Plate with the coat of arms of Hendrik Peter Godfried Quack and Isabella Gertraud von Carnap c. 1790 - 1800

Editor: Here we have a stoneware plate from around 1790 to 1800, displaying the coat of arms of Hendrik Peter Godfried Quack and Isabella Gertraud von Carnap. The gilded decoration is so delicate. What strikes you most about this piece? Curator: For me, it’s about understanding the production of this object within its social context. The porcelain itself speaks to a certain level of wealth and trade networks. The fact that it bears a coat of arms points to a specific patron and their social standing. Editor: Right, it was clearly made for a specific, probably wealthy, client. Does the material itself have any significance? Curator: Absolutely. Stoneware’s durability and the labor involved in its production elevate it beyond mere utility. We also need to think about the artisanal skill required for the delicate gilding and the implications of such refined craft. Was this made locally, or imported? These factors speak to consumption and the social stratification of the era. Editor: That's a good point. I hadn't considered the division of labor and trade involved. Does Neoclassicism play a part? Curator: Indeed, the restrained design, gilded laurel leaves, and heraldic imagery echo neoclassical aesthetics, which were often embraced by the elite to signal their cultivated taste and reinforce social hierarchies. Consider who would have had access to or made such objects. Editor: So it's less about aesthetics and more about production, labor, and social context of the plate's creation. I now see the heraldry differently – it represents status and power within this framework. Curator: Precisely. This piece provides a window into the complex relationships between artistic production, material culture, and social power during the late 18th century.