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Early Meissen Rococo Group 'The Loving Mother' by Acier & Schönheit, 1774-1814

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US$7,393.84

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The young mother is sitting on a splendid Louis-Seize-style armchair, her left foot set on a low stool, on her lap the youngest child, a girl in an elaborate little dress, a bonnet with feathers on her head, both arms throwing into the height, so that all the playing cards fall down and are scattered everywhere. To the left of the mother, on the armrest, the somewhat older son in a striped suit and with a plumed hat, who supports himself on her shoulder and turns her head towards him, holding her chin. Next to the chair sits the eldest son, already with the wig customary in the Rococo, dressed in a waistcoat, frock coat and breeches on another stool. The group is based on an oval ground and meadow base with a gold frieze decoration. The model largely follows a drawing by Johann Eleazar Zeissig, called 'Schenau' (1737-1806), with the title 'The Happy Mother', which is now in the Dresden Kupferstich-Kabinett. Manufactory: Meissen Germany Dating: 1778 - 1814 Material: white porcelain, glossy finish Technique: handmade porcelain, finest hand painting Designed by MICHAEL VICTOR ACIER (1736 - 1799) and JOHANN CARL SCHÖNHEIT (1730 - 1805) in 1774 Dimensions: height: 22.0 cm / 8.66 in width: 16.5 cm / 6.29 in depth: 13.0 cm / 5.11 in Marks: Blue Meissen underglaze crossed sword mark with a star and two stripes - Marcolini-Period 1774-1814 Model number: E 69 (not inscribed) Bibliography: - Thomas & Sabine Bergmann, Meissen Artist's - Figures / Erlangen Germany 2014, Model numbers A1 - Z99, page 32, catalogue number 23. - E.A. Seemann, Triumph of the Blue Swords, Meissen porcelain for the nobility and bourgeoisie 1710-1815, Staatliche Kunstsammlungen Dresden 2010, Germany, page 391f, catalog number 505. Condition: excellent.

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    Ships From: Vienna, Austria
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About the Manufacturer

Meissen Porcelain

Meissen Porcelain (Staatliche Porzellan-Manufaktur Meissen) is one of the preeminent porcelain factories in Europe and was the first to produce true porcelain outside of Asia. It was established in 1710 under the auspices of King Augustus II “the Strong” of Saxony-Poland (1670–1733), a keen collector of Asian ceramics, particularly Ming porcelain. In pursuing his passion, which he termed his “maladie de porcelaine,” Augustus spent vast sums, amassing some 20,000 pieces of Japanese and Chinese ceramics. These, along with examples of early Meissen, comprise the Porzellansammlung, or porcelain collection, of the Zwinger Palace, in Dresden.

The king was determined, however, to free the European market from its dependence on Asian imports and to give European artisans the freedom to create their own porcelain designs. To this end, he charged the scientist Ehrenfried Walther von Tschirnhaus and aspiring alchemist Johann Friedrich Böttger with the task of using local materials to produce true, hard-paste porcelain (as opposed to the soft-paste variety European ceramists in the Netherlands, Germany, France, Italy and Spain had been producing since the late Renaissance). In 1709, the pair succeeded in doing just that, employing kaolin, or “china clay.” A year later, the Meissen factory was born.

In its first decades, Meissen mostly looked to Asian models, producing wares based on Japanese Kakiemon ceramics and pieces with Chinese-inflected decorations, called chinoiseries. During the 1720s its painters drew inspiration from the works of Watteau, and the scenes of courtly life, fruits and flowers that adorned fashionable textiles and wallpaper. It was in this period that Meissen introduced its famous cobalt-blue crossed swords logo—derived from the arms of the Elector of Saxony as Arch-Marshal of the Holy Roman Empire—to distinguish its products from those of competing factories that were beginning to spring up around Europe.

By the 1730s, Meissen’s modelers and decorators had mastered the style of Asian ceramics, and Augustus encouraged them to develop a new, original aesthetic. The factory’s director, Count Heinrich von Brühl, used Johann Wilhelm Weinmann’s botanical drawings as the basis for a new line of wares with European-style surface decoration. The Blue Onion pattern (Zwiebelmuster), first produced in 1739, melded Asian and European influences, closely following patterns used in Chinese underglaze-blue porcelain, but replacing exotic flora and fruits with Western varieties (likely peaches and pomegranates, not onions) along with peonies and asters.

During the same period, head modeler Joachim Kändler (1706–75) began crafting delicate porcelain figures derived from the Italian commedia dell’arte. Often used as centerpieces on banquet tables and decorated to reflect the latest fashions in courtly dress for men and women, these figurines, they were popular in their day, and are still considered among of Meissen’s most iconic creations. Kändler also created the Swan Service, which, with its complex low-relief surface design and minimal decoration is considered a masterpiece of Baroque ceramics.

The rise of Neoclassicism in the latter half of the 18th century forced Meissen to change artistic direction and begin producing monumental vases, clocks, chandeliers and candelabra. In the 20th century, Meissen added to its 18th-century repertoire decidedly modern designs, including ones in the Art Nouveau style. The 1920s saw the introduction of numerous animal figures, such as the popular sea otter (Fischotter), which graced an East German postage stamp in the 1960s. Starting in 1933, artistic freedom was limited at the factory under the Nazi regime, and after World War II, when the region became part of East Germany, it struggled to reconcile its elite past with the values of the Communist government. In 1969, however, new artistic director Karl Petermann reintroduced the early designs and fostered a new degree of artistic license. Meissen became one of the few companies to prosper in East Germany.

Owned by the State of Saxony since reunification, in 1990, Meissen continues to produce its classic designs together with new ones developed collaboratively with artists from all over the world. In addition, through its artCAMPUS program, the factory has invited distinguished ceramic artists, such as Chris Antemann and Arlene Shechet, to work in its studios in collaboration with its skilled modelers and painters. The resulting works of contemporary sculpture are inspired by Meissen’s rich and complex legacy.

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