Meissen stand

Description
TITLE: Meissen chinoiserie stand
MAKER: Meissen Manufactory
PHYSICAL DESCRIPTION: ceramic, porcelain (overall material)
MEASUREMENTS: D. 8¾" 21.3cm
OBJECT NAME: Stand
PLACE MADE: Meissen, Saxony, Germany
DATE MADE: 1735-1740
SUBJECT: Art
Domestic Furnishing
Industry and Manufacturing
CREDIT LINE: Hans C. Syz Collection
ID NUMBER: 1979.0120.03
COLLECTOR/ DONOR: 609
ACCESSION NUMBER:
(DATA SOURCE: National Museum of American History, Kenneth E. Behring Center)
MARKS: Crossed swords in underglaze blue; “12” in gold (gold painter’s mark; “14” impressed (former’s mark).
PURCHASED FROM: Blumka Gallery, New York, 1947.
This stand is from the Smithsonian’s Hans Syz Collection of European Porcelain. Dr. Syz (1894-1991) began his collection in the early years of World War II, when he purchased eighteenth-century Meissen table wares from the Art Exchange run by the New York dealer Adolf Beckhardt (1889-1962). Dr. Syz, a Swiss immigrant to the United States, collected Meissen porcelain while engaged in a professional career in psychiatry and the research of human behavior. He believed that cultural artifacts have an important role to play in enhancing our awareness and understanding of human creativity and its communication among peoples. His collection grew to represent this conviction.
The invention of Meissen porcelain, declared over three hundred years ago early in 1709, was a collective achievement that represents an early modern precursor to industrial chemistry and materials science. The porcelains we see in our museum collections, made in the small town of Meissen in the German States, were the result of an intense period of empirical research. Generally associated with artistic achievement of a high order, Meissen porcelain was also a technological achievement in the development of inorganic, non-metallic materials.
Meissen’s chinoiserie period began in the 1720s following the arrival from Vienna of Johann Gregor Höroldt (1696-1775) who brought with him superior skills in enamel painting on porcelain. His highly significant contribution to Meissen was to develop a palette of very fine bright enamel colors that had so far eluded the team of metallurgists at the manufactory, and that were new to onglaze enamel colors on faience and porcelain in general.
The stand once held an ecuelle, a covered bowl for serving bouillon or stews, and four miniature chinoiseries can be seen on the flange framed in gold and purple luster. They depict a group enjoying tea in a garden, the preparation of tea, a merchant and his assistant, and three men playing with a monkey. In the center of the stand there is an elaborate stylized design based on the peony flower and painted in iron-red. Elaborate scrollwork fills the remaining space on the stand with six lozenges containing diaper patterns surrounding the peony. For a comparable example see Ulrich Pietsch, 2011, Early Meissen Porcelain: The Wark Collection from the Cummer Museum of Art and Gardens, p. 187.
Chinoiserie is from the French Chinois (Chinese) and refers to ornamentation that is Chinese-like. The style evolved in Europe as Chinese luxury products began to arrive in the West in the late sixteenth and early seventeenth centuries through the major European trading companies. Artisans were quick to incorporate motifs from these products into their work and to imitate their material qualities, especially the Chinese lacquers, embroidered silks, and porcelains, but their imitation was not informed by first-hand knowledge of China or an understanding of Chinese conventions in two-dimensional representation, and instead a fanciful European vision emerged to become an ornamental style employed in garden and interior design, in cabinet making, faience and porcelain manufacture, and in textiles. Illustrated books began to appear in the second half of the seventeenth century that describe the topography of China, its peoples and their customs, and these sources were copied and used by designers, artists, printmakers, and artisans including Johann Gregor Höroldt at Meissen. Application of the term chinoiserie to this class of Meissen porcelains is problematic, however, because Johann Gregor Höroldt developed his ideas from a variety of sources and referred to the “chinoiseries” as “Japanese” (Japonische) figures, an early modern generic term for exotic artifacts and images imported from the East.
On Johann Gregor Höroldt see Pietsch, U., Banz, C., 2010, Triumph of the Blue Swords: Meissen Porcelain for Aristocracy and Bourgoisie 1710-1815, pp. 17-25.
On chinoiserie see Impey, O., 1997, Chinoiserie: the Impact of Oriental Styles on Western Art and Decoration; on the porcelain trade and European exposure to the Chinese product see the exhibition catalog by Emerson, J., Chen, J., Gardner Gates, M., 2000, Porcelain Stories: from China to Europe
Jefferson Miller II, J., Rückert, R., Syz, H., 1979, Catalogue of the Hans Syz Collection: Meissen Porcelain and Hausmalerei, pp. 88-89.
Location
Currently not on view
date made
ca 1740
1740
place made
Deutschland
Physical Description
porcelain (overall material)
polychrome enamels and gold (overall color)
chinoiserie (overall style)
Measurements
overall: 8 3/4 in; 22.225 cm
overall: 1 1/8 in x 8 7/8 in; 2.8575 cm x 22.5425 cm
ID Number
1979.0120.03
catalog number
1979.0120.03
accession number
1979.0120
collector/donor number
609
subject
Manufacturing
See more items in
Home and Community Life: Ceramics and Glass
Domestic Furnishings
Art
The Hans C. Syz Collection
Meissen Porcelain: The Hans Syz Collection
Data Source
National Museum of American History, Kenneth E. Behring Center

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