Meissen Tall Splendour Centerpiece with Cupids by Leuteritz, Around 1880
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Meissen Tall Splendour Centerpiece with Cupids by Leuteritz, Around 1880
AboutThe centerpiece was designed by Leuteritz using old moulds in the Rococo style: a curved column rises on a rock base with gold rocailles, richly decorated with delicate, three-dimensional flowers, leaves and rocailles. Below are eight cupids sitting on the rock, in groups representing the four seasons: two putti with garlands of flowers for spring, three putti with ears of corn for summer, one putto with wine and one with a basket full of apples, representing autumn the winter putto has wrapped his cloth around his head and is warming his hands by a fire. The column is crowned by a diamond-shaped basket with an intertwined opening pattern and two side handles, and is decorated on the outside with further shaped flowers and leaves. The centerpiece is on an original matching pedestal, which is also richly decorated with three-dimensional flowers and foliage, as well as rocailles, and the top is painted with scattered flowers and insects. Designed by Ernst August Leuteritz (1818-1893): He studied at the academy in Dresden, was a sculptor and from 1849 to 1886 he held the position of head of design at the Meissen porcelain manufactory, and in 1882 he became professor. He worked on vessel shapes and figures from the 18th century and designed vases, centerpieces and candlesticks in the styles of Rococo and Classicism. Design of model 605 circa 1870-1880. Manufactory: Meissen Germany Dating: around 1880 Material: porcelain, glossy finish Technique: handmade porcelain, hand-painted, gold painting Style: Rococo Dimensions centerpiece: Height: 44.0 cm / 17.32 in Width: 39.0 cm / 15.35 in Depth: 24.0 cm / 9.44 in Dimensions pedestal: Height: 9.5 cm / 3.74 in Width: 28.0 cm / 11.02 in Depth: 28.0 cm / 11.02 in Marks: Meissen blue underglaze sword mark / first quality Centerpiece: Model number 605 / former's number 50 + 163 Pedestal: Model number 2772 / former's number 60 Bibliography: Thomas & Sabine Bergmann, Meissen Artist's - Figures / Erlangen (Germany) 2017, Model Numbers 1 - 3000, catalogue number 2678 on page 752. Condition: excellent The centerpiece and the pedestal are in excellent, museum-like condition, some flower and leaf tips have been professionally restored.
- DimensionsHeight: 20.08 in. (51.0 cm)Width: 15.36 in. (39.0 cm)Depth: 11.03 in. (28.0 cm)
- StyleRococo (In the Style Of)
- Materials and Techniques
- Place of Origin
- Date of Manufacturecirca 1880
- ConditionRepaired: some flower and leaf tips have been professionally restored.
- Seller LocationVienna, AT
- Reference Number1stDibs: LU1014423854862
About the Manufacturer
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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