This Meissen Mantle Table Clock Paintings Sculptured Figurines Flowers, circa 1860 is no longer available.
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Hallmarked: Blue Meissen sword mark (underglazed)
Model number 573
Painter's number 2 / former's number 76 /
Dating: made circa 1850-1860
Material: porcelain, glossy finish, multicolored painted and sculptured decorations abundantly covering surface
Technique: Handmade porcelain
Style: Rococo (made middle of 19th century)
There are sculptured human figurines attached to clock as well as wonderful flower's blossoms with leaves framing the clockface existing.
A rococo pair of figurines, clad in rural garments in style of gardeners, is visible at clock's top piece (the figurines are situated on a base above the clockwork): the young man and the handsome female gardener are turning towards each other in fondly manner, both seizing a flower's festoon. The clockface is surrounded by stunningly sculptured flowers (outer edge), where for example rose flower, dog rose, spring snowflake are visible. The inner edge consists of a ring made of rocaille ornaments. The table clock's socle based on rocaille feet is painted at front side with a picture in Watteau style (couple making music, being situated in romantic landscape) / the socle's other sides (lateral side and backside) are decorated with finest flower paintings (bouquet of flowers as well as strewn flowers).
Enamel clockface with brass frame / two hands (for hour as well as for minute) and Latin (roman) numerals existing / the clock's mechanism was made by French manufactory (signed: e. Mignot, 22 passage jouffroy / Paris).
Original key existing.
Measures / dimensions:
height: 20.07 inches
width: 9.055 inches
depth: 5.31 inches
Look at the flower's blossoms, please, which are in finest condition, too / there aren't any damages existing! Only a very few leaves' petals have been excellently restored.
The clock's mechanism is working well. Key is existing.
This Meissen table clock will be excellently wrapped and packed in special box.
CreatorMeissen Porcelain (Manufacturer)
In the Style Of
Place of Origin
Date of Manufacturecirca 1860
ConditionExcellent. LOOK AT THE FLOWER'S BLOSSOMS, PLEASE, WHICH ARE IN FINEST CONDITION, TOO / THERE AREN'T ANY DAMAGES EXISTING ! ONLY A VERY FEW LEAVES' PETALS HAVE BEEN EXCELLENTLY RESTORED. THE CLOCK'S MECHANISM IS WORKING WELL. KEY IS EXISTING..
Seller LocationVienna, Austria
Number of Items1
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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