Yes I agree now. There are other subtle difference in the nostrils and also the way the eyes are coloured for effect v how Herakles eyes are drawn.
So ... Spode used Kirk's engravings for the 'Greek' plate I showed which has most of the composition seen on my vase. Spode also used Kirk's engravings for the figure on the left of my plate taken from a different engraving compositionHere is the Spode design for the main part of the picture on my vase (Herakles and Hippolyte).
Kirk's design was the only source Spode used for this plate according to the linked information:
http://www.spodeceramics.com/pottery/printed-designs/sources/heracles-fighting-hippolytaHere also the Spode design with the man on the left of my vase in the composition (1804):
http://www.spodeceramics.com/pottery/printed-designs/sources/bellerephons-victory-over-chimeraSpode also exported to Russia. See source information:
https://www.tretyakovgallerymagazine.com/articles/2-2016-51/english-pottery-russia-18th-and-19th-centuriesQuote:
ENGLISH POTTERY IN RUSSIA. In the 18th and 19th Centuries
Darya Tarligina
Article: HERITAGE
Magazine issue: #2 2016 (51)
'The reign of Catherine the Great saw English faience in all its diversity take the Russian market by storm. Its attractive price, compared to porcelain, and superior artistic design made English faience extremely popular with the Russian nobility: indeed, as the natural scientist and diarist Andrei Bolotov wrote, by 1796 many had started “buying, and filling their homes with English faience crockery”.[1] It was accepted as perfect for everyday purposes, combining quality, practicality and elegance, and by the 1830s faience was commonly found in many households. Unlike porcelain, which was reserved for special occasions, “Faience dinnerware is not a luxury: it is used every day,” the writer Yevdokim Ziablovsky wrote in his work “Russian Statistics”.[2]
At that time, the Russian market was attractive to English makers of faience, with many of the best names producing sets and individual pieces for export to the country, among them Josiah Wedgwood, Josiah Spode, the Clews brothers, Charles J. Mason and Leeds Pottery. Later, they were joined by companies such as Brown-Westhead, Moore & Co. and Wedgwood & Co. Pieces from these factories could be purchased in diverse ranges, including a wide variety of styles, materials and decoration. The creamware, ironstone, earthenware, Jasperware and Basalt ware were finished with painted patterns, relief-work, overglaze and underglaze decor, lustre and other decoration.' (my emphasis)
So during the period I believe my vase was made, Kirk's designs could indeed be seen in Russia.On the Spode site they show pictures of Tischbein's engravings taken for some of their designs. For easy looking, the Tischbein ones on this link are those with a plain border around them. There are plenty with horses. None of the horses look like that on my vase or like the horse on the porcelain vase I linked to:
http://www.spodeceramics.com/pottery/printed-designs/sources/Greek%20Pattern%20SourceI think it's entirely possible the source for my picture and the horse on the linked porcelain vase are both Kirk.
Topic: Etruscan vase bright azure blue opaline c1850,what is the picture,which country? (Read 36233 times)
