatate collection Hesse. Literature: - Bröhan-Museum, Berlin (ed.): Porzellan. Kunst und Design 1889 bis 1939. Vom Jugendstil zum Funktionalismus, Berlin 1996, cf. pp. 21, 122. -Hoffmann, Tobias/Kanowski, Claudia (ed.): Lust auf Dekor. KPM-Porzellane zwischen Jugendstil und Art Deco. Die Ära Schmuz-Baudiß, Cologne 2013, cf. pp. 139. -von Treskow, Irene: Die Jugendstil-Porzellane KPM Berlin, Munich 1971, cf. pp. 109. -Westheim, Paul: Von der Renaissance des Berliner Porzellans, in: Deutsche Kunst & Dekoration, Vol. 29 (1911/12), pp. 82. 1904 Crown Prince Friedrich Wilhelm of Prussia was engaged to the young duchess Cecilie of Mecklenburg-Schwerin. The wedding the following year became a societal mega event that was held in Berlin with elaborate celebrations and a large-scale festive parade. As wedding present, the cities commissioned the design for the silver centrepiece in the shape of a wedding procession. The theme of the ensemble was conceived as an homage to the bridal couple by emmissaries of various nations. The design by the sculptor Adolf Amberg distanced itself from the historism style cultivated by the old empire and aspired to the innovations of the art nouveau style. During times, in which questions of ""Sittlichkeit"" (societal morality) were on the political agenda, Amberg's exotic, sparesly dressed figures were not what was wished to be seen on the banquet table at court. As such the design was rejected by Empress Auguste Victoria, and was eventually bought in 1908 by the Imperial Porcelain Manufactory Berlin (KPM). In 1910 the KPM already presented select figures from this ensemble at the world exhibition in Brussels, for which Amberg was awarded a gold medal there. At the big Berliner Kunstausstellung (Berlin art exhibition) 1911 the centrepiece was presented in its entirety for the first time and was seen by delighted critics as the clear pinnacle of the show. There phrases were uttered such as ""Renaissance des Berliner Porzellans"" (Renaissance of Berlin porcelain) and ""einer Gesamtkomposition von königlicher Erlesenheit"" (an overall composition of royal elegance). The complete wedding procession consists of 20 figures, a jardiniere, two shallow fruit bowls and two six-flamed girandoles. In order to achieve the complete narrative and compositorial effect, the figures must be set in a certain order. The entourage of the groom, who is dressed as a Roman warrior, and that of the bride are moving towards each other. The bride, depicted as Europa on the Bull, has a female, the groom a male entourage. These are paying homage to the couple with gifts from nature, from the crafts and from the arts and differ from the protagonists, who possess a statue-like calm, by their dance-like, dynamic poses. The gait motifs of the individual figures are succintly carved out. The overall impression is reminiscent of a rehearsed choreography. Indeed, Amberg's design plays with the principles of the dance style modern in 1900. In the new, ""Sinfonische Ausdruckstanz"" (symphonic expression dance) the striding, walking, and turning of oneself played a central role. The elegance of the movement is paired with soft shapes. The softly modelled contours and wide areas smoothly flow into one another and support the dance-like character of each figure. Amberg creates a rhythm for the eye, that can be found in the individual figures, as well as in their relation to one another. Estimated Shippingcost for this lot: Germany: 37,82 Euro plus 7,18 Euro VAT EU: 58,82 Euro plus 11,18 Euro VAT Worldwide: 100,84 Euro plus 19,16 Euro VAT additional shipping insurance.

akg8282644 EIGHT PORCELAIN FIGURES FROM THE ""WEDDING PROCESSION"". KPM. Berlin. 1906-1919, once without definite year mark. Models A. Amberg. Porcelain, colour and gold enriched. Japanese with fish, Arab with bag pipes, African with monkey, Indian with turkey, Goth with wind chime, African with bugle, bride and groom from the wedding procession by Adolf Amberg. 31.5 - 41.5cm. Sceptre mark, red imperial orb resp. bride with war mark 1918-19, Japanese/Arab/Bride/Bridegroom with blue imperial orb. Annual letters for 1908/1906/ four times with jubilee mark for 150th Anniversary 1913, various incised signs, embossing numbers and painter's signet. Condition A, once A/B and twice C. Provenance: Privatate collection Hesse. Literature: - Bröhan-Museum, Berlin (ed.): Porzellan. Kunst und Design 1889 bis 1939. Vom Jugendstil zum Funktionalismus, Berlin 1996, cf. pp. 21, 122. -Hoffmann, Tobias/Kanowski, Claudia (ed.): Lust auf Dekor. KPM-Porzellane zwischen Jugendstil und Art Deco. Die Ära Schmuz-Baudiß, Cologne 2013, cf. pp. 139. -von Treskow, Irene: Die Jugendstil-Porzellane KPM Berlin, Munich 1971, cf. pp. 109. -Westheim, Paul: Von der Renaissance des Berliner Porzellans, in: Deutsche Kunst & Dekoration, Vol. 29 (1911/12), pp. 82. 1904 Crown Prince Friedrich Wilhelm of Prussia was engaged to the young duchess Cecilie of Mecklenburg-Schwerin. The wedding the following year became a societal mega event that was held in Berlin with elaborate celebrations and a large-scale festive parade. As wedding present, the cities commissioned the design for the silver centrepiece in the shape of a wedding procession. The theme of the ensemble was conceived as an homage to the bridal couple by emmissaries of various nations. The design by the sculptor Adolf Amberg distanced itself from the historism style cultivated by the old empire and aspired to the innovations of the art nouveau style. During times, in which questions of ""Sittlichkeit"" (societal morality) were on the political agenda, Amberg's exotic, sparesly dressed figures were not what was wished to be seen on the banquet table at court. As such the design was rejected by Empress Auguste Victoria, and was eventually bought in 1908 by the Imperial Porcelain Manufactory Berlin (KPM). In 1910 the KPM already presented select figures from this ensemble at the world exhibition in Brussels, for which Amberg was awarded a gold medal there. At the big Berliner Kunstausstellung (Berlin art exhibition) 1911 the centrepiece was presented in its entirety for the first time and was seen by delighted critics as the clear pinnacle of the show. There phrases were uttered such as ""Renaissance des Berliner Porzellans"" (Renaissance of Berlin porcelain) and ""einer Gesamtkomposition von königlicher Erlesenheit"" (an overall composition of royal elegance). The complete wedding procession consists of 20 figures, a jardiniere, two shallow fruit bowls and two six-flamed girandoles. In order to achieve the complete narrative and compositorial effect, the figures must be set in a certain order. The entourage of the groom, who is dressed as a Roman warrior, and that of the bride are moving towards each other. The bride, depicted as Europa on the Bull, has a female, the groom a male entourage. These are paying homage to the couple with gifts from nature, from the crafts and from the arts and differ from the protagonists, who possess a statue-like calm, by their dance-like, dynamic poses. The gait motifs of the individual figures are succintly carved out. The overall impression is reminiscent of a rehearsed choreography. Indeed, Amberg's design plays with the principles of the dance style modern in 1900. In the new, ""Sinfonische Ausdruckstanz"" (symphonic expression dance) the striding, walking, and turning of oneself played a central role. The elegance of the movement is paired with soft shapes. The softly modelled contours and wide areas smoothly flow into one another and support the dance-like character of each figure. Amberg creates a rhythm for the eye, that can be found in the individual figures, as well as in their relation to one another. Estimated Shippingcost for this lot: Germany: 37,82 Euro plus 7,18 Euro VAT EU: 58,82 Euro plus 11,18 Euro VAT Worldwide: 100,84 Euro plus 19,16 Euro VAT additional shipping insurance.

alb3603953 Yuny and His Wife Renenutet. Dimensions: H. 84.5 cm (33 1/4 in); w. 54.5 cm (21 7/16 in); d. 73 cm (28 3/4 in). Dynasty: Dynasty 19. Reign: reign of Seti I. Date: ca. 1294-1279 B.C..These figures represent Yuny seated next to his wife Renenutet. Yuny, who lived in the city of Asyut, was a chief royal scribe and holder of many other offices, perhaps including that of physician. Additional inscriptions on the base of the statue further elaborate Yuny's responsibilities. On the center fold of Yuny's pleated skirt is an inscription that reads: "May everything that comes forth upon the offering table of [the god] . and all pure food that comes forth from the Great Enclosure [the temple complex at Heliopolis] be for the chief scribe, royal scribe of letters, Yuny, justified."Renenutet affectionately places her right arm around her husband's shoulders. On the back of the statue she is described as a singer of Amun-Re. In her left hand, she holds by its metal counterweight a heavy bead necklace called a menat. Menat necklaces were ritual implements that were held in the hands and shaken like cymbals, especially in the service of the goddess Hathor, but also when entering the presence of other deities..Appropriate to their high secular and religious positions, Yuny and Renenutet wear the elaborate wigs and fine linen attire fashionable in their time. Renenutet is adorned with a lotus fillet and a necklace called a broad collar. The beads are in the shape of nefer hieroglyphs (meaning "good" or "beautiful"), offering vases, and floral petals. Traces of black remain on the wigs. The couple sit together on a bench with elegantly carved lion-paw feet.On the back of the chair in both sunken and raised relief are two scenes illustrating the ancient Egyptian ideal of affection and remembrance among family generations. In the upper register, Yuny and Renenutet receive offerings from their son; in the lower, Renenutet offers food and drink to her parents.Another statue depicting Yuny by himself is on display in gallery 130. Museum: Metropolitan Museum of Art, New York, USA.