A Royal Vienna ovoid porcelain scent bottle, early 20th century, the egg shaped bottle painted to the front with a cupid consoling a melancholic young woman in a fenced garden, with cherubs in clouds to the reverse, signed W. Seidl, with shaped gilt stopper and raised on a moulded spreading foot gilt decorated with foliage upon a magenta ground, with overglaze blue beehive or shield mark underside. In good condition as catalogued, height: 11 cm
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- Overglaze on Porcelain - Overglaze decoration on porcelain refers to a decorative technique where designs are painted onto a fired and glazed porcelain surface, and then fired again at a lower temperature to fuse the decorative design onto the glaze surface. This technique allows for a wide range of colors and intricate designs that would not be possible with underglaze decoration, which is applied before the glaze is fired.
- Oviform /ovoid - The outline loosely resembling the shape of an egg.
- 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.
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