MEASURES / DIMENSIONS:
height: 24 cm | 9.44 inches
diameter of base: 15.5 cm | 6.10 inches
Hallmarked: Blue Meissen Sword Mark (underglazed)
Model Number F 65
Painter's Number 44 | Former's Number 58
Dating: made circa 1860 - 70
Material: porcelain, glossy finish, multicolored painted
Technique: handmade porcelain
Style: Rococo, designed by Michel Victor ACIER (1736 - 1799) / modelled circa 1777
Following scene is depicted here:
-- an ELEGANT LADY standing upright crosses her arms over her breasts / she is turning towards a naked cherub which is hiding itself under the lady's mantle / additionally the lady holds a garland of flowers (= SYMBOL OF LOVE !) /
-- an elder woman sits beside the lady: it seems that she tries to calm her ...
-- there is a naked cherub kneeling before the ladies - it presents broken eggs to women - a basket filled with eggs is lying on ground (the eggs are pouring out) /
-- the figurine group is based on oval rocky support edged with golden painted frieze /
THE SCENE DEPICTED HERE IS REFERENCE TO SOME VINTAGE PROVERBS WHICH HAVE SOMETHING TO DO WITH BROKEN EGGS / for example: Broken Friendship as well as Broken Eggshells can't be repaired anymore. - He who breaks Eggs in Basket destroys a Plan had been elaboratively made before...
IT IS A SUPERB MEISSEN FIGURINES GROUP, INDEED !
(a few flower's blossoms with petals of leaves were excellently restored -
the restorations aren't visible with naked eye / apart from that there aren't any damages existing )
Bergmann, Meissener Figuren / Modellnummern A1 - Z99 ( = Meissen Figurines of Models A1 - Z99), published by Bergmann (Erlangen/Germany) 2014, catalogue number 30 on page 35
This Meissen Group will be excellently wrapped and packed in special box.
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.