Austria
Vienna
This manufactory for hard paste was founded about 1717. There are several traditions as to its origin: one is that a musician named La France, and a billiard-marker, named Dupuis, brought with them to Vienna, in October 1717, a certain Cristofle Conrad Hünger, who had been employed at Meissen as an enamel painter and gilder, and that in the following year they were joined by a man named Stölzel of Meissen, who was possessed of the secret, and became director. Another that it was a private enterprise set on foot by Claude du Pasquier, who obtained from the Emperor Charles VII. a privilege for twenty-five years. Major Byng Hall (Adventures of a Bric-à-Brac Hunter), however, says that it was established in 1718 by Claude Innocenz de Blaquier, who engaged one Stenzel or Stölzel to co-operate with him. With this object in view De Blaquier proceeded secretly to Meissen, where he contrived to scrape acquaintance with the arcanist in a coffee-house. He engaged with Stenzel in a game of billiards, taking care to lose, and thus he secured his object. Stenzel after some slight hesitation, accepted an offer of a thousand dollars to be paid yearly.
De Blaquier had to contend with many difficulties owing to his not being possessed of the secret, and at the end of the second year Stenzel not having been paid regularly according to his contract, returned to Meissen, after having maliciously destroyed many of the models. The works had consequently to be suspended. But De Blaquier, being a man of energy and determination, endeavoured by numerous experiments to discover the porcelain mixture, and his efforts were finally crowned with success.
After twenty-five years’ labour De Blaquier decided in 1744 to offer the works to the Government.
The young Empress Maria Theresa resolved to support the factory, which promised to give occupation and profit to her subjects, honour and gain to the State. She therefore commanded that it should be taken by State contract from its owner, and that De Blaquier should receive the direction with a salary of 1500 florins a year.
From 1747 to 1790 was the best period for figures and groups, while from 1780 to 1820 painting on china became celebrated, the subjects being taken from paintings by Watteau, Lancret, Boucher, Angelica Kauffmann, and others.
In 1785 the most important improvements were made under the Baron de Lorgenthal or Sorgenthal; artists of the highest talents were employed, a first-rate chemist named Leithner was engaged to prepare the colours and gilding, the chefs d’œuvre of the early masters were copied, while the gilding was brought to a perfection which has never been surpassed.
After the death of the Baron in 1805, Neidermayer became Director. The manufacture continued in its flourishing condition until about 1815. From the year 1784 to the date of its extinction, it was the custom to mark every piece with the number of the year, which circumstance may be of great service to the connoisseur who seeks early specimens of Vienna porcelain. It is stamped without colour underneath the piece—or rather indented, the first numeral being omitted; thus the number 792 stands for 1792; 802 for 1802; and so on.
From 1827, under the direction of Scholtz, who followed Niedermayer, the manufactory began to decline, and what with economy, indifferent workmen, and bad artists copying from French models its doom was sealed. It gradually dwindled down to a second-rate factory, and in consequence of the great annual expense it was discontinued in 1864. The books on art belonging to the factory, and all the drawings of its most successful period, together with many of the models, the library, and the keramic collection, were given to the Imperial Museum in Vienna, to be retained as a lasting memorial of its celebrity.
Fig. 166 is painted in camaïeu on purple ground, and gilt; mark, shield crowned; length of tray 12 in.
Fig. 167 is painted in colours and gilt, with busts of ladies, entitled “L’Hérisson” and “Fantaisie Moderne”; mark, the shield in blue; height 6 in.
Fig. 168 is painted in colours, with two nymphs in a landscape playing with the infant Bacchus; mark, the Austrian shield of arms, in blue; the painting attributed to Fürstler.
Schlaggenwald, in Bohemia. This manufactory was established in the year 1810. George Lippert was the owner in 1842, and much improved the industry. Some pieces are marked “Lippert & Haas.”
Fig. 170 is painted in colours, with medallions containing figures of Justice; mark, S; diam. 2½ and 5 in.
Herend, in Hungary. There was a manufactory of porcelain here towards the end of the 18th century, but particulars concerning its origin are not known.
Fig. 171 is painted in oriental style, with flowers, &c.; late 18th century.