A Large German Parcel-Gilt Silver-Mounted Blue and White Faience Canister, Christian Mentzel the Elder, Breslau, Circa 1680

Christian Mentzel the Elder became master in 1668 and died in 1699. Rosenberg lists a magnificent silver-gilt monstrance by him, set with enamels and jewels dated 1671, R3 1425A, illustrated pl.30.

The lobed form of the vessel lends itself perfectly to the painter’s choice of decoration, flowers separated into panels, typical of painting seen on Chinese blue and white Kraak-wares that were exported to Europe in large quantities during the 17^th century. A style which was imitated throughout the ceramic centers of Europe, particularly by painters in the German fayence cities of Hanau and Frankfurt, as well as in the Netherlands and England. Surviving jars or vases close to this form are recorded in German fayence, Dutch and English Delftware. Examples painted in ‘transitional’-style, with continuous scenes of Chinoiserie figures in a landscape, include a lobed Dutch Delft vase, circa 1695-1705, close in form to the present lot, though of slightly smaller size, in the Art Institute, Chicago, ref. no. 1943.1040. Similar forms are found in London Delftware. A particularly rotund example, circa 1670-75, painted with sprays of flowers and birds is illustrated in Leslie B. Grigsby, The Longridge Catalogue, 2000, Vol. II, D365.