Welcome To The Home of Drei Katzen Media Reuniting People and Treasures!

  Wow! What a combination! Everyone knows quality artistic porcelain comes from the Meissen pottery factory. Then to have the wonderful, stunning Blue Onion pattern...it just is too much to handle!

I've just listed such an item. A Meissen Blue Onion (it gets even better!) Antique Coupe Shape Soup Tureen. Nothing could get better than this.

A little about Meissen:

Meissen porcelain is the first European hard-paste porcelain that was developed from 1708 by Ehrenfried Walther von Tschirnhaus. After his untimely death that October, Johann Friedrich Böttger, continued his work and brought porcelain to the market, and he has often been credited with the invention. The production of porcelain at Meissen, near Dresden, started in 1710 and attracted artists and artisans to establish one of the most famous porcelain manufacturers, still in business today as Staatliche Porzellan-Manufaktur Meissen GmbH. Its signature logo, the crossed swords, was introduced in 1720 to protect its production; the mark of the crossed swords is one of the oldest trademarks in existence. It dominated the style of European porcelain until 1756.

Beginnings

The Chinese had mastered the production of porcelain long before the west became aware of it, and by the seventeenth century oriental porcelain had become a valuable export commodity in the China trade. Mostly provided by the Dutch East India Company, porcelain from China and Japan represented wealth, importance, and refined taste in Europe, while local attempts to produce porcelain, such as the brief experiment that produced "Medici porcelain" had met with failure.

At the beginning of the eighteenth century Johann Friedrich Böttger pretended he had solved the dream of the alchemists, to produce gold from worthless materials. When the Elector of Saxony Augustus the Strong heard of it, he kept him in protective custody and requested him to produce gold. For years Johann Friedrich Böttger was unsuccessful in this effort. At the same time, Ehrenfried Walther von Tschirnhaus, a mathematician and scientist, experimented with the manufacture of glass, trying to make porcelain as well. Tschirnhaus supervised Böttger and by 1707 Böttger reluctantly started to help in the experiments by Tschirnhaus. When Tschirnhaus suddenly died, the recipe apparently was handed over to Böttger, who within one week announced to the Elector that he could make porcelain. Böttger refined the formula and with some Dutch co-workers, experienced in firing and painting tiles, the stage was set for the manufacturing of porcelain. In 1709, the Elector established the first Meissen manufactory, placed Böttger's laboratory at Albrechtsburg castle in Meissen and production started officially in 1710.

Early Work

The first type of porcelain produced by Böttger was a refined and extremely hard red stoneware known in Germany as Böttgersteinzeug. It retained very crisp definition in its mold-cast applied details, on bodies that could be polished to a gloss before firing. Models were derived from Baroque silver shapes and Chinese ceramic examples. Meissen's production of a hard paste white porcelain that could be glazed and painted soon followed, and wares were put on the market in 1713.

Böttger's experimental wares rapidly gained quality but never achieved successful painted and fired decor. The first successful ornaments were gold decorations applied upon the fired body and finely engraved before they received a second firing at a lower temperature. Multicolor enameled painting was introduced by Johann Gregorius Höroldt in 1723, with an increasingly broad palette of colors that marked the beginning of the classic phase of Meissen porcelain. His enamel paints are still the basis for ceramic paints today. Initially paintings often imitated oriental patterns. The signature underglaze "Meissen Blue" was introduced by Friedrich August Köttig. Soon minutely detailed landscapes and port scenes, animals, flowers, galante courtly scenes and chinoiseries— fanciful Chinese-inspired decorations— were to be found on Meissen porcelain. The Kakiemon vases and tea wares of kilns in Arita, Japan were imitated as Indianische Blume ("Flowers of the Indies"). Paintings by Watteau were copied. Wares were also sold in solid glazed colors, to be enamelled in private workshops (Hausmalerei) and independently retailed. The support of Augustus' patronage attracted to Meissen some of the finest painters and modelers of Europe as staff artists.

Famous trademark

Meissen trademarks, The Albrechtsburg was utilized to protect the secrets of the manufacture of the white gold. As a further precaution, very few workers knew the special secret (arcanum) of how to make porcelain, and then perhaps only part of the process. Thus, for a few years, Meissen retained its monopoly on the production of hard-paste porcelain in Europe. By 1717, however, a competing production was set up at Vienna, as Samuel Stöltzel sold the secret recipe, which involved the use of kaolin, also known as china clay. By 1760 about thirty porcelain manufacturers were operating in Europe, most of them, however, producing frit based soft-paste porcelain.

In order to identify the original Meissen products, Meissen developed markings that initially were painted on, but were soon fired in underglaze blue. Early markings such as AR (Augustus Rex, the monogram of the King), K.P.M. (Königliche Porzellan-Manufaktur), M.P.M. (Meissener Porzellan-Manufaktur), and K.P.F. ("Königliche Porzellan-Fabrik) were eventually replaced by the crossed swords logo. Introduced in 1720, it was used consistently after 1731 by official decree. Variations in the "crossed swords" logo allow approximate dating of the wares.

Artistic development

A Meissen porcelain - Pair of candalebras & clock from the 19th CenturyAugustus II charged first Johann Jakob Irminger with the design of new vessels. In 1720 Johann Gregorius Höroldt became the director and introduced brilliant colors which made Meissen porcelain famous. The next sculptor, Johann Jakob Kirchner, was the first to make large-scale statues and figurines, especially of Baroque saints. His assistant was Johann Joachim Kaendler; in 1733 Kirchner resigned, and Kaendler took over as chief "modelmaster". He became the most famous of the Meissen sculptors. Under his direction Meissen produced the series of small figurines, often depicting scenes of gallantry, which brought out the best of the new material. His menagerie of large-scale animals, left in the white, are some of the high points of European porcelain manufacture. His work resulted in the production of exquisite figurines in the rococo style that influenced porcelain making in all of Europe. Supported by assistants like Johann Friedrich Eberlein and Peter Reinecke, he worked until his death in 1775.

In 1756, during the Seven Years' War, Prussian troops occupied Meissen, giving Frederick II of Prussia the opportunity to relocate some of the artisans to establish the Königliche Porzellan Manufaktur Berlin. With the changing tastes of the neoclassical period and the rise of Sèvres porcelain in the 1760s, Meissen had to readjust its production, and in the reorganization from 1763, C.W.E. Dietrich of the Dresden Academy became artistic director and Michel-Victor Acier from France became the modelmaster. The practice of impressing numerals that correspond to moulds in the inventory books began in 1763. Sèvres styles and ventures into Neoclassicism, such as matte bisque wares that had the effect of white marble, marked the manufactory's output under Count Camillo Marcolini, from 1774.

In the nineteenth century Ernst August Leuteritz modernized many of the rococo figurines, and reissued them, creating a "Second Rococo" characterized by lacework details (made from actual lace dipped in slip and fired) and applied flowers; English collectors used the term Dresden porcelain to describe these wares, especially the somewhat simpering and coy figurines. Under Erich Hösel, who became head of the modelling department in 1903, old styles were revived and reinterpreted. Hösel also restored eighteenth century models. Some appealing work in the Art Nouveau style was produced, but Meissen's mainstay continued to be the constant production of revived eighteenth-century models.

After 1933, the artistic freedom of the artists became restricted by the State of Saxony in accordance with the contemporary indoctrination process in Germany. Some artists (i.e. Ernst Barlach) who had contributed to progressive Meissen during the Weimar period were banned.

After World War II and under Communist rule, the manufactory that had always catered to the rich and wealthy had some difficulty to find its way. The danger was that Meissen would become a factory merely producing for the masses. It was not until 1969, when Karl Petermann became the director, that Meissen went back to focus on its old traditions and was also allowed a freer artistic expression.

Tableware patterns

Already Böttger foresaw the production of tableware, and the first sets were made in the 1720s. Initially sets were plain, and it was Kaendler who introduced matching decorations. For the manufactory's director, Count Brühl, in 1737-43, the "Schwanen Service" ("Swan Service") was made, consisting eventually of more than one thousand pieces. At the end of World War II its pieces became scattered among collectors and museums. Yet with the moulds still available, the swan pattern continues to be made today. Kaendler also produced the 1745 "New Cutout" pattern characterized by a wavy edge cut.

The Blue Onion pattern has been in production for close to three centuries. It was basically designed by Höroldt in 1739 and is probably inspired by a Chinese bowl from the Kangxi period. Due to its popularity it has been copied extensively by over sixty companies. Many pieces with the blue onion pattern have been produced by competitors, some of them even using the term Meissen as a marking. The pattern was so popular and widespread that the German Supreme Court in 1926 ruled that the term Meissen Zwiebelmuster ("Meissen Onion Pattern") was in the public domain.

Other popular patterns still in production include the Purple Rose pattern and the Vine-leaf pattern.

A series of "Court Dragon" and "Red Dragon" tableware patterns feature Chinese dragons in underglaze red with gilded details flying around the rim of the plate and a medallion in the center of the cavetto. A version of this pattern was used in Hitler's Kehlsteinhaus retreat.

Ownership

At the beginning the Meissen manufactory was owned by the King of Saxony; by 1830 it came to belong to the State of Saxony. After World War II, most of the equipment was sent to the Soviet Union as part of war reparations. However, already by 1946, the workers using traditional methods and the kilns that had not been dismantled were able to resume production. The company became a Soviet Joint Stock Company in Germany. Almost all of the production was sent to the Soviet Union, a crucial step that kept the artisan community alive. After the establishment of the German Democratic Republic, the company was handed over to German ownership in 1950 and became a people-owned company. Meissen Porzellan turned out to be one of the few profitable companies in the economically troubled East German system, earning much needed foreign currency. After the German reunification in 1990, the company was restored to the State of Saxony which is the sole owner. While its products are expensive, the high quality and artistic value make Meissen porcelain very desirable by collectors and connoisseurs.

Meissen collections

The rarity and expense of Meissen porcelain meant that originally it could only be bought by the upper classes. Meissen took orders from the elites of Russia, France, England and other European countries. The European wealthy accumulated vast collections and when a wealthy class emerged in the United States people like the Vanderbilts started their own collections. Many of these collections then found their way into the world's great museums.

Ehrenfried Walther von Tschirnhaus, inventor of porcelain in Europe. Johann Friedrich Böttger, introduced manufacturing process of porcelain Heinrich Gottlieb Kühn, inventor of coloring process Friedrich August Köttig, inventor of Meissen Blue Johann Joachim Kaendler, master modeller ca. 1730-1770

To see my listing, please visit my eBay store; Drei Katzen Media

If you would like to more about Meissen or porcelain, or anything I can help you with, please contact me at info@dreikatzenmedia.com

C.C. van Asch-van Wijck (1900-1932) was an artist with the Royal Leerdam Glass Factory during the early 1900's. This was a time we see a lot of distinctive movement in Art to include Art Deco (beautiful distinctive art of the time) and Art Nouveau or the 'New' art, where artists were free to express themselves more in their art.  

Here is a little history on the Royal Leerdam Glass Factory:

When the first bottles were blown in Leerdam around 1765, Pilgrim and Meeder became the first in a long list of bottle makers and glassblowers to work on the banks of the River Linge. The modern era began in 1878 when a new Leerdam business was set up to produce blank stemware and pressed glass with plans to export it to the UK, Mexico and South America.

The Visionary

The fame and success of the Leerdam factory in the first half of the 20th century is mostly due to one man; its director P.M.Cochius. who worked his way up through the factory to become director in 1912 and then lead it for more than 35 years.

His legacy included; His development of a new 'sober' style based on designs by K.P.C. de Bazel and later by A.D. Copier, et al. His introduction of a broad and effective social plan to improve work and living conditions. His ambition to bring high-quality 'designer' products to the mass market at modest prices, publicize the designer's and focus on improved technology as well as improved design. (a trend known as 'kunstnijverheid' or 'industrial art').

His careful investment in machinery and plant capable of international-scale production and pricing. When the first bottles were blown in Leerdam around 1765, Pilgrim and Meeder became the first in a long list of bottle makers and glassblowers to work on the banks of the River Linge.

The modern era began in 1878 when a new Leerdam business was set up to produce blank stemware and pressed glass with plans to export it to the UK, Mexico and South America. **************************************************** 'The Mask' is a very striking sculpture. I have used various photos found on the Internet to show the beauty of the item, but have added my photos as well to show this is the same item and is in my possession. There is a emotion this sculpture evokes in you when viewing it, exactly what the artist intends when they create their art. I believe this one evokes different feelings in people. It is very interesting.

This would make a very good central piece of art for someone with a spotlight. I've found a light shining down in a spot works the best to bring out the features.

The Cristie auction describes this item: Leerdam sculpture, colourless satinated glass, modeled as a female head. Executed in Leerdam, Holland, 1929.

The Mask

The Sotheby auction estimate on this piece was: 1500 - 2000 in 2004.

Christie's realized price: 3,600 Euro or 4,614. (includes buyer premium)

I have included several photos from around the web as well as photos I've taken.

Please check out the sites below to learn more about this very popular and wonderful work of art! Christie's auction Botterweg Auction, Amsterdam Auction House This sculpture, The Mask, is featured in several different art books. If you would like to learn more about it, please reference these titles:

Literature F. Leidelmeijer & D. Van der Cingel, Art Nouveau en Art Deco in Nederland, Amsterdam 1983, p. 178, ill. 211

Lot Notes

For comparison see:

A. van der Kley-Blekxtoon, Leerdam Glas 1878-1998, Lochem, 1998, p. 134, Afb. 166

Thimo te Duits, Geperst Glas uit Leerdam, 1991, p. 94, no. 79 Leerdam catalogus 1934, De Tijdstroom 1990, p. 22

After the Japanese invasions of Korea in 1592 and 1598, a number of skilled Korean potters who had learned from the Chinese how to produce fine porcelain, were brought back to Japan. Some of these settled in Arita in northern Kyushu, where they discovered porcelain clay. One of the Korean porcelain makers was Ri Sampei. He is considered as the "father" of Japanese porcelain. The area became Japan's major centre of porcelain production and its products were also exported from the port of Imari.

Until the beginning of the Meiji (1868-1913) period, the direct east-west trade with Japan was dominated by the Dutch East India Company. Due to trade difficulties with China by the end of the Chinese Ming dynasty and an improved Japanese economy, a strong demand for Japanese ceramics resulted in a surge of creativity during the Momoyama period (1573-1615), with thousands of kilns developing their own distinct regional characteristics. High-fired stonewares were central to this tradition. That is also when we can say that the modern Japanese porcelain industry started. Even if we don't think so, even when Japan lived isolated from the rest of the world during the entire Edo period (1603-1868) exports of Japanese porcelain to Western countries was significant.

During the 17th and early 18th century Japanese porcelain was very popular in Europe and competed successfully with the Chinese. Blue and white Arita porcelain was copied on tin glazed earthenware in many places in Europe, of which Dutch Delft faiance is the most famous. During the 18th century Kakiemon enamel decoration was also widely copied in England.

Although Japanese porcelain production developed its own styles, the influence of Chinese and Korean porcelain traditions can often and easily be found.

Geographically the porcelain production was more spread out in Japan than the Chinese, where most of the porcelain was made in the one city of Jingdezhen in the Jiangxi province. In a similar way, however, the center of the Japanese porcelain industry could be said to have been located on the southern island of Kyushu. The largest city on Kyushu is Arita while the largest nearby port was called Imari. These are the two most important names in the history of Japanese export porcelain. When it come to quality and artistic merit the picture is infinetly more complicated.

The old Japanese ceramic industry was in many ways smaller in scale compared to the Chinese. Marks was also applied for different reasons that on the Chinese porcelain. Personal signatures by the artists involved are quite common. We also find a different attitude towards what marks that are put on the Japanese porcelain and in particular the export porcelain from the 19th century and onwards. The entire range of Imperial reign marks so common on Chinese porcelain, genuine or not, is mostly lacking. The marks are more commercially oriented, more numerous and can vary even within a set of pieces. They can indicate the name of the factory, the potter, the decorator, the pattern, the customer, the exporter, the importer or both or a part of them or maybe just say "Made in Japan", "Japan", "Nippon", "Happiness" or "Good luck" in any number of ways. Increasing the confusion are the hundreds of porcelain decorating firms active in the early to mid 20th century simultaneously putting many different marks on the same wares seemingly at random but probably for some reason. To take just one example, the Noritake company which has been active for about one hundred years only, are thought to have used over 400 different marks.

To immediately gain a better understanding on the many names that occurs in Japanese pottery and porcelain, I believe the map available here that indicates the most common kiln areas (blue names) and cities (names in red) will be helpful.

Regarding dates, the following Japanese historical period names are the ones most commonly met with:

• Momoyama period (1573-1603)
• Edo period (1603-1867) roughly split into early, middle or late Edo. Somtimes the Genroku era (1688-1703) when popular culture flourishes is distinguished.
• Meiji (1868-1913)
• Taisho (1913-1926)
• Showa (1926-1988), where "early Showa" is often used to cover the Showa reign before 1945, and
• Heisei (1988-today)

The marks are normally read from top to bottom, and right to left. Signatures are usually followed by a suffix, for example Sei, tsukuru or saku all meaning "made", or Ga, Dzu or Fude meaning "painted" or "drawn". Then there are place names, Satsuma, Kutani, Seto etc. To read these requires references such as a good Japanese/English dictionary such as Nelsons. One simple and easy guide to reading & writing Japanese is Ed Florence Sakade & al. J Bowes, Japanese Marks & Seals is very helpful as is Koop & Inada, Japanese Names. It is a very unrewarding task to go through lists of marks and signatures as the below in the hope of finding the exact one to match yours, however a modest amount of study can produce a big difference. Beware though, it can become an obession.

"Some Suggestions for Souvenir Seekers" (Mid 1930s)

To further our understanding of 20th century porcelain marks Elyce Litts recently submitted some notes from a little booklet entitled "Some Suggestions for Souvenir Seekers" produced by the Japanese Government Railway. The booklet seems to date to the mid-late 1930s. In addition to descriptions and photo examples of numerous types of pottery and porcelain including where they are made, it has a list of Souvenir Dealers. They are in English without the Japanese equivalency because the book was aimed at English-speaking tourists, but I'll list them below in the hopes that perhaps some of them can be linked to known marks. They describe various pottery:

Satsuma porcelains - mainly produced in and around the city of Kagoshima in Kyushu. Wares of this type are finished in ivory lustre with fine crakles (sic). They have a picture of a number of artisans sitting at the traditional low Japanese tables hand painting vases.

Arita procelains - produced in the prefecture of Saga, also in Kyushu.

Kutani porcelains - produced in the prefecture of Ishikawa in the Hokuiku district of Honshu (Japanese main island) On the whole Kutani porcelains are characterized by their elaborate picture decorations in thick gold, red, blue and some other colours.

Kyoto wares Rakuyaki of Kyoto has been closely connected with tea ceremonies since olden days. Porcelain wares well-known as Awata-yaki and Kiyomizu-yaki are among the souvenirs of Kyoto.

Seto ware. The province of Owari with Nagoya as its commercial and indisutrial metropolis is the greatest ceramic centre [of Japan] so far as the amount of products ... Owari produces so many varieties of porcelain and stoneware that the Japanese familiarly speak of porcelain and pottery in general as "setomono" after the village of the same name in this province.

Bizen ware (Okayama Preferecture) characterized by their peculiarly humorous figures of gods, birds and beasts

Banko wares (Mie Prefecture) which are mostly unglazed

Awaji wares (Awaji island) monochromatic with a bright yellow or green glaze

Soma pottery (Fukushima Prefecture) on which a picture of a horse is usually seen.