Coffeepot manufactured ca. 1715–20; decorated ca. 1728–30 Meissen Manufactory German Of the many independent porcelain painters, or Hausmalers, active in Germany and Austria during the eighteenth century, Ignaz Bottengruber (German, active ca. 1720–ca. 1730, Breslau, ca. 1728–30) was one of the most accomplished in terms of ability, creativity, and originality. He is known to have worked in Breslau, Silesia (now Wrocław, Poland) in the late 1720s, and a signed and at least two dated pieces of porcelain locate him to Vienna in 1730.[1] An unusual number of works decorated by Bottengruber bear h

Coffeepot manufactured ca. 1715–20; decorated ca. 1728–30 Meissen Manufactory German Of the many independent porcelain painters, or Hausmalers, active in Germany and Austria during the eighteenth century, Ignaz Bottengruber (German, active ca. 1720–ca. 1730, Breslau, ca. 1728–30) was one of the most accomplished in terms of ability, creativity, and originality. He is known to have worked in Breslau, Silesia (now Wrocław, Poland) in the late 1720s, and a signed and at least two dated pieces of porcelain locate him to Vienna in 1730.[1] An unusual number of works decorated by Bottengruber bear his signature, enabling an understanding of his painting style that allows attributions of unsigned works to be made to his hand with considerable certainty. In addition, Bottengruber’s complex and dense compositions are unlike those of his contemporaries, and they reflect a degree of erudition that also distinguishes his this coffeepot is not signed, it exhibits all of the characteristics of Bottengruber’s style at its most sophisticated. Painted with three primary scenes within shaped cartouches that are visually linked to one another by a complex design of foliate scrolls, leafy branches, winding ribbons, and flowing drapery, each scene depicts an event in the life of Apollo, one of the most important gods in Greek and Roman mythology. In the central scene opposite the handle, Apollo is shown riding his chariot across the sky, causing the rising and setting of the sun; the two scenes on the sides illustrate Apollo pursuing Daphne and Apollo confronting the Python. Other allusions to the god, including his characteristic lyre and a laurel tree, are found throughout the dense composition, as are the various signs of the zodiac in the guise of putti and animals, each accompanied by a six- pointed star. While the decoration on this coffeepot is particularly ambitious, it reflects Bottengruber’s preference for mythological subjects that are rendered wit

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