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Meissen Art Deco Mantle Clock with Two Putti by Paul Scheurich, 1920-1924



On a curved base plate with diamond pattern in marble look, sculptured cushions with tassel decoration, on the side seated figures, girl and boy, who gracefully carry the round clock case. White porcelain dial with applied Arabic numerals and hands in gold, clockwork marked, with hour and half hour strike on bell. Pendulum medallion. Original movement checked by a master watchmaker, completely cleaned and fully functional. Designed by Paul Scheurich (1883-1945), circa 1915 Forming originally in bronze. In 1918 Scheurich received the order for the production of a model, which should be suitable for the porcelain molding. The Meissen manufactory acquired this model in 1919 and the clock was made from porcelain in 1920. The heads of the figures - mostly with high, receding foreheads - are particularly striking and typical and similar in all Scheurich designs. For this Paul Scheurich used the face of his wife as a model, see Johannes Rafael: Paul Scheurich, 1883-1945, Porcelain for the Meissen Manufactory, [Meissen Manuscripts, Special Volume VIII], Meissen 1995, p. 32f. and p. 150. If one looks at Paul Scheurich's repertoire, he is without a doubt one of the most important porcelain designers of the 20th century. His customers also included KPM and Nymphenburg. Manufactory: Meissen Germany Dating: 1920-1924 Material: porcelain, glossy finish Technique: handmade porcelain, subtly colored, gold painted Style: Neo-Rococo Dimensions: Height 37.0 cm / 14.56 in Width 60.5 cm / 23.81 in Depth 23.0 cm / 9.05 in Marks: Meissen blue underglaze sword mark / first quality Model number A 1009 / former's numbers 10 & F2 Bibliography: Thomas & Sabine Bergmann, Meissen Artist's - Figures / Erlangen (Germany) 2010, Model Numbers A 100 - Z 300, catalogue number 1010 on page 501. Condition: The clock is in perfect, flawless condition, original movement checked, cleaned and fully functional.


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    Ships From: Vienna, Austria
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About Meissen Porcelain (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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