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Meissen Art Nouveau Figurine of Dancer Loie Fuller by Theodor Eichler, c. 1911

$6,012.73

About

Extremely decorative, fully sculpted depiction of the dancer Loie Fuller, undressed, merely wearing a large, softly falling, floor-length white cloth around her shoulders and letting it swing around her in a swaying movement, red pearl jewelry in her artfully pinned-up hair, placing her left leg far in front of her right. On a white oval base with gold decoration on the top. Loie Fuller, born Marie Louise Fuller (1862 Fullersburg, Illinois - 1928 Paris) was an American dancer, serpentine dancer and inventor, a pioneer of modern dance and light plays on the stage. After appearances in America, she only made her decisive breakthrough in Paris. In 1892 she made her sensational debut in the 'Folies Bergère' with her dances La Serpentin, La Violette, Le Papillon and XXXX (which she later called La Danse Blanche) and subsequently appeared in the Folies until 1899. With her artistic productions with oversized cloths, colored light projections and electric light, she enthused and inspired many artists Modeller: KARL THEODOR EICHLER (1868 - 1946) German porcelain modeler and sculptor; After an aptitude test, he began studying drawing and modeling with Ernst August Leuteritz and Emmerich Andresen in the Meißen porcelain factory in 1885. In September 1886 he was hired in the factory and completed a five-year training as a bossier. Then studied at the Dresden School of Applied Arts, then modeler in the Meissen porcelain factory. Already during his studies he received several awards, his sculptures were characterized by objectivity and realism. Design of Model B 255 around 1911 Manufactory: Meissen Dating: made circa 1911 Meissen Mark of around 1900 / first quality Model number B 255 / former's number 144 / painter's number 67 Material: hand-made, multicolored porcelain, glossy finish Style: Art Nouveau Size: Height: 26.0 cm / 10.23 in Width: 23.5 cm / 9.25 in Depth: 22.0 cm / 8.66 in Bibliography: Thomas & Sabine Bergmann, Meissen Artist's - Figures / Erlangen (Germany) 2010, Model Numbers A 100 - Z 300, catalogue number 499 on page 263. Condition: very good.

Details

  • Creator
    Theodor Eichler (Sculptor),Meissen Porcelain (Manufacturer)
  • Dimensions
    Height: 10.24 in. (26.0 cm)Width: 9.26 in. (23.5 cm)Depth: 8.67 in. (22.0 cm)
  • Style
    Art Nouveau (Of the Period)
  • Materials and Techniques
  • Place of Origin
  • Period
    1910-1919
  • Date of Manufacture
    circa 1911
  • Condition
  • Seller Location
    Vienna, AT
  • Reference Number
    1stDibs: LU1014428845272

Shipping & Returns

  • Shipping

    Ships From: Vienna, Austria
  • Return Policy

    A return for this item may be initiated within 7 days of delivery.

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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 chinoiserie. 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 were popular in their day, and are still considered among 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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About the Seller
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Located in Vienna, Austria
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