{"id":34651,"date":"2025-04-28T08:59:42","date_gmt":"2025-04-28T05:59:42","guid":{"rendered":"https:\/\/server.id.lv\/?post_type=product&p=34651"},"modified":"2026-09-08T02:02:48","modified_gmt":"2026-09-07T23:02:48","slug":"5633","status":"publish","type":"product","link":"https:\/\/server.id.lv\/lv\/products\/5633\/","title":{"rendered":"Limo\u017eas porcel\u0101na \u0161\u0137\u012bvis ar roku gleznotu ant\u012bko sievie\u0161u ainu \u2014 gleznot\u0101js C. Linat, Limoges, Francija, ap 1885.\u20131905. gads (5633)"},"content":{"rendered":"
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\ud83d\udcd0 IZM\u0112RI<\/strong> \u2014 Diametrs 24 cm. Viegls.<\/p>\n

Limo\u017eas porcel\u0101na dekorat\u012bvais \u0161\u0137\u012bvis ar roku gleznotu ant\u012bko sievie\u0161u ainu \u2014 gleznot\u0101js C. Linat, Limoges, Francija, ap 1885.\u20131905. gads<\/h3>\n

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\ud83c\udfdb\ufe0f IZGATAVO\u0160ANAS PERIODS, M\u0100KSLAS STILS, LAIKMETS<\/strong><\/p>\n

\u0160is \u0161\u0137\u012bvis pieder tam augl\u012bgajam p\u0101rejas br\u012bdim, kad V\u0113lais Historicisms ar t\u0101 m\u012blest\u012bbu pret ant\u012bkajiem un Renesanses t\u0113liem v\u0113l tur\u0113ja savu siltumu, bet Art Nouveau jau atnesa jaunu dekorat\u012bvo valodu \u2014 organisk\u0101s roz\u012b\u0161u v\u012btnes apmales ornament\u0101 un gleznojuma br\u012bvo, pl\u016bsto\u0161o fig\u016bru kust\u012bb\u0101 abas est\u0113tikas sadz\u012bvo vien\u0101 \u0161\u0137\u012bv\u012b. Dat\u0113jams ar laiku no apm\u0113ram 1885. l\u012bdz 1905. gadam. Centr\u0101lais gleznojums att\u0113lo divas sievietes ant\u012bkos t\u0113rpos uz klasiskas terases \u2014 viena ar aug\u013cu grozu, otra tur\u0113dama rozi, fon\u0101 j\u016bra ar buruku\u0123u siluetiem un klasicistiskas celtnes arhitekt\u016bra. Ainava atsauc atmi\u0146\u0101 Neapolijas l\u012bci vai \u0100dri\u0101tijas piekrasti \u2014 \u0161\u012b Dienvidu romantika bija \u012bpa\u0161i iecien\u012bta Tre\u0161\u0101s Republikas Francij\u0101, kad m\u0101kslinieki un kolekcion\u0101ri v\u0113rsa skatienu uz It\u0101liju k\u0101 skaistuma un harmonijas iemiesojumu. \u0160\u0137\u012bvja mala kl\u0101ta ar kr\u0113mkr\u0101sas fonu, pa kuru vij\u012bgi tek roz\u012b\u0161u v\u012btne \u2014 nospiedts vai p\u0101rnestas tehnik\u0101 izpild\u012bts ornaments, kas ieskauj centr\u0101lo gleznojumu k\u0101 d\u0101rza \u017eogs ieskauj terasi. Zelta vi\u013c\u0146ot\u0101 mala \u2014 bag\u0101t\u012bga un prec\u012bzi izpild\u012bta.<\/p>\n

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\u269c\ufe0f RA\u017dOT\u0100JS, GLEZNOT\u0100JS UN Z\u012aMOGS<\/strong><\/p>\n

Apak\u0161\u0101 iespieduma z\u012bmogs: “Limoges”<\/strong> \u2014 vienk\u0101r\u0161s pils\u0113tas nosaukums bez manufakt\u016bras z\u012bmoga, kas liecina, ka \u0161\u0137\u012bvis ticis nodots glezno\u0161anai \u0101rpus manufakt\u016bras \u2014 t\u0101 sauktaj\u0101 atelier de peinture<\/em> jeb neatkar\u012bg\u0101 gleznot\u0101ju darbn\u012bc\u0101, kas bija pla\u0161i izplat\u012bta prakse Limo\u017e\u0101 19. gs. beig\u0101s. \u0160\u0101das darbn\u012bcas ieg\u0101d\u0101j\u0101s nedekor\u0113tu (blanc de Limoges<\/em>) porcel\u0101nu tie\u0161i no manufakt\u016br\u0101m un p\u0113c tam to apgleznoja augst\u0101k\u0101s klases m\u0101kslinieki p\u0113c individu\u0101la pas\u016bt\u012bjuma vai ekskluz\u012bviem izdevumiem.<\/p>\n

Gleznojuma apak\u0161\u0113j\u0101 labaj\u0101 st\u016br\u012b skaidri parakst\u012bts: C. Linat<\/strong> \u2014 Limo\u017eas porcel\u0101na gleznot\u0101js, kura darbi pieder pie \u0161\u012b perioda augstas klases peinture sur porcelaine<\/em> trad\u012bcijas. \u0160\u0101da paraksta esam\u012bba ir iz\u0161\u0137iro\u0161s kvalit\u0101tes r\u0101d\u012bt\u0101js \u2014 t\u0101 noz\u012bm\u0113, ka gleznojums nav s\u0113rijveida, bet individu\u0101ls m\u0101kslas darbs, ko konkr\u0113ts m\u0101kslinieks uz\u0146\u0113m\u0101s ar pilnu profesion\u0101lo atbild\u012bbu. Limo\u017eas atelier<\/em> sist\u0113ma 19. gs. otraj\u0101 pus\u0113 darboj\u0101s t\u0101d\u0101 pa\u0161\u0101 lo\u0123ik\u0101 k\u0101 Par\u012bzes m\u0101kslas saloni \u2014 lab\u0101kie gleznot\u0101ji ekspon\u0113ja savus darbus, un tur\u012bgi pas\u016bt\u012bt\u0101ji no Francijas, Anglijas un ASV ieg\u0101d\u0101j\u0101s individu\u0101li apgleznotus \u0161\u0137\u012bvjus un serv\u012bzes k\u0101 m\u0101kslas kolekcijas da\u013cu. Limo\u017eas porcel\u0101ns \u0161aj\u0101 period\u0101 bija Francijas nacion\u0101l\u0101 lepnuma simbols \u2014 tie\u0161i Limo\u017eas manufakt\u016bras apg\u0101d\u0101ja Elizejas pili, Versa\u013cas rezidences un Eiropas augstma\u0146u galmos \u2014 un atelier<\/em> sist\u0113ma \u013c\u0101va \u0161o presti\u017eu p\u0101rnest individu\u0101los m\u0101kslas darbos, kas bija pieejami augst\u0101kajai bur\u017eu\u0101zijai vis\u0101 Rietumeirop\u0101 un Amerik\u0101.<\/p>\n

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\ud83d\udc8e RETUMS UN NOZ\u012aME<\/strong><\/p>\n

Parakst\u012bts Limo\u017eas porcel\u0101na \u0161\u0137\u012bvis ar individu\u0101la gleznot\u0101ja v\u0101rdu un augst\u0101k\u0101s klases figur\u0101lu ainavu gleznojumu ir iev\u0113rojami ret\u0101ks atradums nek\u0101 s\u0113rijveida dekorat\u012bvais porcel\u0101ns. C. Linat paraksts pie\u0161\u0137ir \u0161im \u0161\u0137\u012bvim nevis tirdznieciska izstr\u0101d\u0101juma, bet m\u0101kslas darba statusu \u2014 tas ir vienreiz\u0113js gleznojums uz porcel\u0101na, nevis reproduc\u0113ts mot\u012bvs. Ant\u012bk\u0101s sievie\u0161u fig\u016bras ar Dienvidu ainavu kombin\u0101cij\u0101 ar roz\u012b\u0161u v\u012btnes apmali un zelta malu veido kompoz\u012bciju, kas kolekcion\u0101ru vid\u016b Francij\u0101, ASV, Lielbrit\u0101nij\u0101 un V\u0101cij\u0101 tiek augstu v\u0113rt\u0113ta gan k\u0101 m\u0101kslas, gan k\u0101 kult\u016brv\u0113sturiska liec\u012bba.<\/p>\n

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\ud83d\udd6f\ufe0f PIELIETOJUMS INTERJER\u0100, DIZAIN\u0100 UN FOTOGR\u0100FIJ\u0100<\/strong><\/p>\n

\u0160is \u0161\u0137\u012bvis ir rad\u012bts, lai to redz\u0113tu \u2014 nevis lai no t\u0101 \u0113stu. Tas sevi atkl\u0101j uz sienas k\u0101 m\u0101kslas darbs, speci\u0101l\u0101 tur\u0113t\u0101j\u0101 uz konsoles vai rakst\u0101mgalda, stikla vitr\u012bn\u0101 kolekcion\u0101ru kolekcij\u0101. Fran\u010du klasisk\u0101, Second Empire, Belle \u00c9poque un romantisk\u0101<\/strong> stila interjeros tas iedarbojas k\u0101 kult\u016bras objekts ar st\u0101stu \u2014 un tie\u0161i \u0161is st\u0101sts padara to par sarunu iedvesmot\u0101ju ikvien\u0101 telp\u0101, kur tas tiek izlikts. Fotogr\u0101fij\u0101 \u2014 ide\u0101ls priek\u0161mets fine dining<\/em>, lifestyle<\/em> un m\u0101kslas kataloga uz\u0146\u0113mumiem, kur rokas apgleznot\u0101 ainava un zeltain\u0101 mala rada siltumu un v\u0113sturisku dzi\u013cumu.<\/p>\n

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\ud83d\udd0d ST\u0100VOKLIS<\/strong><\/p>\n

Visp\u0101r\u0113jais st\u0101voklis \u2014 \u013coti labs, atbilsto\u0161s vecumam<\/strong>. Gleznojums spilgts, ar bag\u0101t\u012bgu kr\u0101su gammu un prec\u012bz\u0101m fig\u016bru deta\u013c\u0101m. Zelta mala labi saglab\u0101jusies ar rakstur\u012bgu minim\u0101lu nodilumu viet\u0101s, kur \u0161\u0137\u012bvis bijis tur\u0113ts. Glaz\u016br\u0101 viet\u0101m redzamas \u013coti smalkas krakelejas \u2014 ant\u012bka porcel\u0101na dabiska paz\u012bme. \u0160\u0137\u012bvja apak\u0161a t\u012bra, z\u012bmogs skaidri las\u0101ms. Nav l\u016bzumu vai skald\u012bjumu. Lietas st\u0101voklis piln\u012bb\u0101 atspogu\u013cots fotogr\u0101fij\u0101s.<\/p>\n

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\ud83c\uddec\ud83c\udde7 DESCRIPTION IN ENGLISH<\/strong><\/p>\n

\ud83d\udcd0 DIMENSIONS<\/strong> \u2014 Diameter 24 cm. Lightweight.<\/p>\n

Limoges Porcelain Decorative Plate with Hand-Painted Antique Women Scene \u2014 Painter C. Linat, Limoges, France, circa 1885\u20131905<\/h3>\n

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\ud83c\udfdb\ufe0f PERIOD, ART STYLE, HISTORICAL CONTEXT<\/strong><\/p>\n

This plate belongs to that fertile transitional moment when Late Historicism \u2014 with its deep affection for antique and Renaissance figural imagery \u2014 still held its warmth, while Art Nouveau was already introducing a new decorative language. In the organically flowing rose garland border and the fluid, graceful movement of the painted figures, both aesthetics coexist within a single object. Dateable to approximately 1885\u20131905. The central painting depicts two women in antique dress on a classical terrace \u2014 one carrying a basket of fruit, the other holding a rose \u2014 with a sea view behind them, sailing vessels on the water, and the silhouette of a neoclassical building on the far shore. The landscape evokes the Bay of Naples or the Adriatic coast \u2014 a Southern romanticism that was particularly cherished in Third Republic France, when artists and collectors turned toward Italy as the embodiment of beauty and harmony. The border is rendered on a cream ground threaded with a delicate rose garland \u2014 a transfer or fine decorative technique framing the central painting like a garden hedge surrounds a terrace. The scalloped gold rim is richly applied and precisely executed.<\/p>\n

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\u269c\ufe0f MAKER, PAINTER AND MARK<\/strong><\/p>\n

The underside bears a simple printed mark: “Limoges”<\/strong> \u2014 the city name alone, without a manufactory mark, indicating that the plate was passed to an independent painting studio after firing \u2014 the so-called atelier de peinture<\/em>, a widely practised system in Limoges in the late 19th century. Such studios purchased undecorated (blanc de Limoges<\/em>) porcelain directly from the manufactories and had it painted by skilled artists to individual commission or for exclusive editions.<\/p>\n

The painting is signed in the lower right: C. Linat<\/strong> \u2014 a Limoges porcelain painter working in the tradition of high-quality peinture sur porcelaine<\/em> of this period. The presence of a painter’s signature is a decisive mark of quality \u2014 it means the decoration is not a serial production item but an individual work of art, executed by a specific artist with full professional accountability. The Limoges atelier<\/em> system in the second half of the 19th century operated on the same logic as the Paris art salons \u2014 the finest painters exhibited their works, and wealthy patrons from France, England, and the United States commissioned individually painted plates and services as part of their art collections. Limoges porcelain in this period was a symbol of French national pride: the Limoges manufactories supplied the \u00c9lys\u00e9e Palace, the residences of Versailles, and the courts of European aristocracy \u2014 and the atelier<\/em> system translated this prestige into individual works of art accessible to the haute bourgeoisie across Western Europe and America.<\/p>\n

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\ud83d\udc8e RARITY AND SIGNIFICANCE<\/strong><\/p>\n

A signed Limoges porcelain plate bearing an individual painter’s name and a high-quality figurative landscape is a considerably rarer find than standard decorative porcelain. The signature of C. Linat elevates this plate from a commercial product to the status of a work of art \u2014 a unique painting on porcelain, not a reproduced motif. The antique female figures set against a Southern landscape, combined with the rose garland border and gold rim, form a composition that is highly regarded among collectors in France, the United States, the United Kingdom, and Germany \u2014 both as a work of art and as a cultural and historical document.<\/p>\n

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\ud83d\udd6f\ufe0f USE IN INTERIOR DESIGN AND PHOTOGRAPHY<\/strong><\/p>\n

This plate was made to be seen \u2014 not to be used at table. It reveals itself on the wall as a work of art, on a dedicated stand on a console or writing desk, or in a glass cabinet as part of a collector’s display. In French classical, Second Empire, Belle \u00c9poque, and romantic<\/strong> style interiors it functions as a cultural object with a story \u2014 and it is precisely this story that makes it a conversation piece in every room where it is displayed. In photography \u2014 an ideal subject for fine dining, lifestyle, and art catalogue shoots, where the hand-painted scene and golden rim create warmth and historical depth.<\/p>\n

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\ud83d\udd0d CONDITION<\/strong><\/p>\n

Overall condition \u2014 very good, consistent with age<\/strong>. The painting is vivid, with a rich colour palette and precise figurative detail. The gold rim is well preserved with characteristic minimal wear in areas where the plate has been handled. Very fine crazing is visible in certain areas of the glaze \u2014 a natural feature of antique porcelain. The reverse is clean and the mark is clearly legible. No cracks or chips. The condition of the item is fully reflected in the photographs.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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