porcelain, body with wide and fine gilt rims, gilt arched borders, very finely painted impasto gilt frieze with rosettes, vine leaf tendrils and grapes, acanthus leaves and bronze olives branches on a white ground, burnished gilt waves with leaves on matt gilt bands, wide gilt rim with fine dark red rims and gilt chains, burnished gilt foliate garland on a matt gilt band, well with polychrome-painted stormy landscape, to the foreground 4 dancing allegorical images of the seasons, the goddesses Flora as Spring, Ceres as Summer and Winter, and the god Dionysus as Autumn, to one side a winged Chronos is seated, playing a lyre, before him a sand clock, to the left side a stele with a Janus head adorned with garlands of flowers, portrait of a goddess and god, in the clouds the sun god, Apollo in his chariot drawn by four horses led by Aurora, the goddess of the dawn, to one side, and behind her, companion figures after Nicolas Poussin, Ø 24 cm, Vienna, Imperial Manufactory, underglaze blue shield mark, year number 1797, Sorgenthal era, turner no. 19 Johann Georg Krauss 1785-1827, gilt painter no. 96 Anton Kothgasser 1784-1816 (Ru)

Anton Kothgasser, Vienna, 9.1.1769-3.6.1851, porcelain and glass painter, from 1784 design painter, no. 96, at the Manufactory. His brother-in-law, Jakob Peter, porcelain painter, arranged for him to enter the Viennese Academy on 27 November 1781. Figure drawing under Füger. Employed at the Viennese Manufactory until 1851, from 1811 glass painting. He was awarded numerous prizes, and on 20 May 1816 he was given permission to “work at home on his glass painting. For three months.”
Nicolas Poussin, Villersen Vexin 15.6.1594-19.11.1665 Rome, French painter, in 1624, Poussin moved to Rome, where he remained until his death. Influenced by Raphael, Titian, the Carracci and Domenichino, and ancient reliefs, he arrived at what was an epoch-making classicising style for France.
The original painting, A Dance to the Music of Time is now in the Great Gallery at the Wallace Collection, London.