Three Meissen 'Prunkteller', late 19th century, (3), all in the…
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Three Meissen 'Prunkteller', late 19th century, (3), all in the form of shallow bowls, with parcel gilded relief moulded leaves to the border, decorated to the central reserve with 'Deutsche Blumen' in colours on a white ground, marked with cross swords in under glaze blue to verso with various impressed marks, (3), each 30.5 cm in diameter

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  • Verso - Verso is the "back" side of a sheet of paper, art work, coin or medal. The front side is "recto".
  • Deutsche Blumen - Deutsche blumen is a German term which translates to "German flowers." It is a decorative art style that emerged in Germany in the late 18th and early 19th centuries. The style is characterized by a profusion of highly detailed and lifelike flowers, fruits, and leaves, typically arranged in bouquets or garlands.

    The style was particularly popular in the manufacture of porcelain, with many German porcelain factories producing pieces in the style. These pieces were often used for table settings, and were highly prized for their beauty and craftsmanship.

    Deutsche blumen was a reaction against the ornamental austerity of the previous rococo and empire styles, and was a reflection of the growing interest in naturalism and botanical illustration during the 19th century. The style is considered to be a precursor of the Art Nouveau movement, which emerged later in the century.
  • Gilding - Gilding is a method of ornamentation whereby a thin sheet of gold metal is applied to items made of wood, leather, ceramics, glass and silver for decorative purposes.

    For furniture including mirrors, the sheet of gold is usually applied over a coating of gesso. Gesso is a mixture of plaster of Paris and gypsum mixed with water and then applied to the carved wooden frames of mirrors and picture frames as a base for applying the gold leaf. After numerous coats of gesso have been applied, allowed to dry and then sanded a coat of "bole", a usually red coloured mixture of clay and glue is brushed on and allowed to dry, after which the gold leaf is applied. Over time parts of the gilding will rub off so the base colour can be seen. In water gilding, this was generally a blue colour, while in oil gilding, the under layer was often yellow. In Victorian times, gilders frequently used red as a pigment beneath the gold leaf.

    Metal was often gilded by a process known as fire gilding. Gold mixed with mercury was applied and heated, causing the mercury to evaporate, the long-term effect of which was to kill or disable the craftsman or woman from mercury poisoning. The pursuit of beauty has claimed many victims, not the least of which were the artists who made those pieces so highly sought after today.

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