id:			159886
accession number:	1997.185.a
share license status:	CC0
url:			https://clevelandart.org/art/1997.185.a
updated:		2023-04-13 11:48:29.127000

The Crucifixion, c. 1730. Du Paquier Porcelain Manufactory (Austrian, active 1719–1864). Porcelain; ebonized wood cross with gilt bronze mounts; overall: 100 x 36.5 cm (39 3/8 x 14 3/8 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1997.185.a

title:				The Crucifixion
title in original language:	
series:				
series in original language:	
creation date:			c. 1730
creation date earliest:		1725
creation date latest:		1735
current location:		214 Central and Northern European
creditline:			Purchase from the J. H. Wade Fund
copyright:			

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culture:	Austria, Vienna
technique:	Porcelain; ebonized wood cross with gilt bronze mounts
department:	Decorative Art and Design
collection:	Decorative Arts
type:		Ceramic
find spot:	
catalogue raisonne: 

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CREATORS

* Du Paquier Porcelain Manufactory (Austrian, active 1719–1864)  - artist
after Meissen the first European factory to make hard-paste porcelain. It was founded in 1719 by a Court official of Dutch origin, Claudius Innocentius Du Paquier with the assistance of C. C. Hunger and the kiln master Samuel Stölzel, both from Meissen.
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measurements: Overall: 100 x 36.5 cm (39 3/8 x 14 3/8 in.)
state of the work:	
edition of the work: 	

support materials:


inscriptions:

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CURRENT EXHIBITIONS

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LEGACY EXHIBITIONS

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PROVENANCE

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fun fact:


digital description:


wall description:
The second oldest European porcelain factory after that at Meissen (in Germany) was set up in Vienna in 1716. During its early years, the Vienna factory was privately owned by a court official, Claudius Innocentius Du Paquier, and its early wares-made before 1744-carry his name. They are characterized by energetic shapes, strong colors, and the use of gold for surface decoration. This is the only Du Paquier crucifix known today. The figure of Christ closely resembles the work of Vienna's most famous sculptor, Georg Raphael Donner (1693-1741), and was probably created by one of his followers especially to be used on this crucifix. The anatomical accuracy and precise detail of the figure, along with the abundance of gold decoration, indicate that the piece was probably a special commission intended for a distinguished patron, possibly a member of the Hungarian Esterházy family.
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