SCULPTURE EN PORCELAINE DE BICHON MEISSEN ALLEMAGNE, MEISSEN, DEUXIÈME MOITIÉ DU XIXe SIÈCLE

SCULPTURE EN PORCELAINE DE BICHON MEISSEN ALLEMAGNE, MEISSEN, DEUXIÈME MOITIÉ DU XIXe SIÈCLE

ID-ANTQ-7873

2500 EUR

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Sculpture en porcelaine pleine de caractère représentant un petit bichon, réalisée par la manufacture de Meissen dans la seconde moitié du XIXe siècle. Le chien est représenté assis sur ses pattes arrière, la tête légèrement inclinée, les yeux proéminents et les boucles du pelage finement modelées. La palette blanche et brun-roux accentue la texture réaliste du poil. Cette figure, à lexpression presque portraiturée, était destinée à orner les intérieurs bourgeois empreints de sensibilité romantique. Elle appartient à la tradition animalière de Meissen, inspirée des modèles de Johann Joachim Kändler.

Poinçons : Épées croisées bleues sous glaçure (Meissen), numéro de modèle 2880 en creux à la base, traces de moulage et orifice de cuisson.
Dimensions : 23 × 29 × 12 cm
État : En bon état. Sans manques visibles, quelques traces d’usure liées au temps. Glaçure conservée, poinçons nets.
Provenance : Collection privée européenne. Œuvre originale de Meissen, Allemagne, XIXe siècle.

Art:

europe

Hauteur:

23 cm

Largeur:

29 cm

Épaisseur:

12 cm

Période:

19Ème Siècle

Style:

Néo-Rococo

Pays:

Allemagne

Matière:

Porcelaine, Peints À La Main

État:

Revive

Fair

Good

Very good

Like new

Cette sculpture de bichon en porcelaine, créée par la manufacture de Meissen dans la seconde moitié du XIXe siècle, illustre parfaitement l’art animalier dans les arts décoratifs allemands. Fondée en 1710 sous le patronage d’Auguste le Fort, Meissen fut la première manufacture de porcelaine dure en Europe et un centre dinnovation artistique. Les traditions établies par le sculpteur Johann Joachim Kändler au XVIIIe siècle se poursuivirent durant tout le XIXe siècle, en s’adaptant aux goûts de l’époque. L’attention se tourna vers des sujets intimes et sentimentaux : les petits chiens de salon, symboles de tendresse et de raffinement, furent largement représentés. Meissen conserva un naturalisme poussé, accordant une importance particulière à la texture du pelage et à l’expression des animaux. Ces œuvres se retrouvent aujourd’hui dans les collections des musées du Porcelaine de Dresde, des Arts appliqués de Leipzig et des Arts décoratifs de Berlin.

Bon état. Traces minimes liées à l’âge. Glaçure uniforme, poinçon net et bien lisible.

The condition report is provided for informational purposes only.

It is not comprehensive and may not reflect all defects, restorations, alterations, or adaptations, as Antiqon does not perform professional conservation-level assessments. The information is based on a qualified, yet subjective, evaluation by our specialists.Before purchasing, we recommend consultation with an independent expert.Please also consult our Terms and conditions and Glossary A-Z, which contain important information on lot characteristics and sale conditions.

Meissen
The first porcelain manufactory in Europe, Meissen, was founded in 1710, shortly after the discovery of the secret of making hard porcelain in Saxony by the alchemist Johann Friedrich Boettger (1682-1719) in collaboration with the scientist Ehrenfried Walter von Chirnhaus (1651-1708). factories, in 1704 it was entrusted to control the activities of Böttger - by decree of the ruler of Saxony August the Strong, he was kept as a prisoner in Meissen. Augustus the Strong instructed Boettger to get gold, but these experiments were not crowned with success. The ruler allowed Böttger to open a workshop for the production of hard porcelain. After two years of joint work with Chirnauz, in 1709, he discovered its composition. Hard porcelain is similar in its characteristics to Chinese porcelain, its main components are kaolin (porcelain clay) and Chinese stone (a type of feldspar), later feldspar was used. Around 1740, traditional Chinese and Japanese decorations were replaced by "German flowers". In addition, the so-called underglaze blue onion model has entered the market.Figurative sculpture had a large share in the production program of the manufactory. Already under August the Strong, in addition to the extensive production of ceremonial and decorative tableware for the needs of the Dresden court, miniatures and ceremonial figures were created for representative and decorative purposes. Even before 1731, fashion designer Johann Gottlieb Kirchner became famous for his large white animal figures. Subsequently, his colleague and successor Johann Joachim Kendler determined not only the development of figural sculpture in Meissen but also for porcelain in general.The Royal Porcelain Manufactory experienced a subsequent heyday from 1774 to 1814 under the direction of Count Camillo Marcolini. Small sculptures with colorful sculptures created by the French sculptor and master model of the Michel Victor Asier (1736–1799) and his colleague Johann Karl Schönheit (1730–1805) are well known. In addition, biscuit figurines were made. The period of classicism began to decline even before the end of the 18th century, culminating in the copying of the forms of the old eras. Bergrath Karl Wilhelm von Oppel succeeded Marcolini, who headed the factory until 1833. He made the necessary changes in the artistic, technical and commercial fields. The main contribution to these fundamental technical and technological improvements comes from Heinrich Gottlieb Kühn, who was assigned to the plant in 1814. The latter introduced the round oven and invented the "glittering gold". In 1848 Kuhn became director of the company. In the mid-19th century, numerous forms and decorations were influenced by renowned members of the Dresden Academy of Arts such as Gottfried Semper, Ernst Ritchell, Julius Schnorr von Karolsfeld. The Porcelain Academy was the epitome of the highest level of craftsmanship at the time. During the Art Nouveau era, the factory was developed by architects Richard Riemerschmid, Henri van de Velde. Artists: Otto Voigt, Joseph Olbrich, Arthur Julius Barth and Friedrich Ofelmann.After World War I and the November Revolution, Max Adolf Pfeiffer took over the overall management of the company from 1919. The artistic development of the lineup was his particular concern. Soon after he joined the management of the manufactory he hired the painter, illustrator and sculptor Paul Scheirich, who led Meissen′s sculpture to new achievements. Other artists working at Meißen were Max Esser, Ernst Barlach and Gerhard Marx. Emil Paul Berner designed simple and elegant tableware and decorations, which were the model for many porcelain factories.After the end of World War II, in the spring of 1946, the Meissen manufactory started working again. It became known as "VEB Staatliche Porzellan-Manufaktur Meißen". In 1950 Waldemar Wustenmann became the director of the manufacture. Since 1953, a separate department "Artistic wall design" has been created at the manufactory. Until now, there have been many frescoes made from Meissen porcelain. Made for interior decoration of buildings with different motives and manufacturing technologies. In the years that followed, the manufacture experienced a rapid rise and became the eighth strongest provider of foreign exchange in the GDR. In 1969 Karl Petermann was named director. He introduced an almost completely automatic production method that turned former luxury goods into mass commodities for everyone.The manufacture followed a traditional production program, but from the 1960s it tried to use new forms of expression. The department "Artistic development" was created. The most important new creation has been achieved by Ludwig Zepner with the Bolshoi Plot service ensemble. Among the artistic decorations were the subtle underglaze decorations by Heinz Werner "Orchid with a branch in blue" and the overglaze decorations "Almond Trees", "1001 Nights" and "Flower Flowers" by Heinz Werner and Rudy Stoll. ... Read More

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SCULPTURE EN PORCELAINE DE BICHON MEISSEN ALLEMAGNE, MEISSEN, DEUXIÈME MOITIÉ DU XIXe SIÈCLE

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SCULPTURE EN PORCELAINE DE BICHON MEISSEN ALLEMAGNE, MEISSEN, DEUXIÈME MOITIÉ DU XIXe SIÈCLE

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Yor request is received