der porzellan hausmaler

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der Porzellan Hausm

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noEditions

Apostolos Ntelakos

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decoration on fayen

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“ Decoration on Fayence anD Porcelain” Kurt M. Semon στο Ameri-can Collector Archives, ένα περιοδικό που κυκλοφόρησε από το 1933 εως το 1948 για εμπόρους και συλλέκτες αντίκας. Το άρθρο από την ιστοσελίδα http://www.col-lectorsweekly.com/articles/hausmaler-dec-oration-on-fayence-and-porcelain/Ameri-can Collector Archives.

This article discusses hausmalers, individual German painters who worked on fayence or porcelain, noting some specific artists and their designs.

This is a province of Germanic art not known to many of us. If there are no awe inspiring peaks and no big rushing streams

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fayence or porcelain, noting some specific artists and their designs.

This is a province of Germanic art not known to many of us. If there are no awe

inspiring peaks and no big rushing streamsit i nevertheless a pleasant landscape. Of co urse hausmaler, literally house painters, are a far cry.

They were home painters, individuals seeking realization of their artistic ambition

and in most cases, added income. Sometim es they were modest, underpaid factory workers; sometimes gentlemen of leisure or itinerant artists. It was always the initiative of the individual against the factory.

Also we must have in mind that Germany

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of the 17th Century was not yet the Prus-sianized, imperialistic Reich forged by Bis-mark. There were many minor potentates and it was only during the later half of the hausmaler period that Frederick II, King of Prussia, made his appearance.

We can roughly divide the hausmaleras those who painted on fayence and those who painted on porcelain, the lat-ter of course a much finer ware with a lus-trous, smooth surface.

The first fayence factories being founded in Hanau and the nearby Frankfurt in 1661 and 1666, they began by allowing un-decorated ware to come into other hands.

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It was deemed good publicity if a finely painted, signed piece by an outsider cre-ated a larger demand also for the factory

ware. But with growing industrialization policy was reversed and the hausmaler came definitely an unwanted competi-

tor. If a factory employed good painters they didn’t want them to sell signed pieces painted at home because that might make them famous and another factory might try

to get them away with a better offer.

Illustration II: Fayence Jug by Shaper: An example of “Schwarzlot” painting done circa 5665, the piece has copper-gilt mountings.

Technically all hausmaler decoration was overglaze, low fired and the start was

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restricted color scheme. This was called “Schwarzlot,” black with sparse use of iron red and gold. As to the style, we can say that the fayence painting was definitely Germanic; later the decoration of porce-lain followed the different styles, French, Dutch, and the Chinese vogue. We find the main centers of the hausmaler art in the southern and middle part of Germany also spreading to Bohemia and Vienna. The period runs from the second half of the 17th Century through the 18th. We may add that only illustrations in color could do full justice to the contrast and in-terplay of different colors and hues some-times heightened by intricate gold orna-ments. The first artist of note to open the

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It was deemed good publicity if a finely painted, signed piece by an outsider cre-ated a larger demand also for the factory

ware. But with growing industrialization policy was reversed and the hausmaler came definitely an unwanted competi-

tor. If a factory employed good painters they didn’t want them to sell signed pieces painted at home because that might make them famous and another factory might try

to get them away with a better offer.

Illustration II: Fayence Jug by Shaper: An example of “Schwarzlot” painting done circa 5665, the piece has copper-gilt mountings.

Technically all hausmaler decoration was overglaze, low fired and the start was

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restricted color scheme. This was called “Schwarzlot,” black with sparse use of iron red and gold. As to the style, we can say that the fayence painting was definitely Germanic; later the decoration of porce-lain followed the different styles, French, Dutch, and the Chinese vogue. We find the main centers of the hausmaler art in the southern and middle part of Germany also spreading to Bohemia and Vienna. The period runs from the second half of the 17th Century through the 18th. We may add that only illustrations in color could do full justice to the contrast and in-terplay of different colors and hues some-times heightened by intricate gold orna-ments. The first artist of note to open the

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Fig.14 Interior

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Lost data. A CHINESE PORCELAIN BLUE AND WHITE `LOTUS` BOTTLE VASE QING DYNASTY, 18TH CENTURY painted with

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Vaas Collectie: Groninger Museum Nr. 1904.0003 Een kalebasvormige vaas op voetrand (uit de wand ge-vormd, dus schijnbaar op de bodem

Lost data.

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The Dresden porcelain collection, The Dresden Porcelain Collection, China, Japan, Meissen, 978-3-422-06655-7, page 114, Tureen from the service with the >yellow lion< Meissen, 1738, H.23,8 cm, diameter 26cm, Mark: blue crossed swords in overglaze enamel Inv.no.P.E.1252. The service

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The Dresden porcelain collection, The Dresden Porcelain Collection, China, Japan, Meissen, 978-3-422-06655-7, page 109, The Dresden Porcelain Collection, China, Japan, Meissen. This book presents outstanding masterpieces from the Dresden Porcelain Collection, which comprises some 20,000 pieces, including: Chinese porcelain from the

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Another Bustelli group, The Tempestuous Lovers, 1760, 14.4 cm high. See note for the same groupin plain white, from another view.[1] ^ example in white from Swansea, and a different colour

Tureen “Swan Service”, H 52 cm, Limitierte Auflage,SKU:397 180-05028, Weight: 6500 gr, Limited to 10 pieces per year. Do you have questions? MEIS-SEN ® Customer Service: +49 3521 468 6650 Re-

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Lost data.The lady has a self-confident expression on her face and holds a fan coquettishlyin her right hand. Her hair is bound in the style popular in the Genroku period(1688-1704). The figourine bears considerable similarity to contemporary portreyals of courtesans on the woodcuts of the >ukiyo-e< (>pictures of the

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Lost data.

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Lot 45 / Sale 7813 TWO DUBLIN DELFT PLATES CIRCA 1760-65, ONE WITH MANGANESE 6 MARK, THE WORLD’S END POTTERY, WILLIAM DELAMAIN & SAMUEL WILKINSON PERIOD Price Realized £5,625 ($8,483) Sales totals are hammer price plus buyer’s premium and do not reflect costs, financing fees or application of buyer’s or seller’s credits. Estimate £3,000 - £5,000 ($4,506 -

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Save your Interest Join Track lots, view condition reports, place bids, and watch auctions in real time with Live™ Sign in or Join View Site Demo Bid Live Take a moment to provide your feedback on our website Start Survey Contact Us Job Opportunities FAQ Privacy Security Terms & Conditions Site Map Site Demo Partners Features On the Go Online Communities The following are the terms and

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Ambacht versus industrie Vertel over uw stuk Hedendaagse inspiratie Ont-dek de geheimen achter de labelsMerken en Symbolen Index Glos-

C / Campen, van 1993 Campen, van 2003 F/ Fitski 1993 H / Harrisson 1979 Harrisson 1986 Harrisson 1987-A J Jörg 2003-A Jörg 2002 Jörg 2003-

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In September Kändler described his cockatoo in a report. This model was used for life-size porce-lain sculptures, although a smaller version wasalso introduced. It is more than evident that Kän-

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mimosa 1

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1 Genus, whose generic name is derived from the Greek word μίμος that means ‘mimic’. / Gledhill, D. (2008). The Names of Plants (4 ed.). Cambridge University Press. p. 356. ISBN 978-0-521-86645-3.

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The Meissen(dark)

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White Gold 18th Century Porcelain from Meissen and Du Paquier Property of The Byrnes Children Trust Sale 7815 London, King Street 12 May 2010 Related Content RE-LEASE: WHITE GOLD - TWO IMPORTANT SALES OF

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The animal was modelled by Johann Gottlob Kirchner at the Royal porcelain factory at Meissen. It was here that many large animal sculptures were produced in the1730’s. This particular bird was described as an ‘Indianischer Rabe’ or raven. The white porcelain is painted in bright colours: blue for the macaw’s head; red and yellow for the tail.

Used from $12.45 Customers Viewing This Page May Be Interested in These Sponsored Links (What’s this?) Asian palace opens new browser window www.thuisbezorgd.nl/Asian+Palace - Bestel bij Asian palace viaThuisbezorgd.NL ! 15 Hotels in Meißen opens new browserwindow Booking.com/Meissen-Hotels - Book your Hotel in

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Lost data.

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780 otha, Mokka- e, Sahnegießer Untertasse, 780 otha tt (Ausschnitt) 780 otha, Deckel- mit Untertasse, gen Inschrift utlich 1780 MOCCASERVICE, Meissen, Staatl Manuf, Porz, bunt-gold, „Schwanendessin“, bestehend aus Mocca

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4epilogue

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ΑΦΙΕΡΩΣΕΙΣ / DEDICATIONS

To έργο ‘DER PORzELLAN HAUSMALER’, αφιερώνεται στα βιβλία των οποίων οι εικόνες το συνέθεσαν και στο βιβλίο ‘Parallel Encyclopedia’ της Batia Suter, Romapublications,Amsterdam, 2007.

The work ‘DER PORzELLAN HAUSMALER is dedicated to all the books, whose images were used to make it up and to Batia Suter’s book ‘Parallel Encyclopedia’, Romapublications, Amsterdam, 2007.

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ΚΟΛΟΦΩΝΑΣ / COLOPHON

‘DER PORzELLAN HAUSMALER’, artist’s book, σελ.106, noEditions, Βόλος, Σεπτέμβριος 2012.

αύξων αριθμός βιβλίου: 01επιμέλεια - σχεδίαση: Α. Ντελάκοςwww.apostolos-ntelakos.com© Απόστολος Ντελάκος, 2012

‘DER PORzELLAN HAUSMALER΄, artist’s book, 106 pages, noEditions, Volos, GR, September 2012.

copy number: 01editing - design: Apostolos Ntelakos www.apostolos-ntelakos.com © Apostolos Ntelakos, 2012

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