The Three Graces thumbnail 1
The Three Graces thumbnail 2
On display
Image of Gallery in South Kensington

The Three Graces

Figure Group
ca. 1785 (made), 1785 (modelled)
Artist/Maker
Place of origin

The group depicts the Three Graces from classical Greek mythology, Aglaea, Euphrosne and Thalia, who represent charm, beauty and joy and who were the companions of Aphrodite, Apollo and Athena. The composition is based on classical sculptures and wall painting of this subject. The specific source was probably a sculpture in the collection of Cardinal Borghese in Rome, which was restored in the early seventeenth century with the addition of flowers in the hands of the outer figures (as here), and which was reproduced in a print of 1680 by N. Sandrart. A drawing showing a similar composition, possibly a preliminary design for the group, survives at the Meissen factory. This is dated 1784 and has been attributed to J.E. Schenau, who ran the Meissen drawing school, and more recently to the modeller of this piece, C.N. Jüchtzer. The figure group was entered into the factory’s model book in December 1784, and in the following year Jüchtzer exhibited a biscuit porcelain example at a Dresden art exhibition. By1789 the factory moulds required repair by Jüchtzer, which probably indicates that the model was a popular one and that the moulds had worn out.

Object details

Categories
Object type
TitleThe Three Graces (generic title)
Materials and techniques
Hard-paste biscuit porcelain
Brief description
Figure group of 'The Three Graces', hard-paste biscuit porcelain, modelled by C. G. Jüchtzer, 1784, made by Meissen porcelain factory, Germany, ca. 1785
Physical description
Figure group of 'The Three Graces', of hard-paste biscuit porcelain. Three nudes linked by their arms standing by a circular altar or plinth. Rectangular base.
Dimensions
  • Height: 405mm
  • Base width: 235mm
  • Whole width: 375mm
  • Whole depth: 205mm
Undated dimensions, measured in case by Conservation
Marks and inscriptions
  • Crossed swords and a star (Factory mark, in blue)
  • Crossed swords and a star and '57' (Impressed)
  • 'H.71' (Incised factory model number)
Gallery label
(09/12/2015)
The Three Graces
About 1785–90

The Three Graces have been celebrated in literature and art since classical times, most famously in the sculpture by Antonio Canova in the V&A. The daughters of Zeus represent charm, beauty and joy. Various classical sources inspired this composition, but it is most similar to a restored ancient marble group, now in the Louvre.

Germany (Dresden)
Made at the Meissen factory
Modelled by Christian Gottfried Jüchtzer
Biscuit porcelain
Given by Mr C.J. Murray
(December 1994)
The Three Graces
Hard paste biscuit porcelain
GERMAN (Meissen, modelled by Christian Gotfried Jüchtzer (1752-1812), possibly after a drawing by Johann Eleazar Schönau (1737-1806); about 1790
C.576-1920

This group is most closely related to the restored antique marble from the Borghese Gallery, Rome (now in the Louvre) but incorporates elements from various classical sources. The figures here, however, are separated by more space between them and are supported by an elaborate column. Canova first demonstrated his own interest in the subject - in paintings, drawings and a stucco relief- at about the same time as this group was produced.
Credit line
Given by Mr C. J. Murray
Object history
Formerly in the collection of Sir C. A. Murray, KCB (acquired while Minister at Dresden ca. 1860-65)
Subject depicted
Summary
The group depicts the Three Graces from classical Greek mythology, Aglaea, Euphrosne and Thalia, who represent charm, beauty and joy and who were the companions of Aphrodite, Apollo and Athena. The composition is based on classical sculptures and wall painting of this subject. The specific source was probably a sculpture in the collection of Cardinal Borghese in Rome, which was restored in the early seventeenth century with the addition of flowers in the hands of the outer figures (as here), and which was reproduced in a print of 1680 by N. Sandrart. A drawing showing a similar composition, possibly a preliminary design for the group, survives at the Meissen factory. This is dated 1784 and has been attributed to J.E. Schenau, who ran the Meissen drawing school, and more recently to the modeller of this piece, C.N. Jüchtzer. The figure group was entered into the factory’s model book in December 1784, and in the following year Jüchtzer exhibited a biscuit porcelain example at a Dresden art exhibition. By1789 the factory moulds required repair by Jüchtzer, which probably indicates that the model was a popular one and that the moulds had worn out.
Bibliographic references
  • Honey, W. B. Dresden china London: A. & C. Black, 1934, Pl. LXIII, p. 144.
  • Berling, K. Meissner Porzellan und seine Geschichte Leipzig, 1900, p. 196
  • Szelegejd, Barbara. The Sophisticated Charm of White Porcelain: The Wilanow Biscuit Collection Warsaw, p. 160-162
  • Arts Coucil of Great Britain. The Age of Neoclassicism London, 1972, Cat. 1438
Collection
Accession number
C.576-1920

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Record createdNovember 4, 2002
Record URL
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