31:
514:
502:
553:
526:
115:
83:
565:
541:
1306:
1314:
474:
380:
250:
462:
216:
486:
20:
238:, and always of very high quality. The paste underwent different processes based on the intended purpose. A thick liquid slip was used for moldable pieces. Whereas a ripened past was used for flat items like plates. All the pieces were hand-glazed with a liquid mixture. The mixture contained quartz, feldspar, kaolin, and dolomite. The glaze was quickly absorbed leaving a fine coating. Handles, knobs, edges, and rims were carefully touched up with a brush as well as excess being wiped off from the rims.
338:
140:
usually heavily funded, du
Pacquier received only permission to manufacture, and many orders for wares, from the emperor, and the factory seems always to have been under-capitalized in his time. This situation lasted from 1718 to 1744, when the monopoly expired and the financial difficulties apparently came to a head; the empress intervened by buying the factory, which was then renamed as the "Imperial State Manufactory Vienna".
277:, garlands, fruit and other very formalized plant motifs. Sometimes painted in black the designs were usually colored in red, violet, green, blue, and yellow. White handles and rims were usually brightend with Gold and Silver but some knobs and handles were also formed as animals, and sometimes people.
241:
Initially mostly table wares were produced, often with a slightly blueish tinge to the plain body. European flowers (as opposed to East Asian ones copied from imports) were used in decoration from around 1730, before
Meissen, and subsequently very widely used across European factories. As at Meissen,
391:
No marks were used before the
Imperial takeover in 1744, after which a "beehive-shaped shield" was used, either in blue or impressed. In 1783 the impressed date mark was introduced, beginning with "83", the last two digits were impressed. Then running from "801" for 1801 the last three digits of the
356:
After
Sorgenthal, Matthias Niedermayer assumed the role of director at the factory. During this time, the factory maintained its production of wares in the Neo-classical style. However, in the 1830s, there was a shift towards heavier and rounded shapes. Painters at the factory continued to decorate
314:
Chief modellers included Johann Joseph
Niedermeyer, working from 1747 to 1784, and Anton Grassi from 1778 to 1807, who was sent to study classical remains in Rome for several months in 1792. Neither quite achieved the charm of the light-hearted genre figures of other factories. Like Meissen and
139:
for 25 years. This is therefore known as the "Du
Paquier period", and many sources talk of "Du Paquier porcelain" and the "Du Paquier factory", usually with a capital "D", although his actual name has a small "d". While Meissen and most later German factories were owned by the local ruler, and
122:
In 1717, Claudius
Innocentius Du Paquier went looking to produce porcelain in Vienna. When he was unsuccessful he bribed Christoph Conrad Hunger form Meissen for the secret formula. When Hunger's knowledge was not enough he hired Samuel Stölzel in 1719 leading to the factory's first successful
229:
At
Augarten, there is a meticulous attention to the details of production. The process involves precisely combining materials and using time-tested techniques. Like most factories in the German-speaking world, it was founded with expertise provided by key workers enticed from
371:, and added to the considerable volume of imitations, "replicas" and downright forgeries that have copied Vienna porcelain. Other genuine Vienna pieces had their decoration scraped off to be repainted in a more elaborate style.
513:
450:
period from 1744 to 1780, which is often less appreciated by museums and collectors, and the
Sorgenthal period between 1784 and 1805. Selections from the collection have been exhibited in museums including Sèvres and the
392:
year were impressed. Painters, and the turners responsible for the body, can often be identified by the numbers they were given, which were added to the underside of pieces to ensure they were paid for the right pieces.
330:. Bright colours, extensive use of gold, and very detailed painting characterize the style, and set the typical Vienna style for decades to come. Another Neoclassical fashion in porcelain which Vienna embraced was the
552:
564:
234:, who brought the secrets of the Meissen materials and techniques with them, and the wares remained broadly similar to those made there, although the body was not exactly the same, and gradually improved. Wares were
357:
with recreations of Old
Masters and original botanical, topographical, and Classical compositions. Nevertheless, the overall decoration became less elaborate, and there was a decline in the quality of execution.
114:
292:, Vienna. However, the porcelain here does not cover all the wall space that is not window or mirror, as in other examples, but is a border around the wall-spaces, with matching plaques on the furniture.
501:
801:
STURM-BEDNARCZYK, E.; O’DONOVAN, J. R. The Early Viennese Porcelain of Claudius Innocentius du Paquier. Artibus et Historiae, , v. 26, n. 52, p. 165–187, 2005. DOI 10.2307/20067102. DisponĂvel em:
135:. The history of the manufactory is often divided by German writers into five periods. The first period, used by all sources, was under its founder and first director du Paquier, who was given a
1041:, Volume 15 of Robert Lehman Collection, 2012, Metropolitan Museum of Art, Authors: Wolfram Koeppe, Clare Le Corbeiller, William Rieder, Charles Truman, Suzanne G. Valenstein, Clare Vincent,
360:
The quality of wares was in decline by the late 1820s, when unsuccessful attempts began to revive the factory by producing cheaper wares from lower-quality materials, decorators paid on
90:
The wares from the earlier, private period before 1744 are the most sought-after today, if only because production was lower and so the pieces are much more rare. These are often called
98:. The other high point, "perhaps the factory's most glamorous period", was from 1784 to 1805 when a variety of innovative wares in broadly Neoclassical styles were produced, then with
525:
207:
The reopening was fortunate as it went along with the Art Deco movement. It captivated the Viennese with symbolisms of modern living, optimistic atmosphere, and social changes.
30:
364:, and some use of printed transfer. All were counter-productive, and production continued to reduce, although some high-quality pieces were produced until the end.
1983:
1973:
1968:
485:
1305:
177:
never went to Vienna and so missed the service he would have been presented with. According to another account, the king preferred to be sent a quantity of
473:
2013:
2003:
257:
The Du Paquier period began the tradition of strong and varied colours, which was to remain a strength of Vienna porcelain. There was heavy use of
955:
1978:
753:
641:
334:
figure. Many pieces of tableware, especially cups with saucers, were now essentially made for display in porcelain cabinets, rather than use.
862:
831:
540:
322:
A new director, Konrad von Sorgenthal, took over during a financial crisis in 1784 and changed the style of wares, following the fashion for
162:; these were typically brightly coloured, but less finely painted than those for European markets. Many were sets of the small cups used for
822:
Wardropper; Frick, 6. It seems almost certain this was a gift to Anna from the Holy Roman Emperor, but this cannot be precisely documented.
1563:
1056:
1465:
1450:
1313:
1904:
1875:
1034:, online feature, Frick Collection. The numbers refer to the online pages, listed at left (e.g. "Frick, 4" = "Visions of the East")
307:. Other pieces are dispersed (the early Soviet government sold several pieces), and a tureen from the service made $ 365,000 at
1475:
82:
1910:
1767:
1183:
201:
423:, ran another from November 2018 to March 2019, covering only the Du Paquier period and drawing from the collections of the
1695:
181:. Although exports to the Ottoman Empire continued, by the 1860s the factory was suffering from increased competition from
1928:
1635:
1143:
1849:
461:
75:, an official of the Viennese Imperial court, but in 1744 it was rescued from financial difficulties when bought by the
1839:
1617:
327:
99:
1922:
1871:
1587:
1284:
71:, and for 25 years the two remained the only European producers. Initially it was a private enterprise, founded by
1653:
345:
Sorgenthal employed painters known in other media: Anton Kothgasser (1769–1851) was also a painter of glass, and
288:, Vienna produced a few porcelain rooms for palaces, the only surviving example of which is now installed in the
174:
1641:
349:(1790–1849), the son of a painter for the factory, worked for them until 1809, before concentrating on painting
285:
173:
in 1815, in the course of which it was visited by a number of monarchs and other leading figures, although King
1338:
1096:
1046:
1015:
408:
289:
190:
86:
1790s Sorgenthal period cup and saucer, probably mainly intended to be displayed in a cabinet rather than used.
1701:
754:
https://search.ebscohost.com/login.aspx?direct=true&db=pwh&AN=3758456&site=eds-live&scope=site
1611:
1278:
1886:
1731:
1412:
368:
1761:
424:
1844:
1020:
Falke, Jacob. "The Late Imperial Porcelain Manufactory in Vienna: IV. Fourth Period. Decline and Fall."
1998:
1749:
1569:
404:
186:
1993:
1934:
1551:
1343:
24:
1178:
1063:
571:
428:
346:
1136:
379:
158:
By the last quarter of the 18th century, as many as 120,000 pieces annually were exported to the
937:
Miller, J. (Ed.). (2003). Vienna. In Miller’s Antiques Encyclopedia (2nd ed.). Mitchell Beazley.
901:
Miller, J. (Ed.). (2003). Vienna. In Miller’s Antiques Encyclopedia (2nd ed.). Mitchell Beazley.
631:
Miller, J. (Ed.). (2003). Vienna. In Miller’s Antiques Encyclopedia (2nd ed.). Mitchell Beazley.
1689:
1659:
1435:
1248:
266:
1898:
1050:
693:
1629:
1575:
1557:
1509:
281:
76:
1737:
249:
1916:
1880:
1834:
1803:
1793:
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1242:
978:
452:
235:
1581:
123:
hard-paste porcelain production. The factory was on Porzellangasse ("Porcelain Lane") in
8:
1988:
1755:
1545:
1533:
752:
HENKIN, S. Porcelain Perfect. World & I, , v. 15, n. 11, p. 88, 2000. DisponĂvel em:
438:
One of the most complete collections of Vienna porcelain is the over 1,000 pieces in the
132:
765:
HENKIN, S. Porcelain Perfect. World & I, , v. 15, n. 11, p. 88, 2000. DisponĂvel em:
743:
HENKIN, S. Porcelain Perfect. World & I, , v. 15, n. 11, p. 88, 2000. DisponĂvel em:
435:
in New York also celebrated the anniversary with a dedicated installation in 2017–2018.
215:
102:
the main influence. Wares were used as diplomatic gifts by the emperors, and exports to
2008:
1946:
1940:
1599:
1593:
1129:
384:
350:
170:
407:
in 2009–2010. To celebrate the 300th anniversary of the founding of the factory, the
1854:
1813:
1671:
1623:
1515:
1092:
1042:
1011:
367:
Some moulds and undecorated fired "blanks" were bought by other factories, including
331:
231:
68:
19:
1725:
1683:
1665:
1539:
1497:
1470:
1290:
1272:
1173:
1030:
Fired by Passion: Masterpieces of Du Paquier Porcelain from the Sullivan Collection
446:, showing the development from the Du Paquier period until 1864, especially in the
432:
296:
1057:"Du Paquier Porcelain from Vienna: The Generous Gift of Melinda and Paul Sullivan"
315:
other German factories, some Vienna pieces were decorated by outside painters, or
147:
period" (1744–1784), the third is the "Sorgenthal period", or "Painterly period" (
1892:
1713:
1605:
1503:
1365:
1260:
967:
1808:
1677:
1370:
1254:
1028:
300:
253:
Goblet and saucer, Sorgenthal period 1804, showing the range of colours in use.
163:
159:
1115:
1109:
810:
1962:
1719:
1480:
1206:
1188:
1078:
Fired by Passion: Vienna Baroque Porcelain of Claudius Innocentius du Paquier
531:
447:
439:
323:
308:
1818:
1236:
1003:
645:
155:
period" (1805–1833) and finally the "Late Biedermeier period" (1833–1864).
144:
1527:
1429:
1385:
1380:
1266:
774:
HENKIN, S. Porcelain Perfect. World & I, , v. 15, n. 11, p. 88, 2000.
415:, to September 2018, covering all periods of production in Vienna. The
337:
243:
152:
34:
1798:
1360:
221:
178:
124:
57:
1110:"The World of Refinement: Du Paquier Porcelain in Everyday Court Life"
1230:
1224:
1152:
361:
316:
270:
265:
in German. The style has intricate painted borders or backgrounds of
53:
246:
decoration was also often used, as were hunting and battle scenes.
1647:
1375:
1218:
834:(see Lot Essay); Frick, 6 – another tureen in the Frick Collection]
558:
Plate from a "Neo-Egyptian" service, Sorgenthal period c. 1802–1811
420:
274:
258:
136:
1116:"Gifts, Diplomacy, and Foreign Trade: Du Paquier Porcelain Abroad"
1743:
1707:
1212:
443:
182:
956:"Exhibition of Rare Du Paquier Porcelain at Metropolitan Museum"
261:
in some pieces. In 1725 the factory inaugurated a style, called
189:
in 1864, with the moulds and other equipment being given to the
811:
Lecture on the room at the Metropolitan Museum of Art, New York
416:
304:
128:
103:
61:
613:
Frick, 1; as by Wardropper, and the auction houses cited below
1121:
67:
The firm was Europe's second-oldest porcelain factory after
64:, Austria. It was founded in 1718 and continued until 1864.
1118:, Lecture at the Metropolitan Museum of Art, New York, 2009
1112:, Lecture at the Metropolitan Museum of Art, New York, 2009
401:
Imperial Privilege: Vienna Porcelain of Du Paquier, 1718–44
280:
Like other factories in major capitals, including Meissen,
118:
Sorgenthal period, early 1800s, Neoclassical cup and saucer
832:
Lot 27, "The Exceptional Sale", New York, 11 December 2014
185:
factories in particular, and was eventually closed by the
716:
Wien; Battie, 96, but see p. 153 "finally closed in 1866"
519:
Milk jug, c. 1800, with view of Vienna, Sorgenthal period
479:
Scent bottle with gold mounts, c. 1730, Du Paquier period
200:
The name was revived in 1923 with the foundation of the
1091:(German and English), 2018, Arnoldsche Art Publishers,
595:
in official documents "Claudius Innocentius du Paquier"
79:, and thereafter remained an asset of the emperors.
968:"300 Years of the Vienna Porcelain Manufactory", MAK
193:. The wares are sometimes called "old Vienna" (or
1960:
1309:Ming plate 15th century Jingdezhen kilns Jiangxi
1083:Christoph Thun-Hohenstein, Rainald Franz (eds),
1984:1864 disestablishments in the Austrian Empire
1137:
1089:300 Years of the Vienna Porcelain Manufactory
413:300 Years of the Vienna Porcelain Manufactory
295:Porcelain was used for diplomatic gifts; the
1974:1718 establishments in the Holy Roman Empire
1969:1718 establishments in the Habsburg monarchy
979:Le Vie della Porcellana tra Vienna e Firenze
50:Kaiserlich privilegierte Porcellain Fabrique
23:Service set - a tray and two jugs, c. 1770.
1008:Sotheby's Concise Encyclopedia of Porcelain
299:retains most of a service made in 1735 for
1144:
1130:
2014:Purveyors to the Imperial and Royal Court
507:From a service imitating prints and wood
378:
336:
248:
214:
113:
81:
29:
18:
2004:Manufacturing companies based in Vienna
576:Cecrops' Daughters Discover Erichtonius
303:of Russia, which included more than 40
16:Defunct Austrian porcelain manufacturer
1979:18th-century establishments in Austria
1961:
1476:Chinese porcelain in European painting
455:, and catalogues have been published.
169:The factory received a boost from the
1184:Chinese influences on Islamic pottery
1125:
202:Vienna Porcelain Manufactory Augarten
1085:300 Jahre Wiener Porzellanmanufaktur
225:cup from the du Paquier period, 1730
919:Falke, 53; Battie, 96, 153, 187–188
37:plate, 1730–1735, Du Paquier period
13:
1840:Ehrenfried Walther von Tschirnhaus
1312:
1304:
1070:
642:"Du Paquier Porcelain Manufactory"
210:
14:
2025:
1285:Famille jaune, noire, rose, verte
1103:
1032:, June 8, 2017 to August 12, 2018
865:, Sale 18 November 2011, New York
495:typical of the Du Paquier period.
1899:Kuskovo State Museum of Ceramics
1317:Meissen hard porcelain vase 1735
563:
551:
539:
524:
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484:
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719:
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467:Saucer, 1726, Du Paquier period
326:and taking some influence from
175:George IV of the United Kingdom
1062:"Wien": Wien Geschichte Wiki,
668:
659:
650:
634:
625:
616:
607:
598:
589:
570:Detail from a tray painted by
409:Museum of Applied Arts, Vienna
395:
191:Museum of Applied Arts, Vienna
1:
1905:Sèvres – Cité de la céramique
1850:François Xavier d'Entrecolles
1151:
997:
1887:Dresden Porcelain Collection
1064:"Wiener Porzellanmanufaktur"
1059:, Frick Collection, New York
946:Lehman, 184–188; Battie, 153
46:Vienna Porcelain Manufactory
7:
546:From a coffee-service, 1806
10:
2030:
1929:Victoria and Albert Museum
756:. Acesso em: 12 mar. 2024.
405:Metropolitan Museum of Art
151:) of 1784–1805, then the "
143:The second period is the "
109:
1935:Museum of Royal Worcester
1911:Musée des Arts Décoratifs
1876:Percival David Foundation
1870:British Museum (London):
1863:
1827:
1781:
1490:
1458:
1449:
1422:
1405:
1398:
1353:
1344:Japanese export porcelain
1331:
1324:
1302:
1199:
1166:
1159:
910:Falke, 49–53; Battie, 153
783:Battie, 94–95; Frick, 3–5
534:, Sorgenthal period, 1801
425:Florence Porcelain Museum
387:and his family, 1775–1780
341:Painters at work, c. 1830
25:National Museum in Warsaw
1845:Johann Friedrich Böttger
1179:Chinese export porcelain
1076:Chilton, Meredith (ed),
1010:, 1990, Conran Octopus.
582:
429:Liechtenstein collection
374:
347:Moritz Michael Daffinger
1024:, vol. 8, no. 4, 1875,
1318:
1310:
388:
342:
290:Museum of Applied Arts
254:
226:
119:
87:
44:is the product of the
38:
27:
1316:
1308:
382:
340:
311:in New York in 2014.
301:Czarina Anna Ivanovna
286:Buen Retiro in Madrid
252:
218:
117:
85:
77:Empress Maria Theresa
33:
22:
1881:The David Collection
1804:Overglaze decoration
1794:Hard-paste porcelain
1789:Soft-paste porcelain
656:Battie, 94; Frick, 1
493:Laub- und Bandelwerk
491:Tureen, 1730s, with
453:Liechtenstein Museum
383:Group of the future
263:Laub- und Bandelwerk
236:hard-paste porcelain
92:Du Paquier porcelain
1738:Bing & Grøndahl
1702:Dihl & Guérhard
1600:Villeroy & Boch
411:had the exhibition
351:portrait miniatures
187:Austrian parliament
1947:Ludwigsburg Palace
1941:Walters Art Museum
1339:Japanese porcelain
1319:
1311:
1209:(16th century BCE)
389:
385:Emperor Leopold II
343:
255:
227:
171:Congress of Vienna
149:Malerische Periode
120:
106:were significant.
96:Du Paquier factory
88:
39:
28:
1999:Culture in Vienna
1956:
1955:
1855:Dmitry Vinogradov
1777:
1776:
1750:Wagner & Apel
1466:List of companies
1445:
1444:
1394:
1393:
1300:
1299:
1257:(14th century on)
1251:(14th century on)
1245:(11th century on)
1174:Chinese porcelain
1055:Wardropper, Ian,
1049:, 9781588394507,
332:biscuit porcelain
232:Meissen porcelain
219:Vienna porcelain
73:Claude du Paquier
69:Meissen porcelain
2021:
1994:Austrian pottery
1564:Saint Petersburg
1471:French porcelain
1456:
1455:
1413:Korean porcelain
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1328:
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863:Sotheby's lot 13
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433:Frick Collection
403:was held at the
297:Hermitage Museum
100:Sèvres porcelain
56:manufacturer in
42:Vienna porcelain
2029:
2028:
2024:
2023:
2022:
2020:
2019:
2018:
1959:
1958:
1957:
1952:
1893:Gardiner Museum
1872:Asia Department
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1823:
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1714:Hutschenreuther
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1418:
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1320:
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1155:
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1106:
1099:, 9783897905306
1080:, 2009, 3 vols.
1073:
1071:Further reading
1039:Decorative Arts
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985:
981:, press release
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725:Wien; Falke, 53
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695:Imperial Vienna
692:Levetus, A.S.,
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17:
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11:
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1255:Blanc de Chine
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1883:(Copenhagen)
1819:Factory mark
1782:Technologies
1690:Clignancourt
1521:
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1077:
1051:Google books
1038:
1029:
1022:The Workshop
1021:
1007:
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640:Wardropper;
636:
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197:in German).
194:
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157:
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133:9th district
121:
95:
91:
89:
72:
66:
49:
45:
41:
40:
1943:(Baltimore)
1937:(Worcester)
1864:Collections
1630:Ludwigsburg
1612:Frankenthal
1588:Nymphenburg
1582:FĂĽrstenberg
1558:Capodimonte
1510:Saint-Cloud
1066:(in German)
892:Battie, 153
883:Battie, 153
852:Battie, 153
665:Battie, 153
622:Battie, 153
396:Exhibitions
282:Capodimonte
244:chinoiserie
153:Biedermeier
35:Chinoiserie
1989:Alsergrund
1963:Categories
1925:(Istanbul)
1799:Bone china
1684:Copenhagen
1678:Loosdrecht
1660:Wallendorf
1243:Jingdezhen
1097:3897905302
1047:1588394506
1037:"Lehman":
1016:1850292515
998:References
928:Battie, 96
874:Battie, 96
683:Battie, 96
604:Battie, 94
317:Hausmalers
309:Christie's
222:trembleuse
179:Tokay wine
125:Alsergrund
58:Alsergrund
2009:Porcelain
1919:(Beijing)
1895:(Toronto)
1889:(Dresden)
1762:Porsgrund
1756:Rosenthal
1696:Hollóháza
1606:Worcester
1546:Vincennes
1534:Chantilly
1528:Rörstrand
1371:Nabeshima
1153:Porcelain
1027:"Frick":
707:Falke, 50
572:Daffinger
362:piecework
275:palmettes
94:from the
54:porcelain
48:(German:
1931:(London)
1901:(Moscow)
1835:Chinamen
1768:Augarten
1648:Wedgwood
1594:Plymouth
1459:General:
1406:General:
1376:Kakiemon
1332:General:
1167:General:
990:Frick, 1
792:Frick, 5
427:and the
421:Florence
271:bandwork
259:openwork
195:Alt Wien
183:Bohemian
137:monopoly
1913:(Paris)
1907:(Paris)
1814:Biscuit
1744:Zsolnay
1720:Doulton
1708:Mintons
1672:Limoges
1570:Mennecy
1552:Chelsea
1516:Meissen
1237:Qingbai
1213:Celadon
1006:, ed.,
444:Croatia
431:. The
305:tureens
267:trellis
145:Plastic
110:History
1828:People
1770:(1923)
1764:(1885)
1758:(1879)
1752:(1877)
1746:(1853)
1740:(1853)
1734:(1826)
1732:Herend
1728:(1822)
1726:Lichte
1722:(1815)
1716:(1814)
1710:(1793)
1704:(1781)
1698:(1777)
1692:(1775)
1686:(1775)
1680:(1774)
1674:(1771)
1668:(1768)
1662:(1764)
1656:(1763)
1654:Berlin
1650:(1759)
1644:(1760)
1642:Retiro
1638:(1759)
1632:(1758)
1626:(1757)
1620:(1756)
1618:Sèvres
1614:(1755)
1608:(1751)
1602:(1748)
1596:(1748)
1590:(1747)
1584:(1747)
1578:(1747)
1572:(1745)
1566:(1744)
1560:(1743)
1554:(1743)
1548:(1740)
1542:(1735)
1540:Doccia
1536:(1730)
1530:(1726)
1524:(1718)
1522:Vienna
1518:(1710)
1512:(1693)
1506:(1673)
1500:(1575)
1498:Medici
1491:Types:
1451:Europe
1436:Joseon
1430:Goryeo
1423:Types:
1386:Hirado
1381:Kutani
1354:Types:
1291:Canton
1279:Kangxi
1273:Tianqi
1267:Swatow
1200:Types:
1191:(1338)
1095:
1045:
1014:
813:, 2009
417:Uffizi
369:Herend
328:Sèvres
129:Vienna
127:, now
104:Turkey
62:Vienna
1666:Revol
1636:Weesp
1624:Derby
1504:Rouen
1399:Korea
1366:Imari
1361:Arita
1325:Japan
1261:Kraak
1160:China
958:, Met
697:, 239
583:Notes
375:Marks
52:), a
1231:Ding
1225:Xing
1093:ISBN
1043:ISBN
1012:ISBN
734:Wien
674:Wien
284:and
1576:Bow
1219:Yue
442:in
419:in
131:'s
60:in
1965::
1874:/
1087:/
644:,
353:.
319:.
273:,
269:,
204:.
166:.
1145:e
1138:t
1131:v
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