Though this 18th-century tray is unsigned, it is almost certainly painted by Kalter. An example of his porcelain decorative style is on page 213 of the Bauml Collection at the factory and it bears close resemblances to this tray. “Kaltner came to the factory as an apprentice in 1765 and worked there until around 1776. At the age of 18 he was allowed to work on the copper engraving by Cuvillies, “Ecole d l’architecture bavaroise,” and thus left evidence of his way of working and his style, which are important for the determination of his high-quality porcelain paintings. After a stay in Paris in 1780, his reputation as a valued court painter and miniature painter brought him via Munich to Vienna, where he probably died.” The early shape is illustrated on page 184 of the Bauml Collection. This tray was well cared-for, and shows almost no wear—including hardly any scratches—except to the gilt banding. If you look closely at the photo of the yellow flowers on the edge, you can see a black spot in the tree trunk. This was a defect in the porcelain that was covered by Kaltner, and appears to be the only visible flaw, but on the bottom there are original cracks in the footrim that appeared during the firing. The 18th-century Nymphenburg mark is shown on the back of the tray. This platter is large, very impressive and very attractive, over sixteen and three-quarters inches across. It comes by descent from a Stuttgart family in Germany. A truly important piece of porcelain.

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Ceramics, Porcelain
Germany • German
Platters, Trays

Laureate Antiques

Important 1770 Josef Kaltner Nymphenburg Tray or Platter, Landscape Scene in Antique German Porcelain


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