P079 - MEISSEN HAUSMALEREI TEA BOWL AND SAUCER
Painted in the Chinoiserie taste with figures on terraces (gilding at rim worn)
(chip to foot of teabowl)
Cup: 1 5/8 in. (4.1 cm) high
Saucer: 5 ¼ in. (13.3 cm) diameter
Cleo M. and G. Ryland Scott Jr., Antique Porcelain Digest, Newport, England, 1961, pp. 168-169, fig. 59.
On display in the “George Ryland Scott Collection” at The Memphis Brooks Museum of Art between June 1955 and May 1960
NOTES BY CLEO M. AND G. RYLAND SCOTT, JR in the late 1950’s
DU PAQUIRE CUP AND SAUCER
This fine cup and saucer was purchased in Lucerne from the dealer, Otto Buel. He says he purchased them from Meyer in London in 1952. Du Paquire and Hunger in 1718 started the factory in Vienna. Hunger got his information from Bottger, who founded the Meissen Factory. A little later the ARCANUM was improved by Samuel Stozel, a trusted worker at the Meissen factory, who fled to Vienna and assisted with the kilns and the preparation of the paste and glaze. In 1720 he returned to Meissen taking with him Gregor Herold, who became the principle decorator and later the director of the Meissen factory.
Du Paquire was given a patent, but no financial help, by the Emperor. At Meissen, on the other hand, the Emperor furnished all of the funds needed. In 1744 the Emperor purchased the factory from Du Paquire. The porcelain then, for the first time, was given a factory mark. During the Du Paquire period no marks were used. This porcelain is greatly sought after by collectors. As it was never a large factory, few examples outside the Vienna Museum are found.
This cup and saucer are rare and could have been decorated by Herold before he left for Meissen in 1720. Soon after he reached Meissen, he personally decorated many pieces of porcelain with a similar palate and he for some years specialized in the same general type of decoration. For a full discussion of the subject, see the outstanding book by J. F. Hayward who on page 56 says: “Figure painting appears at an early age on Du Pa Paquire porcelain. We have evidence of the Dresden comission, which examined the pieces brought by Herold from Vienna in 1720, that he was producing polychrome figure subjects by the beginning of that year. At Meissen, figure subjects in European costumes were also introduced at an early date, only to be displaced by the Herold chinoiseries during the 1720s." Again on page 72 he says: "Herold, who left Vienna with Stozel in 1720 and is generally thought to have been responsible for the introduction of chinoiseries to Meissen, may have developed this style first in Vienna." Again page 72 he says: "Characteristic of the early Vienna chinoiserie decoration is the distribution of the figures over the whole surface of the piece without the confinement of a frame of scrollwork. However, on the whole, the Meissen decorators preferred to set their Chinese subjects within scrollwork."
It will be seen that this cup and saucer is done in the early Du Paquier manner; viz. without scrollwork. It will also be seen that the gold borders, etc. have largely flaked off as a result of the inability of the factory at that early date to secure a proper bond. This was also true of certain of the enamel colors which seemed to lie on the surface and also had a tendency to flake off. Hayward page 20 in referring to the early techniques, 'Further, he does not even seem to have introduced an effective gilding technique, for on most of the earliest pieces the gilding has disappeared except for faint traces."
The earliest articles made were cups and saucers of the shape and size shown here. Our saucer is very badly warped, which would seem to support the theory that these items may have been decorated by Herold before he left for Meissen. In any event, the colors are Pastel like in tone and have a strong resemblance to the early work of Herold during his first few years at Meissen. Later Herold developed the immensely strong baroque colors.