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akg8547604 PORCELAIN FIGURINE OF EUSEBIUS FROM THE 'RUSSIAN BALLET'. Meissen. Model P. Scheurich. Porcelain, enriched in colours. Eusebius from the ballet 'Carnival' on an oval base with rectangular support covered partially by a draped cloth. The dancer makes a deep lunge, grabs his chest with his left and raises his right hand behind him, swearing an oath. He wears a blue frock coat with a rose on the revers, a sky-blue bow tie and checked trousers. On his face with heavy make up lies a theatrical expression. At his feet a tophat, a mask and a walking stick. Measurement: Height 21,5cm. Mark: Swordsmark, D284, porcelain former no. 121, painter no. 27. Literature:-Jedding, Hermann. Meißener Porzellan des 19. und 20. Jahrhunderts 1800-1933, Munich 1981, comp. p.128-129.-Just, Johannes: Meissener Jugendstil Porzellan, Gütersloh 1983, comp. fig. 77.-Bröhan, Karl H. (ed.): Porzellan. Kunst und Design 1889 bis 1939. Vom Jugendstil zum Funktionalismus, Berlin 1996, comp. p.125ff.; regarding Paul Scheurich see p.123ff.-Hakenjos, Bernd / Grolman, Dorothea: Um 1900. Porzellan aus Berlin, Meissen und Nymphenburg, Düsseldorf 1999, Models comp. cat. no.122-127.Paul Scheurich, born in New York in 1883 as the son of a photographer from Berlin, was one of the most important porcelain sculptors of the art nouveau. Originally working as a graphic artist and illustrator, his talent for the material was discovered and encouraged by Max Adolf Pfeiffer. Between 1913 and 1938 Scheurich designed more than 100 models for the Meissen Porcelain Manufactory and contributed significantly to its success. At the 1937 World Exhibition in Paris, where the manufactory was awarded the 'Grand Prix', six of the seven prize-winning objects were designed by him.The 'Russian Ballet', Scheurich's first design produced by Meissen, also was his first great success. First presented in 1914 at the German Werkbund Exhibition in Cologne, the models became a bestseller after World War 1. The graceful dancers, with their coquettish, theatrical facial expressions, skilfully illustrate the 'Russian Ballet' of the imperial theatres in Moscow and St. Petersburg. In the years before the first World War the corps de ballet, founded by the famous impresario Sergei Djagilev, caused sensation all over Europe. The dancers gave guest performances in London, Paris and also Berlin, where the young Scheurich sat in the audience during a performance of the play 'Carnival'. As early as 1912 a series of six etchings entitled 'Pierrot' was published by the renowned Berlin art dealer Gurlitt, in which Scheurich takes reference to the production. The ballet pantomime to an orchestral version of Robert Schumann's piano cycle ' Le Carnaval' enjoyed great popularity with the audience and was performed a total of 14 times in Berlin. The leading roles were played by star dancers such as Tamara Karsawina and Waslaw Nijinski, whom Scheurich is said to have portrayed in his figurines. . Art trade, Van Ham.

akg8547605 PORCELAIN FIGURINE OF EUSEBIUS FROM THE 'RUSSIAN BALLET'. Meissen. Model P. Scheurich. Porcelain, enriched in colours. Eusebius from the ballet 'Carnival' on an oval base with rectangular support covered partially by a draped cloth. The dancer makes a deep lunge, grabs his chest with his left and raises his right hand behind him, swearing an oath. He wears a blue frock coat with a rose on the revers, a sky-blue bow tie and checked trousers. On his face with heavy make up lies a theatrical expression. At his feet a tophat, a mask and a walking stick. Measurement: Height 21,5cm. Mark: Swordsmark, D284, porcelain former no. 121, painter no. 27. Literature:-Jedding, Hermann. Meißener Porzellan des 19. und 20. Jahrhunderts 1800-1933, Munich 1981, comp. p.128-129.-Just, Johannes: Meissener Jugendstil Porzellan, Gütersloh 1983, comp. fig. 77.-Bröhan, Karl H. (ed.): Porzellan. Kunst und Design 1889 bis 1939. Vom Jugendstil zum Funktionalismus, Berlin 1996, comp. p.125ff.; regarding Paul Scheurich see p.123ff.-Hakenjos, Bernd / Grolman, Dorothea: Um 1900. Porzellan aus Berlin, Meissen und Nymphenburg, Düsseldorf 1999, Models comp. cat. no.122-127.Paul Scheurich, born in New York in 1883 as the son of a photographer from Berlin, was one of the most important porcelain sculptors of the art nouveau. Originally working as a graphic artist and illustrator, his talent for the material was discovered and encouraged by Max Adolf Pfeiffer. Between 1913 and 1938 Scheurich designed more than 100 models for the Meissen Porcelain Manufactory and contributed significantly to its success. At the 1937 World Exhibition in Paris, where the manufactory was awarded the 'Grand Prix', six of the seven prize-winning objects were designed by him.The 'Russian Ballet', Scheurich's first design produced by Meissen, also was his first great success. First presented in 1914 at the German Werkbund Exhibition in Cologne, the models became a bestseller after World War 1. The graceful dancers, with their coquettish, theatrical facial expressions, skilfully illustrate the 'Russian Ballet' of the imperial theatres in Moscow and St. Petersburg. In the years before the first World War the corps de ballet, founded by the famous impresario Sergei Djagilev, caused sensation all over Europe. The dancers gave guest performances in London, Paris and also Berlin, where the young Scheurich sat in the audience during a performance of the play 'Carnival'. As early as 1912 a series of six etchings entitled 'Pierrot' was published by the renowned Berlin art dealer Gurlitt, in which Scheurich takes reference to the production. The ballet pantomime to an orchestral version of Robert Schumann's piano cycle ' Le Carnaval' enjoyed great popularity with the audience and was performed a total of 14 times in Berlin. The leading roles were played by star dancers such as Tamara Karsawina and Waslaw Nijinski, whom Scheurich is said to have portrayed in his figurines. . Art trade, Van Ham.

akg8547608 PORCELAIN FIGURINE OF EUSEBIUS FROM THE 'RUSSIAN BALLET'. Meissen. Model P. Scheurich. Porcelain, enriched in colours. Eusebius from the ballet 'Carnival' on an oval base with rectangular support covered partially by a draped cloth. The dancer makes a deep lunge, grabs his chest with his left and raises his right hand behind him, swearing an oath. He wears a blue frock coat with a rose on the revers, a sky-blue bow tie and checked trousers. On his face with heavy make up lies a theatrical expression. At his feet a tophat, a mask and a walking stick. Measurement: Height 21,5cm. Mark: Swordsmark, D284, porcelain former no. 121, painter no. 27. Literature:-Jedding, Hermann. Meißener Porzellan des 19. und 20. Jahrhunderts 1800-1933, Munich 1981, comp. p.128-129.-Just, Johannes: Meissener Jugendstil Porzellan, Gütersloh 1983, comp. fig. 77.-Bröhan, Karl H. (ed.): Porzellan. Kunst und Design 1889 bis 1939. Vom Jugendstil zum Funktionalismus, Berlin 1996, comp. p.125ff.; regarding Paul Scheurich see p.123ff.-Hakenjos, Bernd / Grolman, Dorothea: Um 1900. Porzellan aus Berlin, Meissen und Nymphenburg, Düsseldorf 1999, Models comp. cat. no.122-127.Paul Scheurich, born in New York in 1883 as the son of a photographer from Berlin, was one of the most important porcelain sculptors of the art nouveau. Originally working as a graphic artist and illustrator, his talent for the material was discovered and encouraged by Max Adolf Pfeiffer. Between 1913 and 1938 Scheurich designed more than 100 models for the Meissen Porcelain Manufactory and contributed significantly to its success. At the 1937 World Exhibition in Paris, where the manufactory was awarded the 'Grand Prix', six of the seven prize-winning objects were designed by him.The 'Russian Ballet', Scheurich's first design produced by Meissen, also was his first great success. First presented in 1914 at the German Werkbund Exhibition in Cologne, the models became a bestseller after World War 1. The graceful dancers, with their coquettish, theatrical facial expressions, skilfully illustrate the 'Russian Ballet' of the imperial theatres in Moscow and St. Petersburg. In the years before the first World War the corps de ballet, founded by the famous impresario Sergei Djagilev, caused sensation all over Europe. The dancers gave guest performances in London, Paris and also Berlin, where the young Scheurich sat in the audience during a performance of the play 'Carnival'. As early as 1912 a series of six etchings entitled 'Pierrot' was published by the renowned Berlin art dealer Gurlitt, in which Scheurich takes reference to the production. The ballet pantomime to an orchestral version of Robert Schumann's piano cycle ' Le Carnaval' enjoyed great popularity with the audience and was performed a total of 14 times in Berlin. The leading roles were played by star dancers such as Tamara Karsawina and Waslaw Nijinski, whom Scheurich is said to have portrayed in his figurines. . Art trade, Van Ham.

akg8547607 PORCELAIN FIGURINE OF EUSEBIUS FROM THE 'RUSSIAN BALLET'. Meissen. Model P. Scheurich. Porcelain, enriched in colours. Eusebius from the ballet 'Carnival' on an oval base with rectangular support covered partially by a draped cloth. The dancer makes a deep lunge, grabs his chest with his left and raises his right hand behind him, swearing an oath. He wears a blue frock coat with a rose on the revers, a sky-blue bow tie and checked trousers. On his face with heavy make up lies a theatrical expression. At his feet a tophat, a mask and a walking stick. Measurement: Height 21,5cm. Mark: Swordsmark, D284, porcelain former no. 121, painter no. 27. Literature:-Jedding, Hermann. Meißener Porzellan des 19. und 20. Jahrhunderts 1800-1933, Munich 1981, comp. p.128-129.-Just, Johannes: Meissener Jugendstil Porzellan, Gütersloh 1983, comp. fig. 77.-Bröhan, Karl H. (ed.): Porzellan. Kunst und Design 1889 bis 1939. Vom Jugendstil zum Funktionalismus, Berlin 1996, comp. p.125ff.; regarding Paul Scheurich see p.123ff.-Hakenjos, Bernd / Grolman, Dorothea: Um 1900. Porzellan aus Berlin, Meissen und Nymphenburg, Düsseldorf 1999, Models comp. cat. no.122-127.Paul Scheurich, born in New York in 1883 as the son of a photographer from Berlin, was one of the most important porcelain sculptors of the art nouveau. Originally working as a graphic artist and illustrator, his talent for the material was discovered and encouraged by Max Adolf Pfeiffer. Between 1913 and 1938 Scheurich designed more than 100 models for the Meissen Porcelain Manufactory and contributed significantly to its success. At the 1937 World Exhibition in Paris, where the manufactory was awarded the 'Grand Prix', six of the seven prize-winning objects were designed by him.The 'Russian Ballet', Scheurich's first design produced by Meissen, also was his first great success. First presented in 1914 at the German Werkbund Exhibition in Cologne, the models became a bestseller after World War 1. The graceful dancers, with their coquettish, theatrical facial expressions, skilfully illustrate the 'Russian Ballet' of the imperial theatres in Moscow and St. Petersburg. In the years before the first World War the corps de ballet, founded by the famous impresario Sergei Djagilev, caused sensation all over Europe. The dancers gave guest performances in London, Paris and also Berlin, where the young Scheurich sat in the audience during a performance of the play 'Carnival'. As early as 1912 a series of six etchings entitled 'Pierrot' was published by the renowned Berlin art dealer Gurlitt, in which Scheurich takes reference to the production. The ballet pantomime to an orchestral version of Robert Schumann's piano cycle ' Le Carnaval' enjoyed great popularity with the audience and was performed a total of 14 times in Berlin. The leading roles were played by star dancers such as Tamara Karsawina and Waslaw Nijinski, whom Scheurich is said to have portrayed in his figurines. . Art trade, Van Ham.

akg8547606 PORCELAIN FIGURINE OF EUSEBIUS FROM THE 'RUSSIAN BALLET'. Meissen. Model P. Scheurich. Porcelain, enriched in colours. Eusebius from the ballet 'Carnival' on an oval base with rectangular support covered partially by a draped cloth. The dancer makes a deep lunge, grabs his chest with his left and raises his right hand behind him, swearing an oath. He wears a blue frock coat with a rose on the revers, a sky-blue bow tie and checked trousers. On his face with heavy make up lies a theatrical expression. At his feet a tophat, a mask and a walking stick. Measurement: Height 21,5cm. Mark: Swordsmark, D284, porcelain former no. 121, painter no. 27. Literature:-Jedding, Hermann. Meißener Porzellan des 19. und 20. Jahrhunderts 1800-1933, Munich 1981, comp. p.128-129.-Just, Johannes: Meissener Jugendstil Porzellan, Gütersloh 1983, comp. fig. 77.-Bröhan, Karl H. (ed.): Porzellan. Kunst und Design 1889 bis 1939. Vom Jugendstil zum Funktionalismus, Berlin 1996, comp. p.125ff.; regarding Paul Scheurich see p.123ff.-Hakenjos, Bernd / Grolman, Dorothea: Um 1900. Porzellan aus Berlin, Meissen und Nymphenburg, Düsseldorf 1999, Models comp. cat. no.122-127.Paul Scheurich, born in New York in 1883 as the son of a photographer from Berlin, was one of the most important porcelain sculptors of the art nouveau. Originally working as a graphic artist and illustrator, his talent for the material was discovered and encouraged by Max Adolf Pfeiffer. Between 1913 and 1938 Scheurich designed more than 100 models for the Meissen Porcelain Manufactory and contributed significantly to its success. At the 1937 World Exhibition in Paris, where the manufactory was awarded the 'Grand Prix', six of the seven prize-winning objects were designed by him.The 'Russian Ballet', Scheurich's first design produced by Meissen, also was his first great success. First presented in 1914 at the German Werkbund Exhibition in Cologne, the models became a bestseller after World War 1. The graceful dancers, with their coquettish, theatrical facial expressions, skilfully illustrate the 'Russian Ballet' of the imperial theatres in Moscow and St. Petersburg. In the years before the first World War the corps de ballet, founded by the famous impresario Sergei Djagilev, caused sensation all over Europe. The dancers gave guest performances in London, Paris and also Berlin, where the young Scheurich sat in the audience during a performance of the play 'Carnival'. As early as 1912 a series of six etchings entitled 'Pierrot' was published by the renowned Berlin art dealer Gurlitt, in which Scheurich takes reference to the production. The ballet pantomime to an orchestral version of Robert Schumann's piano cycle ' Le Carnaval' enjoyed great popularity with the audience and was performed a total of 14 times in Berlin. The leading roles were played by star dancers such as Tamara Karsawina and Waslaw Nijinski, whom Scheurich is said to have portrayed in his figurines. . Art trade, Van Ham.

akg8282605 TWO LARGE PORCELAIN GIRANDOLES AND A JARDINIÈRE FROM THE ""WEDDING PROCESSION"". Model A. Amberg. Porcelain, white and gold bronze. Six-flamed girandoles over slightly arched round feet decorated with relieved shells. Shafts in the form of stylised palm trunks which run out to the top in leaves and are decorated with date bundles. They are crowned by the figures of a girl kneeling on a flower or a boy eating the date fruits. The six curved bronze arms of the candlesticks grow out of the shaft above the palm leaves and end in attached nozzles and porcelain eaves bowls. The candlesticks were registered in October 1908 in the model book of the KPM under the number 9027 c and the artist name Amberg. Jardiniere with oval shape on four volute-like feet. The wall with a continuous relief, which forms the centre of the ensemble in the imaginary arrangement of the centrepiece. Height girandoles 59/60cm, sizes jardiniere 14x68x26cm. Sceptre mark, one candlestick embossed 8. Condition twice A and once C, one candlestick spout replaced. Provenance: Private collection Hesse Literature: - Von Treskow, Irene: The wedding procession of Adolph Amberg, in: Das Kronprinzensilber, exhibition cat. Berlin 1982, pp. 20-23.- Bröhan Museum, Berlin (ed.): Porcelain. Art and Design 1889 to 1939: From Art Nouveau to Functionalism, Berlin 1996, see pp. 21f., 122f. After completing his studies in Berlin and Paris, Amberg worked as a freelance sculptor for the company P. Bruckmann & Sohn in Heilbronn. In the context of his work there as a metal artist, he achieved his first successes with designs such as a 3.20m high silver fountain, the ""Fountain of German Music"", which he designed together with Otto Rieth for the Paris World Exhibition of 1900 or the commission for the new Aachen Council Silver in 1903. After a one-year stay in Rome, Amberg settled in Berlin, where he designed the wedding procession on the occasion of the wedding of the German crown prince in 1904. In undated, apparently private notes of the artistic director of the KPM, Theo Schmuz-Baudiß, there is a sarcastic remark regarding the rejection of Amberg's designs: Her Majesty the Empress thought that these figures were too naked. Also the boy and the girl crowning the two Girandoles do not wear any clothes. They stand for the succession of generations in the German imperial family. Estimated Shippingcost for this lot: Germany: 0,00 Euro plus 0,00 Euro VAT EU: 0,00 Euro plus 0,00 Euro VAT Worldwide: 0,00 Euro plus 0,00 Euro VAT additional shipping insurance.

akg8282259 LARGE PORCELAIN FIGURINE OF A STANDING KING VULTURE Meissen. 1924-34. Model J.J. Kaendler Porcelain, white. A large king vulture, standing on a tree trunk. Its measurements fit to two entries in the inventories of the Japanese Palais from 1770 and 1790. There it says: ""Krob Vogel bunt gemalt auf hohen Postament mit Laubwerck belegt, schadhafft, 1 Elle 6 Zoll hoch"" (""King vulture painted colourfully on high pedestal with foliage, damaged, 1 cubit 6 inches high""). Height 73cm. Pfeiffer mark, 122, porcelain former's no. 37, 141. Condition A. Provenance: Hessian private collection. Literature: - Pietsch, Ulrich: Meißner Porzellanplastik von Gottlieb Kirchner und Johann Joachim Kaendler, Munich 2006, for the vulture cf. p. 135, cat. no. 194. - Eikelmann, Renate (ed.): Meißener Porzellan des 18. Jahrhunderts - Die Stiftung Ernst Schneider in Schloß Lustheim, Munich 2004, p. 374. - Sponsel, Jean Louis: Kabinettstücke der Meissner Porzellanmanufaktur von Johann Joachim Kändler, Leipzig 1900, p. 6, 8, 14, 65, 82, 89. - Schnorr von Carolsfeld, Ludwig: Porzellan der europäischen Fabriken des 18. Jahrhunderts, Berlin 1912, p. 53. Dresden in the 18th century owed its Europe-wide fame as a centre of courtly splendour to the elector Frederick Augustus I (1670-1733). 'August the Strong' had a distinct passion for collecting and was not only a patron and lover of the arts, but also an enthusiastic patron of science. His natural history cabinet was regarded as the most important collection of its kind in Europe and contained a large number of exotic animals. He financed expeditions, from which the researchers were to bring the 'most possible species of their animals alive or in skins and skeletons or even crushed' back to Dresden. Johann Joachim Kaendler had this extensive collection of partly living exhibits at his disposal when he was commissioned to design life-sized animal sculptures for the 'Japanese Palace'. Built in 1715 by Matthias Daniel Pöppelmann for Count Flemming, the palace was acquired by the elector in 1717 because the number of his collections and the scale of courtly festivities required more space. The decision to house the rapidly growing collection of Asian porcelains in the Palais was made two years later. Soon the possibility of exhibiting products from the increasingly successful Meissen manufactory there was also considered. A plan that soon took on proportions that required an extension of the facility, given the electors's love for pomp and circumstance. In addition to accommodating the existing collection, the plan also included the production of new, special cabinet pieces - to an extent that made it necessary to hire another modeller in addition to Johann Gottlieb Kirchner. In 1731, August the Strong chose Johann Joachim Kaendler, who quickly succeeded in demonstrating his extraordinary talent with porcelain as a material. The German writer Johann Georg Keypler (1693-1743) describes in a travelogue from the year 1740 the plans for the new Japanese Palace. There it reads: 'The rooms on the top floor [...] are filled with nothing but Meissen porcelain [...]. Such is furnished with all sorts of native as well as foreign birds and animals of pure porcelain, in their natural size and colours, and of those pieces that are already finished one cannot admire the art and beauty enough.' The extraordinary quality of the animal sculptures is remarkable, especially since they were Kaendler's first works for the manufactory. His particular talent lay in capturing a characteristic moment in the movement of the animal and reproducing it naturalistically, which gives the sculptures an extraordinary liveliness. Art trade, Van Ham.

akg8282378 BOETTGER STONEWARE FIGURINES OF A DROMEDARY AND A BACTRIAN CAMEL. Meissen. Model E. Hösel, 1939. Böttger stoneware, partly polished. Both animals are depicted lying down. The dromedary wears a halter with fringes and a saddle strapped to its back. Over this a long cloth is draped, which falls down at the side of the animal. A pumpkin bottle and an instrument hang from the knob. The bactrian camel can be recognized by its long, dense fur. It carries a bridle with a bell around its neck and a pack saddle. It has tilted its head backwards and opened its mouth as if it were expelling a call.. Length 46 and 50cmcm. Swords mark and 'Böttger Steinzeug' V192{V193, porcelain former no. 50{124, both with embossing stamp L230. Condition A resp. A/B. Provenance: Personal gift from E. Hösel. By inheritance still in family ownership. Literature: - Marusch-Krohn, Caren: Meissen porcelain 1918-1933, Pfeiffer period, Leipzig 1993, for Böttger stoneware pp.18-20; for Erich Hösel p.154. - Bröhan, Karl H. (ed.:) Porzellan, Kunst und Design 1889-1939, from Art Nouveau to Functionalism, catalogue Bd.V.2 of the Bröhan-Museum, Berlin, 1996. For animal sculpture in Meissen see p.65. It was in March 1709, when Johann Friedrich Böttger, in a message to August the Strong, was able to announce the invention of the ""red porcellain"" and the coveted ""white porcellain"". The red porcelain stoneware, named 'Böttgersteinzeug' after its inventor, was mainly used for the production of vessels, which could be sold as the first products of the Meissner Porzellanmanufaktur founded in 1710. The elaborate production process as well as the aesthetic preference of the 18th century for white porcelain, however, meant that the red stoneware was quickly forgotten. As early as 1741 it was no longer mentioned in the manufactory's recipe books. It was not until the beginning of the 20th century that the first attempts were made in Meissen to research the composition and manufacture of Böttger stoneware anew. The reproduction of an almost identical body was finally successful in 1919, under the general management of Max Adolf Pfeiffer. It is thanks to his commitment that the Böttger stoneware at the Art Nouveau manufactory experienced a renaissance. Pfeiffer sought the cooperation of well-known artists for new models, who, in addition to coins, medals and plaques, also designed figures and above all animal sculptures in Böttger stoneware. In addition to well-known modellers such as August Gaul and Max Esser, Erich Hösel, who had been working at the manufactory since 1903 as a design manager, was also involved with the rediscovered material. It was thanks to Hösel's influence as head of design that Meissen became the leading German manufacturer of animal sculptures at the beginning of the 19th century. The genre enjoyed an unprecedented popularity in Art Nouveau, after it had been rediscovered and reinterpreted in Copenhagen. Hösel recognised the potential of the Danish designs and began to build its own Meissner menagerie. Art trade, Van Ham.