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Meissen Porcelain Swan Service Cup and Saucer Porzellan Schwanenservice Tasse

$880Asking Priceper set

About

Meissen Porcelain Swan Service Cup and Saucer Porzellan Schwanenservice Tasse Cup 6 In. W x 3.38 In. D x 2.38 In. H Saucer 5.25 x 1 In. H A soup cup and saucer from the famous Swan Service made by Meissen in the early 20th century during the Pfeiffer period. Originally this service was made between 1737 and 1741 by Johann Joachim Kaendler and Johann Friedrich Eberlein for Heinrich, Count von Brühl, the factory director. It was composed of 2,200 pieces modeled and painted in the Rococo style with such aquatic motifs as swans and water nymphs. It is regarded as the single finest table service ever made in porcelain though I can think of some other ones that are just as nice. This double handled soup cup and saucer here is the rarer polychrome version with the raised design including swans and heron or egret birds in the center with some greenery in the water and some gold trim. The set is in superb condition with some very minor wear. Both pieces are marked with the under glaze blue crossed swords mark with the dot between the tops, a painter's mark as well as the usual impressed numbers of the period. Both are first quality.

Details

  • Creator
    Meissen Porcelain (Manufacturer)
  • Dimensions
    Height: 2.38 in. (6.05 cm)Width: 6 in. (15.24 cm)Depth: 3.38 in. (8.59 cm)
  • Sold As
    Set of 2
  • Materials and Techniques
  • Place of Origin
  • Period
  • Date of Manufacture
    Unknown
  • Condition
    Wear consistent with age and use.
  • Seller Location
    Washington Crossing, PA
  • Reference Number
    1stDibs: LU238138213143

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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