Early Derby Porcelain Figure: Time Clipping Wings of Love, c. 1765
£1,300.00
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Early Derby Group in Soft-Paste Porcelain - Time Clipping the Wings of Love, Circa 1765-1780
This rare and finely crafted soft-paste porcelain group, painted with enamels and gilded, depicts Time seated on a masonry pedestal, clipping the wings of Love. Time, draped in flowing flowered fabric, holds Cupid on his knee, while symbolic elements—including a scythe, hourglass, crown, sceptre, terrestrial globe, skull, and Cupid's quiver—adorn the scrolled base.
Also known as Time Clipping the Wings of Cupid, the composition is inspired by Sir Anthony van Dyck's painting Time Clipping the Wings of Love (1599-1641). The earliest models predate Charles Phillips' 1772 engraving of the subject, likely drawing from an earlier source such as François Perrier's 1633-1634 etching, inscribed with the Virgilian phrase Omnia vincit Amor, vincit mox tempus Amorem. Another potential influence is Otto van Veen's Amorum Emblemata (1608), which poetically explores the theme of Time's influence on love.
This model is attributed to Pierre Stephan and was produced in three sizes, with the present example being the largest. For a white porcelain counterpart, see Franklin A. Barrett and Arthur L. Thorpe's Derby Porcelain (1971, pp. 39-40, 183, plate 92). Additional documentation is found in Peter Bradshaw's Derby Porcelain Figures, 1750-1848 (1990, pp. 269-270, No. 124), where the model is described as adapted from an engraving by Charles Philips after van Dyck.
This piece is one of the most celebrated works from early-period Derby, represented in major museum collections and appearing at prestigious auctions.
Historical Background
The Derby Porcelain factory traces its origins to the late 1740s, when Walloon Huguenot refugee Andrew Planché began producing porcelain animal figures. In 1756, he partnered with Staffordshire enameller William Duesbury and banker John Heath to establish a formal porcelain manufactory. Under Duesbury's direction, Derby flourished, absorbing the Chelsea and Bow factories and stock from workshops such as James Giles.
By the 18th century, Derby had positioned itself as a leader in British porcelain, marketing itself as "the second Dresden." The factory's Covent Garden showroom, The Castle Tavern, served as both a retail space and an exhibition area, bolstering its reputation. Derby's finest works were often painted in London in Chelsea-Derby style, and by the time Duesbury secured Royal patronage, the firm had rebranded as Royal Crown Derby Porcelain, distinguished by its exceptional quality and artistic merit.
Measurements
Height: 23.5 cm
Weight: 1585 g
Condition
Cupid: Professional restoration to the right wing and neck. Chronos: Shears missing; underglaze hairline crack to the left shoulder; wear to gilt; two small chips to the bottom edge of the blue tunic; professional restoration to both wings. Overall, excellent antique condition, with crazing to enamel commensurate with age.
Shipping & Packaging
Item will be sent fully tracked and insured.
Shipping cost includes labour, packaging, and postage.
Please review all photos carefully as they form part of the description. Feel free to ask any questions before purchasing.
Early Derby Porcelain Figure: Time Clipping Wings of Love, c. 1765
£1,300.00
This rare and finely crafted soft-paste porcelain group, painted with enamels and gilded, depicts Time seated on a masonry pedestal, clipping the wings of Love. Time, draped in flowing flowered fabric, holds Cupid on his knee, while symbolic elements—including a scythe, hourglass, crown, sceptre, terrestrial globe, skull, and Cupid's quiver—adorn the scrolled base.
Also known as Time Clipping the Wings of Cupid, the composition is inspired by Sir Anthony van Dyck's painting Time Clipping the Wings of Love (1599-1641). The earliest models predate Charles Phillips' 1772 engraving of the subject, likely drawing from an earlier source such as François Perrier's 1633-1634 etching, inscribed with the Virgilian phrase Omnia vincit Amor, vincit mox tempus Amorem. Another potential influence is Otto van Veen's Amorum Emblemata (1608), which poetically explores the theme of Time's influence on love.
This model is attributed to Pierre Stephan and was produced in three sizes, with the present example being the largest. For a white porcelain counterpart, see Franklin A. Barrett and Arthur L. Thorpe's Derby Porcelain (1971, pp. 39-40, 183, plate 92). Additional documentation is found in Peter Bradshaw's Derby Porcelain Figures, 1750-1848 (1990, pp. 269-270, No. 124), where the model is described as adapted from an engraving by Charles Philips after van Dyck.
This piece is one of the most celebrated works from early-period Derby, represented in major museum collections and appearing at prestigious auctions.
Historical Background
The Derby Porcelain factory traces its origins to the late 1740s, when Walloon Huguenot refugee Andrew Planché began producing porcelain animal figures. In 1756, he partnered with Staffordshire enameller William Duesbury and banker John Heath to establish a formal porcelain manufactory. Under Duesbury's direction, Derby flourished, absorbing the Chelsea and Bow factories and stock from workshops such as James Giles.
By the 18th century, Derby had positioned itself as a leader in British porcelain, marketing itself as "the second Dresden." The factory's Covent Garden showroom, The Castle Tavern, served as both a retail space and an exhibition area, bolstering its reputation. Derby's finest works were often painted in London in Chelsea-Derby style, and by the time Duesbury secured Royal patronage, the firm had rebranded as Royal Crown Derby Porcelain, distinguished by its exceptional quality and artistic merit.
Measurements
Height: 23.5 cm
Weight: 1585 g
Condition
Cupid: Professional restoration to the right wing and neck. Chronos: Shears missing; underglaze hairline crack to the left shoulder; wear to gilt; two small chips to the bottom edge of the blue tunic; professional restoration to both wings. Overall, excellent antique condition, with crazing to enamel commensurate with age.
Shipping & Packaging
Item will be sent fully tracked and insured.
Shipping cost includes labour, packaging, and postage.
Please review all photos carefully as they form part of the description. Feel free to ask any questions before purchasing.