Gien Faience Salver with Mermen and Cupid
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A large Gien faience salver, 1970-1984, in typical faience style in ochre yellow, green and deep blue and hand decorated with mermen and figures with arabesques and other fantastic creatures, with a central cartouche enclosing a cupid; backstamp of period underside. Length 54 cm. Width 39 cm
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- Cartouche - An ornamental panel in the form of of a shield, oval or rectangular scroll with curling edges. It may be carved into the back of a chair or the top of a sideboard, or present on a piece of silver or jewellery, and contain the initials of the original owner, heraldic symbols, or some other inscription, such as the details of a presentation.
In ceramics the term defines the central area of a vase or similar with a decorative border in one of the shapes above, into which a decorative scene or figures have been painted. - Faience / Maolica - Originating in ancient Egypt, faience is the name given to tin-enamelled porcelain or earthenware, deriving its name from Faenza in Northern Italy. Also known as maiolica because at one time the wares passed through Majorca. In England, faience / maoilca underwent a revival in the late 19th century by the art potteries set up about that time.
Majolica was the name given to a specific product evolved by Minton in 1851 and introduced at the Great Exhibition. The pottery was coloured with a clear glaze containing metallic oxides. - 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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