101
A Berlin faience vase and cover with Chinoiserie decorThick baluster-form vase with waisted lower
Das Auktionshaus hat für dieses Los keine Ergebnisse veröffentlicht
Berlin
Beschreibung
Deckelvase mit Chinoiserie
Fayence, Blaudekor. Wuchtige Balusterform mit eingeschnürter unterer Wandung, zugehöriger Deckel. Umlaufende chinesische Gartenlandschaft mit zahlreichen Figuren. Ohne Marke. Deckel restauriert. H 43 cm.
Berlin, Manufaktur Gerhard Wolbeer, Anfang 18. Jh.
Berliner Fayence
100 Jahre Forschungsgeschichte
Die erste große Monographie zu „Altberliner Fayencen“ verfasste Otto von Falke 1923. Der frühere Direktor des Kölner und seit 1908 des Berliner Kunstgewerbemuseums publizierte erstmals die Namen und zugewiesenen Produkte der Manufakturisten. Da die frühen Berliner schwer von den Delfter Fayencen zu unterscheiden sind, und auch die Hersteller damit warben „Delftisches Porcellain“ zu produzieren, war seine Arbeit bahnbrechend. Denn Marken findet man auf Berliner Fayencen höchst selten. Formen und Dekore sind, genau wie bei den Delfter Stücken, zunächst inspiriert von chinesischen Porzellanen. So ist auch der Werbeslogan zu verstehen, denn damals war in Europa niemand imstande, Porzellan wie das chinesische zu produzieren. Aber das Wort „Porzellan“ machte die Menschen neugierig auf das neue Kunstprodukt. Und sowohl die Delfter Plateelbakker als auch die Berliner Manufakturen bezeichneten ihre Erzeugnisse als Porzellan, obwohl sie einen anderen Scherben benutzten und viel niedriger brannten.
Durch das vor fast 100 Jahren erschienene Buch von Otto von Falke wurde erstmals klar, dass die Berliner Fayencebäcker Gerhard Wolbeer und sein Schüler und späterer Konkurrent Cornelius Funcke nach der Jahrhundertwende 1700 sukzessive ein eigenes Formenrepertoire, typische Dekore und neue Farben entwickelten. Die Arbeit der Berliner Kunsthistorikerin Christiane Keisch hat die Forschung über diese Fayencen einen Schritt weitergebracht. Sie fand heraus, dass Cornelius Funcke in Berlin als erster in der Lage war, Fondfarben zu produzieren. Im Gegensatz zur Motivzeichnung muss die Fondfarbe einen größeren Bereich gleichmäßig decken. Das ist einfacher gesagt als getan, denn im Brennprozess verziehen sich die Farben, bilden Risse und Ausplatzungen. Um die Rezepte seiner Farben wurde Funcke sogar von Johann Friedrich Böttger, dem großen Meißener Chemiker, beneidet und gefürchtet. Das was in den Berliner Fayencemanufakturen im ersten Viertel des 18. Jahrhunderts geschah, war, bedingt durch die wirtschaftlichen Voraussetzungen, die der Große Kurfürst und vor allem König Friedrich I. genehmigten, eine Revolution in der Fayencetechnik, aber gleichfalls auch eine bedeutende Veränderung in der Erfindung einer neuen deutschen Gefäßkultur. Die hier vorgestellte, über viele Jahrzehnte entstandene Sammlung bringt uns diese Entwicklung deutlich vor Augen, genauso wie die Liebe zur keramischen Gestaltung, die Sorgfalt der Ausformung und die Würdigung des Gefäßes.
Provenienz
Sotheby´s London am 7. Oktober 1986, Lot 193.
Niedersächsische Privatsammlung.
Literatur
Vgl. Kat. Herrliche Künste und Manufacturen, Berlin 2001, Nr. 20.
A Berlin faience vase and cover with Chinoiserie decor
Thick baluster-form vase with waisted lower section and original lid. Decorated with figures in a Chinoiserie landscape. Unmarked. The lid restored. H 43 cm.
Manufactory of Gerhard Wolbeer, early 18th C.
Berlin Faience
100 years of research history
The first major monograph on "old Berlin faience" was written by Otto von Falke in 1923. The former director of the museum of decorative arts in Cologne and director of the museum of decorative arts in Berlin since 1908 was the first to publish the names and attributed products of the Berlin manufacturers. Since early Berlin faiences are difficult to distinguish from Delftware and the producers themselves advertised their wares as "Delft porcelain", his achievement was truly groundbreaking, especially since Berlin faiences are also rarely marked.
Like Delftware, the forms and decor of the Berlin pieces were inspired by Chinese porcelain. The advertising slogan was to be understood in this sense, since at the time, nobody in Europe was capable of producing true porcelain like that imported from China. The use of the word "porcelain" awakened people's curiosity for the new product, and thus both the "plateelbakker" of Delft and the faience makers of Berlin described their productions as such, although they used an entirely different ceramic mass to that used in porcelain and were fired at much lower temperatures.
Otto von Falke's book, published almost 100 years ago, was the first to reveal how the Berlin faience makers Gerhard Wolbeer and his pupil, and later competitor, Cornelius Funcke gradually began to develop their own repertoire of forms, decor, and new pigments around the turn of the 18th century. The work of the Berlin-based art historian Christiane Keisch has brought research into Berlin faience one step further with the knowledge that Cornelius Funcke in Berlin was the first to be able to produce ground colours on faience. In contrast to the pigments of drawn motifs, ground colours have to cover a large area evenly. This is easier said than done, as the pigments are prone to warp during the firing process, causing cracks and losses.
Funcke was even feared and envied by the great Meissen porcelain chemist Johann Friedrich Böttger. The achievements of the Berlin faience makers in the first quarter of the 18th century, facilitated by the economic upswing under the Great Elector and especially under King Frederick I, brought about a revolution in faience technology as well as important impetus in the development of a new style of vessel production in Germany. The collection presented here was amassed over the course of several decades and manages to present a succinct overview of these developments as well as showcasing a love of ceramic design, careful modelling, and respect for the vessels.
Provenance
Sotheby´s London on 7th October 1986, lot 193.
Lower Saxon private collection.
Literature
Cf. cat. Herrliche Künste und Manufacturen, Berlin 2001, no. 20.
Auktionsdetails
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Deckelvase mit Chinoiserie
Fayence, Blaudekor. Wuchtige Balusterform mit eingeschnürter unterer Wandung, zugehöriger Deckel. Umlaufende chinesische Gartenlandschaft mit zahlreichen Figuren. Ohne Marke. Deckel restauriert. H 43 cm.
Berlin, Manufaktur Gerhard Wolbeer, Anfang 18. Jh.
Berliner Fayence
100 Jahre Forschungsgeschichte
Die erste große Monographie zu „Altberliner Fayencen“ verfasste Otto von Falke 1923. Der frühere Direktor des Kölner und seit 1908 des Berliner Kunstgewerbemuseums publizierte erstmals die Namen und zugewiesenen Produkte der Manufakturisten. Da die frühen Berliner schwer von den Delfter Fayencen zu unterscheiden sind, und auch die Hersteller damit warben „Delftisches Porcellain“ zu produzieren, war seine Arbeit bahnbrechend. Denn Marken findet man auf Berliner Fayencen höchst selten. Formen und Dekore sind, genau wie bei den Delfter Stücken, zunächst inspiriert von chinesischen Porzellanen. So ist auch der Werbeslogan zu verstehen, denn damals war in Europa niemand imstande, Porzellan wie das chinesische zu produzieren. Aber das Wort „Porzellan“ machte die Menschen neugierig auf das neue Kunstprodukt. Und sowohl die Delfter Plateelbakker als auch die Berliner Manufakturen bezeichneten ihre Erzeugnisse als Porzellan, obwohl sie einen anderen Scherben benutzten und viel niedriger brannten.
Durch das vor fast 100 Jahren erschienene Buch von Otto von Falke wurde erstmals klar, dass die Berliner Fayencebäcker Gerhard Wolbeer und sein Schüler und späterer Konkurrent Cornelius Funcke nach der Jahrhundertwende 1700 sukzessive ein eigenes Formenrepertoire, typische Dekore und neue Farben entwickelten. Die Arbeit der Berliner Kunsthistorikerin Christiane Keisch hat die Forschung über diese Fayencen einen Schritt weitergebracht. Sie fand heraus, dass Cornelius Funcke in Berlin als erster in der Lage war, Fondfarben zu produzieren. Im Gegensatz zur Motivzeichnung muss die Fondfarbe einen größeren Bereich gleichmäßig decken. Das ist einfacher gesagt als getan, denn im Brennprozess verziehen sich die Farben, bilden Risse und Ausplatzungen. Um die Rezepte seiner Farben wurde Funcke sogar von Johann Friedrich Böttger, dem großen Meißener Chemiker, beneidet und gefürchtet. Das was in den Berliner Fayencemanufakturen im ersten Viertel des 18. Jahrhunderts geschah, war, bedingt durch die wirtschaftlichen Voraussetzungen, die der Große Kurfürst und vor allem König Friedrich I. genehmigten, eine Revolution in der Fayencetechnik, aber gleichfalls auch eine bedeutende Veränderung in der Erfindung einer neuen deutschen Gefäßkultur. Die hier vorgestellte, über viele Jahrzehnte entstandene Sammlung bringt uns diese Entwicklung deutlich vor Augen, genauso wie die Liebe zur keramischen Gestaltung, die Sorgfalt der Ausformung und die Würdigung des Gefäßes.
Provenienz
Sotheby´s London am 7. Oktober 1986, Lot 193.
Niedersächsische Privatsammlung.
Literatur
Vgl. Kat. Herrliche Künste und Manufacturen, Berlin 2001, Nr. 20.
A Berlin faience vase and cover with Chinoiserie decor
Thick baluster-form vase with waisted lower section and original lid. Decorated with figures in a Chinoiserie landscape. Unmarked. The lid restored. H 43 cm.
Manufactory of Gerhard Wolbeer, early 18th C.
Berlin Faience
100 years of research history
The first major monograph on "old Berlin faience" was written by Otto von Falke in 1923. The former director of the museum of decorative arts in Cologne and director of the museum of decorative arts in Berlin since 1908 was the first to publish the names and attributed products of the Berlin manufacturers. Since early Berlin faiences are difficult to distinguish from Delftware and the producers themselves advertised their wares as "Delft porcelain", his achievement was truly groundbreaking, especially since Berlin faiences are also rarely marked.
Like Delftware, the forms and decor of the Berlin pieces were inspired by Chinese porcelain. The advertising slogan was to be understood in this sense, since at the time, nobody in Europe was capable of producing true porcelain like that imported from China. The use of the word "porcelain" awakened people's curiosity for the new product, and thus both the "plateelbakker" of Delft and the faience makers of Berlin described their productions as such, although they used an entirely different ceramic mass to that used in porcelain and were fired at much lower temperatures.
Otto von Falke's book, published almost 100 years ago, was the first to reveal how the Berlin faience makers Gerhard Wolbeer and his pupil, and later competitor, Cornelius Funcke gradually began to develop their own repertoire of forms, decor, and new pigments around the turn of the 18th century. The work of the Berlin-based art historian Christiane Keisch has brought research into Berlin faience one step further with the knowledge that Cornelius Funcke in Berlin was the first to be able to produce ground colours on faience. In contrast to the pigments of drawn motifs, ground colours have to cover a large area evenly. This is easier said than done, as the pigments are prone to warp during the firing process, causing cracks and losses.
Funcke was even feared and envied by the great Meissen porcelain chemist Johann Friedrich Böttger. The achievements of the Berlin faience makers in the first quarter of the 18th century, facilitated by the economic upswing under the Great Elector and especially under King Frederick I, brought about a revolution in faience technology as well as important impetus in the development of a new style of vessel production in Germany. The collection presented here was amassed over the course of several decades and manages to present a succinct overview of these developments as well as showcasing a love of ceramic design, careful modelling, and respect for the vessels.
Provenance
Sotheby´s London on 7th October 1986, lot 193.
Lower Saxon private collection.
Literature
Cf. cat. Herrliche Künste und Manufacturen, Berlin 2001, no. 20.
The Prussian Sale / Vienna Porcelain from a Private Collection (Lempertz Berlin)
Auktionsdatum
Ort der Versteigerung
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Berlin
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Germany
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AGB
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Henrik Hanstein, sworn public auctioneer
Takuro Ito, Kilian Jay von Seldeneck, auctioneers
