Dresden-style Cupid Urn with Lovers and Fruit Motif
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A large Dresden style urn, early 20th century, the campana urn with cupid handles in high relief decorated with transfer scenes of lovers upon a lavishly moulded flower and fruit encrusted ground, crossed sword Meissen type marks underside, impressed and painted marks, 48 cm high
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- Campana Form Vases or Urns - A campana form vase or urn is a type of ceramic or metal container that is characterized by its reverse bell-like shape. The shape is typically wider at the top and narrower at the bottom, with a curved or flared opening at the top. The vase or urn may have a handle or handles on either side of the opening.The campana form was popular in ancient Greece and Rome, and the design has been revived in various forms throughout the history of art, including the Renaissance and the Art Nouveau period.
- Cupid Motif - The Cupid motif, which features the Roman god of love and desire, Cupid, was a popular decorative element in classical ornamentation. Cupid was often depicted as a winged, naked baby with a bow and arrow, and was often used to symbolize love and desire.
In classical art and architecture, Cupid motifs were often used as decorative elements on furniture, such as on the legs of chairs and tables, as well as on architectural elements such as friezes and pediments. They were also used as decorative elements in frescoes, mosaics, and other forms of art.
During the Renaissance, Cupid motifs were often incorporated into the decoration of palaces, churches and other grand buildings, as they were seen as symbols of love and fertility. Cupid motifs were also commonly used in the decorative arts of the Baroque period, often appearing in the form of putti, which are small winged cherub figures.
In addition to their decorative use, Cupid motifs were also believed to hold symbolic meaning, as they were thought to evoke feelings of love, desire, and fertility. - Transfer Printed / Decorated Transferware - Transfer printing is method of decorating ceramics, reducing the cost of decoration when compared to employing artists to paint each piece. A print was taken on transfer-paper from an engraved copperplate, covered in ink prepared with metallic oxides, and the image on the paper was then applied to the biscuit-fired ceramic body. The print was fixed by heating the object in an oven, and then glazed, sealing the picture. Early transfer prints were blue and white, as cobalt was the only colour to stand firing without blurring. Early in the 19th century advances in the composition of the transfer paper resulted in better definition and detail, and enabled engravers to combine line-engraving with stipple.
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