Porcelana de Meissen – marcas e dicas para reconhecimento6 The first dedication is for you,...

Marcel Pinie

Meissen Porcelain

Trademarks and Tips for

Identification.

1st Edition - 2014

Nogueira Editorial

4

Copyright © 2014 - All rights reserved to: Nogueira Editorial

PUBLISHER ISBN:

1st Edition

July 2014

Exclusive rights granted for the Portuguese Language to Nogueira Editorial

Curitiba - PR - Brazil

All rights reserved. No part of the contents of this book may be used or

reproduced in any medium or form, be it printed, digital, audio or visual

without the express written permission of Nogueira Editorial under

criminal penalties and civil action.

The author reserves the right to regularly update the contents of this

book and / or content provided via internet without notice.

Copyright © 2014 - All rights related to Free Additional Benefits

are reserved for Nogueira Editorial.

Cover:

Daniele Lugli.

Revision:

Felipe J. Costa

English version:

Troy Cloney

6

The first dedication is for you, Silvana Pagno, my muse incarnate.

You tenderly inspire all my words. So often you invoke and support

so beautifully an encounter for my days. The book is now finished.

Accept it because it is yours.

“Beauty is a gift from God.”

Aristoteles

About the author:

arcel Pinie was born in São Paulo, in November, 1974.

He is a writer, antique dealer and curious about the

porcelain history. He has written articles for major

publications about antiques and has operated for more than 15 years

as a consultant for the art market, guiding and monitoring collectors

in the formation or renovation of collections.

M

8

Table of Contents

About the Author 07

Chapter 1 A Brief History of Meissen Porcelain 09

Chapter 2 Some Examples 12

Chapter 3 Meissen Porcelain Marks and Periods 16

Chapter 4 Serial Numbers from the XVIII to the XIX

Centuries 22

Chapter 5 Serial Numbers from 1850 to 1910 26

Chapter 6 Non-Meissen Marks 29

Chapter 7 Marks that Imitate “Augustus Rex” 35

Chapter 8 Other Confusing Marks 39

Chapter 9 Official Meissen Marks 93

Chapter 10 Zwiebelmuster or “Scallions” 102

Chapter 11 Kandler, a Genius in the Service

of Meissen 104

Chapter 12 Basic Tips 116

1

A Brief History of Meissen Porcelain

Beginning of Meissen porcelain reflects the

thinking and the cultural aesthetics that prevailed

in the eighteenth century during the Rococo

period of development and sensuality in shapes and colors. During

the age of madams Dubarry and Pompadour and the age of the

fascination with the exotic east and Africa and when men worshiped

women. This fascination was the most precious influence: Porcelain.

When we speak of this influence it should be made clear some of the

styles: Chinese porcelain and Japanese porcelain; Japanese influence

was highlighted by two styles: Kakiemon and Arita. In Europe since

the fourteenth and fifteenth centuries, curio cabinets fascinated the

nobles. This was a window to the world beyond European borders

and a delicate ambience of exotic objects and porcelain from the east.

Created to please and excite the more refined senses. There were

many nobles seduced by this fashion. This resulted in important

museums and decorative art collections in the following centuries.

The porcelain that so fascinated King Louis XIV and King Louis XV

also provoked the ambition of Augustus the Strong, King of Poland,

and charmed Charles-Eugene, Duke of Württemberg.This love of

luxury and pomp triggered the discovery of one of the most

important treasures of western culture. This discovery, completed, in

its entirety and mystery, was in the hands of alchemist Johann

Friedrich Bottger.

The

10

This alchemist was employed at the court of Augustus the Strong, in

a city located 18 miles from Dresden in the German state of Saxony,

Meissen, which would unlock the secrets of the production of hard

paste based on kaolinite. Developed and completed a survey initiated

by Ehrenfried Walther von Tschirnhaus, who died in October, 1708.

This hard paste is and was the basis of the porcelain manufactured in

China and Japan. This paste would cause, 35 years before the

English, the Germans to open the first manufacturing of porcelain.

The first production of Meissen appeared between 1709 and 1725.

Obviously the technique employed and art differed from models

manufactured in the nineteenth century and today. It is important to

note that before 1713, "stoneware" (stone dust) reigned in parts made

in Europe. The first pieces (initial parts) were manufactured in a

shade of brown and smoky –white. These are extremely rare and

impossible to find in the antique marketplace. Many were inspired by

Blanc-de-Chine and represented figures and oriental scenes. The

white Blanc-de-Chine pieces have a special glow; a unique feature of

Meissen pieces of the period. Only in 1720, J.G. Horoldt began to

decorate the pieces with improvised colors, in the Chinoiserie style.

In 1730, and military figures scenes prevailed. And in 1760 the

neoclassical style dominated until there was an economic downturn

in the reign of Meissen, and Sèvres and began to dictate the tastes of

the times. Therefore, our first important tip is: Pieces which span the

period from the beginning of the 18th

C until 1750 are virtually

impossible to find in the Latin American market. When you are

offered a piece of "Bottger" from the beginning of the 18th

C, be

very suspicious! Remember that the Meissen porcelain in its initial

origin was created to please the vanity of kings and queens.

They were objects beyond mere speculative conventions of the

economy at the time. So they did not fall from the sky and are not

available to the "New Money" of the time. Another important detail:

Regardless of the season or where it was produced, Meissen

porcelain is of extremely high quality and very well decorated. The

first pieces created by Bottger are essentially inspired by Chinese

porcelain and motifs of Japanese Arita and Kakiemon styles of

porcelain. The oriental motif is present in the colors, shapes and

exoticism of oriental legends. The shades of crimson, green, blue and

pink are present in the early creations. A biography of Bottger, by

him, is the subject of several books and essays. This intriguing

character died of sickness before he turned 40. We recommend that

the readers of this book, to seek further information in the literature

on this interesting character. Our intention in this introduction is to

paint the landscape and the context in which these beautiful creations

of German Manufacturing were created. Therefore, you will find in

the bibliography at the end of this book, the publications that tell the

history and artistic development of Meissen pieces. Johann Joachim

Kandler is another character that deeply marked the history of

Meissen and European porcelain. At the end you will find a special

chapter on this artist who could be summed up, through his

sculptural work and the spirit of the 18th

C, that gave soul to the

creations of this great manufacturing called Meissen. Start, from

now, the research and quest for knowledge. That has turned you into

a serious collector and a guardian of history and a lover of beauty.

Good reading!

12

2

Some Examples

Teapot – Bottger – Meissen – 18th Century

Bowl – Bottger – Meissen – 18th Century – 1725 - Note the oriental

style / Kakiemon / Japan.

Bowl– Meissen – Bottger – 1720 – 18th Century

14

Note that the above piece features a landscape. Painted in a dark

tone, the art, detail, is by Ignaz Preissler, one of the many artists who

decorated the pieces of this period. Bottger discovery and created the

hard paste. Many of the shapes, colors and modeling were the work

of artists working for Manufacturing.

Note that the piece above, painted by Ignaz Preissler, shows no

brand on the back. Why? Because parts produced at the beginning of

Meissen did not use the brand of the "crossed swords" as we know it

today. The "Meissen" brand begins to appear stamped in blue, under

the glaze from 1720 when crossed swords are used, in blue, under the

glazed of the piece.

Only in 1731, was there an official decree formalizing the use of the

brand. However, before the crossed swords you will find the

following brands:

The brand "Augustus Rex" - Used to record the pieces manufactured

at the court of Augustus the Strong, founder of Meissen. Later, in

1733, the brand was added to the pieces modeled for his son and

successor Augustus III. The brand was applied in blue under the

glaze. There are a few variations of the brand. Make note! Many of

the pieces with this brand found today are from the second half of the

nineteenth century and the early twentieth. The pieces found in the

market today are mostly the Helena Wolfsohn brand. Remember

that the pieces with this brand were given as a gift by the monarch to

other nobles. Many of these imitations differ in color and style of the

original pieces. Important Tip: In the introduction we’ve shown a bit

of history and scenery of the creation of Meissen manufacturing.

Understand that the pieces of the beginning of the 18th

century are

rare and not easily found in the antique market. It is necessary to

research and observe the details that make up these pieces so your

collection does not turn into a deposit of dubious quality and

counterfeit pieces. We will cover the following makes and periods of

this porcelain.

16

3

Brands and Periods of Meissen Porcelain

http://zutlivraria.files.wordpress.com/2012/01/onion.jpg

On April 7, 1723 Meissen announced that its pieces should be

protected against forgery. In those days! Counterfeits were appearing

in the form of smaller pieces, rejected by the factory, but decorated

by painters at home. Initially the brand took the form of the letters

KPM (Königliche Porzellan Manufaktur) in blue under the glaze.

The sword was incorporated in 1724 below the letters.

1756 - 1773 - Also called the "Dot" (point) period, kings or the

academic period, also painted in blue under the glaze, the period

known for the transition to neoclassical. At this time, Kandler, the

May modeler of Meissen, left his post and was replaced with Michel

Victor Acier, who was responsible for many mythological themes of

the time.

18

1774-1814 – The period known as "Marcolini". Count Camillo

Marcolini became director of the company in 1774 and directed it

until 1814. The brand started to display an "asterisk" to demarcate

the period of his leadership. During this period there was a greater

popularization of the brand and the pieces exhibited a more popular

taste. It was also during this period that the manufacture of Meissen

becomes more copied and had their styles adopted by other

manufacturers in Europe. Many of the pieces from this period were

reproduced and re-launched with the period brand.

1824 - 1824 – The brand characteristic of the 19th century. Be aware

that during this period there is a "revival" of the early Meissen

pieces. They were common pieces inspired by the 18th century and

mythological themes.

1825 – 1924 –

The brand of swords appears with the "Dot" (point) at the top

between the blades. In 1924 the brand also returns with the "dot" on

the sword hilts. From 1930on, the swords are given a slight curve.

Older versions were straighter.

1945 - 1947 - Features a half moon at the bottom of the swords. Not

a very common brand in the antique market of Brazil. In the postwar

period Meissen began to add the year and there are variations in the

track position of the sword hilts.

20

1947 – 1973 – In 1960 the word "Meissen" appears in pieces for

export.

1974 – (?) – Used until today.

1774 – 1814 – Brand used in Biscuit pieces. This type of piece is

quite rare in the Brazilian market. Cut brand on the piece.

1900 – Brand recorded on the porcelain piece under the glaze.

1814 – Brand used on Biscuit piece.

22

4

Serial Numbers of Meissen Porcelain.

The 18th and Early 19th Centuries.

e present the serial numbers of Meissen porcelain of the

18th and early 19th

centuries. These numbers are usually

recorded with a cut engraving in the pieces, giving the

date of manufacture of the piece. Obviously, these figures were

produced by the Manufacture itself to control and rectify the source.

As if they were codes, detailing the time, place and period.

Remember that these numbers are never painted, modeled or printed.

Through them is easier to determine the time and style. It is likely

that the forgeries and components made by other manufacturers in

the Meissen style, do not give this information. Some pieces

produced in the 19th century by Meissen itself, revive the Rococo

style of 18th

century records showing these brands. We begin with

the series from 1749 to 1850 Valued only as bibelot. Not used for

tea, dinner and other services.

W

1 – 1280 used until 1749

1281 – 1470 1750

1471 – 1660 1751

1661 – 1850 1752

1851 – 2040 1753

2041 – 2220 1754

2221 – 2400 1755

2401 – 2480 1756

2481 – 2560 1757

2561 – 2620 1758

2621 – 2700 1759

2701 – 2780 1760

2781 – 2860 1761

2861 – 2940 1762

2941 – 3020 1763

A1 to A.100 – 1764/1768

B.1 to B.100 – 1766/1768

C.1 to C.100 – 1768/1770

D.1 to D.100 – 1770/1771

E. 1 to E.60 – 1772/1774

E. 61 to E.100 – 1774/1776

F.1 to F.100 – 1776/1778

24

G.1 to G.100 – 1779/1781

H.1 to H.100 – 1782/1785

I. 1 to I.100 – 1786/1787

J. 1 to J.100 – 1787/1789

K. 1 to K.100 – 1789/1795

L.1 to L.100 – 1795/1805

M.1 to M.100 – 1805/1813

N.1 to N.100 – 1814/1818

O.1 to O.100 – 1818/1821

P.1 to P.100 – 1822/1825

Q.1 to Q.100 – 1825/1827

R.1 to R.100 – 1827/1829

S.1 to S.100 – 1829/1831

T.1 to T.183 – 1831/1833

U.1 to U.100 – 1833/1834

V.1 to V.100 – 1834/1835

W.1 to W.100 – 1836/1842

X.1 to X.100 – 1843/1847

Y.1 to Y.100 – 1847/1849

Z.1 to Z.100 – 1849/1850

Notice the F.I code (1776/1778). The "Marcolini" Period - Note the

detail of the mark in blue.

http://zutlivraria.files.wordpress.com/2012/01/marcolini.jpg

26

5

Serial Numbers of Meissen Porcelain -

1850 to 1910.

Continuing the series of Meissen porcelain, we publish here the

numbers that correspond from 1850 to 1910. These numbers

represent the date of manufacture of the piece. Remember that the

original pieces of this manufacturing bring these numbers and letters

cut into the mass of the porcelain. Never printed, painted or modeled

on or above the glaze. Hopefully with this information, collectors,

dealers and fans of Meissen learn to analyze and evaluate their

objects, thus avoiding the disappointments and "opportunities" in the

market, almost always wrong. From 1910 a new series was started.

A.201 up to A.300, B.201 B.300 and to follow al. Serial numbers are

used to determine the age and style of the piece. For example, a piece

whose number is 75 U. may not have been made before 1830.

List of serial numbers from 1850 to 1973.

A.101 to A.200 – 1850/1853

B.101 to B.200 – 1853/1855

C.101 to C.200 – 1855/1857

D.101 to D.200 – 1858/1860

E. 101 to E.200 – 1860/1862

F.101 to F.200 – 1862/1864

G.101 to G.200 – 1865/1868

H.101 to H.200 – 1869/1870

I. 101 to I.200 – 1870/1872

J. 101 to J.200 – 1873/1875

K. 101 to K.200 – 1876/1878

L.101 to L.200 – 1879/1881

M.101 to M.200 – 1882/1883

N.101 to N.200 – 1883/1884

O. 101 to O.200 – 1885/1890

P.101 to P.200 – 1891/1894

Q.101 to Q.200 – 1895/1897

R.101 to R.200 – 1898/1899

S.101 to S.200 – 1899/1902

T.184 to T.200 – 1900

U. 101 to U.200 – 1904

V.101 to V.200 – 1904/1905

W. 101 to W.200 – 1905/1906

28

X. 101 to X.200 – 1906/1908

Y. 101 to Y.200 – 1908/1909

Z. 101 to Z.200 – 1909/1910

A201 – 300 1909 -

B201 – 300 1911 -

C201 – 300 1912 -

D201 – 300 1913 -

E201 – 300 1914 – 1916

F201 – 300 1914 – 1939

G201 – 300 - 1939

H201 – 300 - 1961

I201 – 300 - 1958

K201 – 300

L201 – 300

M201 – 300

N201 – 300 – 1948

O201 – 300 1912 – 1951

P201 – 300 – 1952

Q201 – 300 – 1955

R201 – 300 – 1954

S201 – 300 - 1956

T201 – 300 - 1961

U201 – 300 - 1970

V201 – 300 - 1970

W201 – 300 – 1973

X201 – 300 - 1973

6

Brands that are not Meissen

It’s common to find attributed to or called "Meissen" pieces. When

you do not have experience or knowledge, in the antique market, the

chance to buy a fake is immense. In this topic we present the brands

that mimic and are often mistakenly attributed to Meissen

Manufacturing. Note that many of these brands are of the 18th

and

19th

century.

Anspach (Germany- Nassau) – 1860

Arnstadt (Germany - Turingia) – 1790 – Only for a short time.

30

Berlin ( Germany– Prussia)

Founded in 1751 by Wilhelm Caspar Wegely, the brand was used

between 1751and1757. The Wegely Berlin Porcelain Manufacturing

produced Meissen and Vienna style figures. They closed their doors

in 1757.

Bristol (England– Gloucester)

Founded in 1770 by William Cookworthy and used between 1772

and 1782. William Cookworthy established the factory in Plymouth

in 1768, moving it to Bristol in 1770. In 1772 he sold the brand to

Richard Champion due to financial problems.

Bristol (England – Gloucester)

Founded in 1749 by William Miller and Benjamin Lund and used

between 1749 and 1752. They also worked in glass making in 1749.

At that time they started manufacturing soft paste porcelain. In 1752

it was sold to Worcester.

Buschbad (Germany)

Founded in 1886 by L. Schleich and used between 1886 and 1927. It

produced mainly household porcelain and decorative vases. It closed

in 1927.

Caughley (England - Shropshire)

Founded in 1755 by Gallimore and used between 1772 and 1799.

Thomas Turner, a porcelain painter from Worcester, married to the

daughter of Gallimore, introduced soft porcelain paste to the factory

production of in 1772. In 1779 the factory was bought by John Rose,

owner of Coalport. Rose moved the factory production of and used it

as a warehouse. The factory closed in 1814.

32

Charlottenbrum (Germany)

Founded in 1859 by Joseph Schachtel and used in 1866. The

Charlottenbrum factory specialized in the production of porcelain

pipes. It produced very little decorative and household porcelain.

The factory closed in 1920.

Chelsea (England)

Founded in 1743 by Charles Gouyn and Nicholas Sprimont and used

between 1755 and 1758. It was the first factory of English porcelain,

Sprimont, being sick, sold the factory in 1763. In 1769 it was

acquired by James Cox, who decided to resell it in 1770 to William

Duesbury, owner of the Derby Porcelain Factory. Both factories

gave rise to what we call the Chelsea-Derby period. The pieces have

high commercial value and are disputed by collectors worldwide.

Choisy-le-Roy (France - Seine)

Founded in 1786 by M. Clément and used between 1786 and 1886.

In 1886, it was legally prohibited from using the crossed swords

brand.

Derby (England – Derbyshire)

Founded in 1756 by Planché, John Heath and William Duesbury and

used in the last quarter of the 18th

century. The first factory was built

in 1745 by Thomas Briand and James Marchand, but survived for

only a short time. The second attempt, by William Duesbury, in

1756, was more successful: The Derby went into operation and

continues to the present day. In their products is used the slogan:

"Derby the second Dresden", directly linking the brand with

Meissen. Due to the quality of porcelain, in 1784 the Derby merged

to Chelsea.

Dresden (Germany - Saxonia)

Founded in the late 19th

century by Meyers, the brand was used in the

late 19th

century. This was not a porcelain factory but a company that

eventually would select other factories and designers to produce

pieces in the Meissen style.

34

Dresden (Germany – Saxony)

Founded in 1894 by Franziska Hirsch, the brand was used between

1894 and 1896. In 1894 Franziska Hirsch founded a painting

workshop located in Struwestrasse, Where they decorated porcelain

in the Meissen style.

7

Brands that Imitate

“Augustus Rex”

isted below are the brands that imitate the monogram "AR",

used in pieces from the first half of the 18th

century by

Meissen. An important tip: "Augustus Rex" is in honor of

King Augustus the Strong. Therefore, the pieces were all created for

the court and to present to nobles. They are very rare in the Brazilian

market and even in Europe.

.

Helena Wolfsohn - Dresden (Germany - Saxony)

Founded in 1843 by Helena Wolfsohn, the brand was used in 1880.

Helena Wolfsohn was not a porcelain factory but a painter and

decorator of porcelain. However, the monogram "AR", on the first

pieces produced are under the glaze / varnish of the piece, showing

that the mark was applied before firing. This brand produced the best

examples of "Augustus Rex" we can find.

L

36

The problem is that, in most cases, they are sold as original Meissen

or from the 18th

century.

Bauscher Brothers (Germany)

It was founded in 1881 by the Bauscher Brothers and used in 1882.

The Bauscher brothers founded the porcelain factory in 1881 to

produce tableware for shipping companies and railroads. In 1927 the

company was acquired by Lorenz Hutschenreuterb. The trademark

was registered as RWZR (Weiden district) on November 7, 1882 and

is currently 'AB' and not 'AR'. But the style of spelling, brand,

resembles the "AR" of Meissen which confuses many people today.

Blot - Mehun-sur-Yèvre (France)

Founded in 1920 by Albert Blot and used between 1930 and 1941.

Despite the monogram being clear and showing "AB" you cannot

deny that the style is clearly influenced by the "AR" of Meissen. The

factory Albert Blot began employed more than 100 employees. It did

not produce figurines, only tableware.

Founded in 1770 by Joseph François Boussemart, the brand was used

between 1770 and 1790. Arras porcelain was founded in 1770 by

Joseph François Boussomaert under the protection of M. Calonne;

governor of Flanders and Artois. However, the Arras factory

produced only soft paste porcelain. Decorated in the style of Tournai

and Chantilly, the factory closed in 1790.

Anton Richter - Dresden (Germany - Saxony)

Founded in 1887 by Anton Richter, the brand was used in 1887.

Anton Richter did not make porcelain, his specialty was the porcelain

decoration in the Vienna and Meissen style. The Richters studio won

a silver medal in 1891 and 1896, in Dresden for decorative style. The

monogram 'AR' was probably used to give credibility to the initials

of Richter and not to emulate the "Augustus Rex" of Meissen.

Hutschenreuther - Hohenberg (Germany)

Founded in 1822 by Carl Magnus Hutschenreuther, the brand was

used in 1882. It was built by Magnus Hutschenreuther, a porcelain

painter who worked for the Wallendorf factory.

38

The brand is actually 'HR' and not ‘AR’; however the shape of the

arrangement of letters creates confusion in interpretation. Salesmen,

not well intentioned, attribute the brand as Meissen. "Porzellanfabrik

CM Hutschenreuter is one of the largest factories in Germany today.

Tinelli - Milano (Italy)

Founded in 1833 by Luigi Tinelli, the brand was used in 1850. It

imitated the pieces of Wedgwood and were marked with its own

brand. In 1841 the factory was taken over by his brother Carlo Tinelli

and Giulio Richard. Then, in 1870, Giulio Richard took full control

and in 1873 renamed it the "Società Ceramica Richard." The mark is

well known to collectors and an experienced collector should never

mistake it for the original "Augustus Rex".

8

Other Brands that Confuse Collectors

Pay attention to the brand shown above. Chances are you've already

seen in some antique store, fair or site. Many still attribute this brand

as "Meissen". But it is the mark of B.Bloch & Co, produced in

Eichwald, in the Bohemia region. They are generally, known in the

Brazilian market, as “cebolinha” or "Onion Pattern". Decorated in

blue and white, what we must realize is that the word "Meissen"

appears as part of the brand. These pieces were produced with

permission from MEISSEN, but have never been and are never made

by MEISSEN. The brand has been used since 1870. These pieces are

collectible, but not much appreciated by collectors of MEISSEN.

They appear in blue, white and pink. Complete services are rare.

Below are shown other brands that are wrongly attributed to

MEISSEN.

40

Note that the brands are from the 18th

, 19th

and 20th

centuries. Some

are reproduced in porcelain made in China today. Therefore, when

purchasing a piece, examine the brand, if it’s beneath the veneer,

written in blue and with a drawing of swords. Observing these

details, you will certainly be safe from counterfeits. An important

detail: If the color of the mark is red, black or gold is obvious that it

is not original Meissen porcelain.

http://meissenporcelain.com/fake-meissen-porcelain-marks/fake-meissen-sword-mark-1-2/http://meissenporcelain.com/fake-meissen-porcelain-marks/fake-meissen-sword-mark-2-2/

http://meissenporcelain.com/fake-meissen-porcelain-marks/fake-meissen-sword-mark-3-2/http://meissenporcelain.com/fake-meissen-porcelain-marks/fake-meissen-sword-mark-4-2/http://meissenporcelain.com/fake-meissen-porcelain-marks/fake-meissen-sword-mark-5-2/

42


44


46


48


50


52

http://meissenporcelain.com/fake-meissen-porcelain-marks/fake-meissen-sword-mark-37-2/http://meissenporcelain.com/fake-meissen-porcelain-marks/fake-meissen-sword-mark-38-2/http://meissenporcelain.com/fake-meissen-porcelain-marks/fake-meissen-sword-mark-39-2/http://meissenporcelain.com/fake-meissen-porcelain-marks/fake-meissen-sword-mark-40-2/

54


56


58


60


62


64


66


68


70


72


74


76


78


80


82


84


86


88


90


92

http://meissenporcelain.com/fake-meissen-porcelain-marks/fake-meissen-sword-mark-167-2/http://meissenporcelain.com/fake-meissen-porcelain-marks/fake-meissen-sword-mark-168-2/

9

Officials Brands of Meissen Manufacturing

he brands below are registered at the of Meissen Factory.

Remember that besides the brands used to mark Biscuits, the

others are all spelled in cobalt blue; never in other colors.

.

1720 - 1730

T

http://meissenporcelain.com/two-crossed-swords-blue-mark-of-meissen/meissen-crossed-swords-two-xs-mark-3/

94

1733 - 1763

1763 - 1774

1775 – 1817

http://meissenporcelain.com/two-crossed-swords-blue-mark-of-meissen/meissen-crossed-swords-with-dot-mark-2/http://meissenporcelain.com/two-crossed-swords-blue-mark-of-meissen/meissen-crossed-swords-with-circle-mark-2/http://meissenporcelain.com/two-crossed-swords-blue-mark-of-meissen/meissen-crossed-swords-with-star-mark-2/

Brands used on Biscuits - rare

Brand used on Biscuit, engraved into the piece.

http://meissenporcelain.com/two-crossed-swords-blue-mark-of-meissen/meissen-crossed-swords-with-triangle-mark-2/http://meissenporcelain.com/two-crossed-swords-blue-mark-of-meissen/meissen-crossed-swords-inside-triangle-mark-2/http://meissenporcelain.com/two-crossed-swords-blue-mark-of-meissen/meissen-crossed-swords-basic-mark-2/

96

Brand in the style of Meissen swords, but poured into the

center of the junction of swords.

Brand used briefly in 1800.

Brand used between 1817 and 1824, with Roman numerals.

http://meissenporcelain.com/two-crossed-swords-blue-mark-of-meissen/meissen-crossed-swords-mark-with-three-dots-2/http://meissenporcelain.com/two-crossed-swords-blue-mark-of-meissen/meissen-crossed-swords-with-roman-numeral-i-2/http://meissenporcelain.com/two-crossed-swords-blue-mark-of-meissen/meissen-crossed-swords-with-roman-numeral-ii-2/

Brand used between 1817 and 1824.

Brand used between 1850 and 1924. It’s a standard Meissen

brand. The sword handles are longer.

Brand used in the last half of 1910 and at the beginning of

1911. Celebrating the 200 anniversary of the brand.

Brand used only on “Onion Pattern” (cebolinha) – blue and

white – Celebrating the 200 anniversary of the brand.

http://meissenporcelain.com/two-crossed-swords-blue-mark-of-meissen/classic-meissen-crossed-sword-mark-2/http://meissenporcelain.com/two-crossed-swords-blue-mark-of-meissen/1710-1910-meissen-crossed-sword-mark-2/http://meissenporcelain.com/two-crossed-swords-blue-mark-of-meissen/1739-1989-250-anniversary-meissen-mark-2/

98


Brand used in 1945 and 1946.

http://meissenporcelain.com/two-crossed-swords-blue-mark-of-meissen/meissen-crossed-sword-mark-with-dot-2/http://meissenporcelain.com/two-crossed-swords-blue-mark-of-meissen/meissen-crossed-sword-mark-with-half-circle-2/http://meissenporcelain.com/two-crossed-swords-blue-mark-of-meissen/meissen-swords-with-blue-dot-mark-2/




Brand used in 1980. Note the dash to the right side of swords.

Brand used after 1980. Note the dash to the left of the swords.

http://meissenporcelain.com/two-crossed-swords-blue-mark-of-meissen/meissen-swords-with-blue-line-mark-5/http://meissenporcelain.com/two-crossed-swords-blue-mark-of-meissen/meissen-swords-with-blue-line-mark-6/http://meissenporcelain.com/two-crossed-swords-blue-mark-of-meissen/meissen-swords-with-blue-line-mark-7/http://meissenporcelain.com/two-crossed-swords-blue-mark-of-meissen/meissen-swords-with-blue-line-mark-8/

100

Brand used between 1963 and 1973. It has the word Dresden

below the swords.

Brand used between 1963 and 1973. It has the words Dresden

China below the swords.

http://meissenporcelain.com/two-crossed-swords-blue-mark-of-meissen/meissen-sword-mark-with-dresden-2/http://meissenporcelain.com/two-crossed-swords-blue-mark-of-meissen/meissen-sword-mark-with-dresden-china-2/http://meissenporcelain.com/two-crossed-swords-blue-mark-of-meissen/meissen-sword-mark-with-dresden-art-2/

Brand used between 1971 and 1981. It has the words Dresden

Art written below the swords.

Mark used by Meissen from 1972 to the present.

http://meissenporcelain.com/two-crossed-swords-blue-mark-of-meissen/meissen-text-with-blue-sword-mark-2/

102

10

Onion Pattern, Zwiebelmuster or

“Cebolinha”.

t’s common in the Brazilian antique market of the standard

Meissen porcelain "Onion Pattern" being called "Cebolinha".

Obviously this is a Brazilian denomination. As the decor "Onion

Pattern" was developed in 1739 and is best known design among

the collectors of the brand. It was inspired by the blue and white

Chinese porcelain of the Ming period.

I

The fruits represented in Chinese porcelain at the time, the 15th

century, would have been the peach and the pomegranate. As the

Meissen artists were unknown in the eighteenth century, they

were stylized. What looks like "Onion" (onion) is actually a

stylization of peaches and pomegranates found in Chinese

porcelain of the Ming dynasty. The flowers are the peony and the

aster. Decorators of Meissen, influenced by Rococo, incorporated

this decoration, oriental style, the arabesques and ornaments

characteristic of European aesthetics. However, in 1885, in the

region of Bohemia, in the town of Dubi, there began the

production of porcelain inspired by the "Onion Pattern" decor.

Carl Teichert, in the city of Meissen, founded the company and

started to reproduce porcelain with the same characteristics as the

"Onion pattern" produced by Meissen. They were hand painted.

In 1882 he registered the trademark "Meissen" inserted in an oval

and with a star above. This is what today causes great confusion

for collectors and lovers of Meissen porcelain. Obviously, in

addition to the brand, the pieces produced by Meissen have

differences in color and porcelain quality. The pieces produced,

are mostly for tableware, tea and cooking utensils. Be aware that

in Brazil it’s very common, for traders and "collectors",

attributing the brand "Meissen" to any type of piece that has the

Zwiebelmuster style decor. That also confuses the unwary and

those beginning a collection. So check the brand on the back and

other evidence to help to reduce the risk.

104

11

Joachim Johann Kandler, a Genius in

the Service of Meissen

ven if we can only contemplate, in books or museums,

the figures modeled by Kandler, they always signify the

essence of Meissen. It’s impossible not to feel the beauty

and romanticism of the sculptures created by this genius. It is as

if these figures, within their structure, keep the soul of 18th

century European porcelain. No wonder that Augustus II the

Strong fed his true passion for Kandler figures. After all, through

them he could appease his depression. Among the most

spectacular treasures of the collection, his mandrakes, his

basilisk, a bezoar stone, his unicorn cup, his homunculus alcohol,

his Noah's Ark nails and the powder flask with which God

created Adam. The sun king of Saxony neglected the affairs of

his empire and spent hours with his alchemists searching for the

philosopher's stone and porcelain.

E

Kandler was born in Fischbach near Dresden on June 15th

, 1706.

He died on May 18th

, 1775. He began in sculpture with the

master Johann Jacob Kirchner, at the Meissen factory. He was

appointed by the actual Augustus II the Strong, as head sculptor

of Manufacturing in 1731, following the retirement of Kirchner.

His style, rococo, did not relieve the realism and the graceful

movement in the figures. He was a great animalistic and a keen

observer of human behavior. This is clear in the sets and figures

whose theme is the Italian comedy. His Harlequins are the very

essence of the human comedy. Kandler gave life to porcelain. It's

almost impossible not to make contact with a piece of this level.

We absorb the beauty and the grace of gestures. We are amazed

at the beauty and energy that these pieces evoke.

106

To observe, carefully, the figures created by Kandler, we have

learned to detect details that go unnoticed to the eyes of the

commoner. Over time, contact with the porcelain and its writings,

with trained eyes, one is ready to identify and appreciate the good

pieces that will make the difference in the formation of his

collection. This applies to any collection. If it be paintings,

drawings, sculptures, porcelain, etc. Study and observe,

attentively, the objects, and they will tell you secrets. For

example, look at the figure below and the detail of the hands, the

movement and the sound that escapes from the musician's mouth.

These details show the quality of the piece and the care of the

crafting. However, note that there is ingenuity in the modeling of the

figure. What we feel, looking at the pieces modeled by Kandler, is a

joy in the beauty of the whole. There is a story told in Prague, taken

from an ancient text in which it was written that Jesus Christ, like JJ

Kandler, made birds out of clay. Then, as soon as he uttered the

mantra, sang, beat its wings and flew. Note in the photo below, the

base and painting of the musician figure.

108

Note that there are no exaggerated forms typical of the rococo in the

figure and the base finish. When we look at the whole, we see the

movement and harmony in the musician gesture. Kandler used to

exaggerate the "rococo" effects in the bases and scrolls. We can see

this by looking at the model below.

Observe this typical base created by Kandler. Note the quality of

gold and rounded forms that accompany the base of the figure. The

effects characteristic of Rococo, are a basic description of the

Meissen pieces. Repeated, even in the most modern pieces, this

quality, and the shape of the base of the figures, it is an important

milestone for the determination of the original piece. But be aware of

a single detail: The pieces of the 18th

century do not have such a

detailed crafting as those modeled in the 19th

or 20th

century. The

pieces of the eighteenth century have grace, lightness and movement.

These virtues are almost impossible to be found in industrialized

pieces or created for the sole purpose of wholesale. Therefore,

Kandler pieces do not have as many colors as the pieces produced in

the 20th century. These features of Kandler pieces are loud when we

look at the Commedia dell'Arte, Harlequin and Columbine, Brighella

and Pantalone, Scaramouche and Truffaldino pieces, among others.

Another curious detail is that the use of gold / golden at the bases,

this comes from the belief that the Chinese alchemists taught that

gold was the substance of the gods. Christians equaled it to the Body

of Christ. It is the perfect substance, untouchable. Notice in the

figure below.

110

Harlequin modeled by Kandler in the 18th

century. Note the few

colors and solid foundation. There is gentleness and grace in motion,

despite few decorative elements.

In the photo above, is a cherub figure modeled by Fisher in 1892.

Note the rococo base, the details that make up the angelic figure, the

quality of the modeling of the hands and feet. In the sculptural group

below, also of the 19th

century, we find the synthesis of the parts

produced in the late 19th

and early 20th

centuries. Note the treatment

of garments and characteristics, predominant, of rococo, in the

figures and gestures, the inheritance of Kandler and other 18th

century modelers. The features and gestures almost make us hear the

dialogue between the characters. These characteristics denote a good

piece. Quality and boldness in the forms were always present,

regardless of the time in which the pieces were produced by Meissen.

112

In pieces produced in the 18th

century or the beginning of the 20th

,

these qualities are always present. Be aware of one important detail:

At the beginning of the 20th

century there was porcelain produced

inspired by the early pieces of the eighteenth century, even imitating

the brand of the period. Obviously it is very difficult to determine the

originality and age of the piece. For this reason, it’s necessary tests

such as thermo luminescence and carbon 14. The intent of this

chapter is to show, through Kandler and his sculptures, that Meissen

porcelain is valued, above all, by the quality of its mass (hard paste)

and perfect modeling. Remember that the brightness and the colors

used count a lot to the quality to the careful observer. Therefore, the

Kandler figures are a great example of that which is Meissen and

how his pieces tell us about porcelain and beauty to the present day.

The End of the 19th Century – Sculpture Group – Meissen

The End of the 19th Century – Sculpture Group – Meissen

In your future acquisitions, watch out for these features and see what

the brand and its numbering tell you about the production and age of

the piece. Over time, with trained eyes, you will know how to

distinguish between a beautiful piece and a "mockery". I hope this

little book will help collectors, antique dealers and enthusiasts of

Meissen porcelain, to improve their collections and to discover new

pieces. Just be careful not to be affected by the "porcelain disease,"

“Porzellankrankheit”, which has affected the sovereign Augustus II

the Strong in his confusion, in his delusional plans, ceramics with

real political power. But that's another story.

114

12

Basic Tips

Holes: Porcelain needs to have a small hole for heat to escape during

firing. Meissen pieces generally have a hole in the bottom of the

piece; In some cases where it is not possible, the hole is hidden in

some other point of the piece. Some reproductions do not hide the

holes. If you see a Meissen piece with an obvious hole, it’s probably

a reproduction.

Size: Copies take pains to seem authentic. The most common way is

to obtain a real piece and create a mold to counterfeit. The problem is

that this technique makes it 16% smaller than the real piece. I know

this will not help much at the time of evaluation. However, with keen

research, this information will be of great help, especially if the piece

is offered in a catalog or book.

Weight: This is another important factor. In theory, all Meissen

authentic pieces of the same design should weigh the same weight

because they are produced in the same mold. If you cannot compare

with another example of the same design, then compare with a

potential fake copy.

Colors: Knowing the colors used by Meissen is a skill acquired over

time by collectors and antique shops. Meissen porcelain should be of

a slight bluish white. Fake pieces tend to be cream or with a strong

white. The slightly bluish cast is quite common of the old pieces of

the 18th

century.

Eye Color: This is a classic trick. Virtually all Meissen figure

representing a figure of the 18th

century has brown eyes. Any piece

of this period, which has blue eyes, should be examined with extreme

suspicion. However, if the piece does not have blue eyes, and is

authentic, then it will be very valuable.

Hair and Skin: This is more a factual lesson and a great way to

identify a fake piece. Figures of the 18th century had very lightly

painted skin and hair, often designed with simple lines and more than

one color. In the 19th century Meissen uses a much stronger skin

color and there are no lines in the hair.

Details: One of the strongest factors in determining the authenticity

of any old Meissen piece. Was this piece hand-painted? Does it seem

made within the standards of quality of Meissen? Always look

critically at Meissen porcelain. An adage about ancient art is that if

there is any doubt as to the authenticity, then, of course, it’s not

authentic. If you have to convince yourself of the authenticity,

despite the red flags, then you are on the way to being fooled.

116

Research Bibliography

The Book of Meissen; Schiffer Books for Collectors; Robert

E.Rontgen; 2000.

Meissen Colection; Shire Collections; John Sandon; 2010.

Meissen Porcelain Identification and Value Guide; Jim Harran; 2005.

Meissen Porcelain; Otto Walscha; 1981.

Les Porcelaines de Meisssen; Siegfried Ducret; Payot Lausanne;

1952.

Utz; Bruce Chatwin; Companhia das Letras; 1990.

Porcelana de Meissen – marcas e dicas para reconhecimento6 The first dedication is for you,...

Documents

Transcript of Porcelana de Meissen – marcas e dicas para reconhecimento6 The first dedication is for you,...