42:
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537:
126:
94:
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552:
1317:
1325:
485:
391:
261:
473:
227:
497:
249:, 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.
31:
151:
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".
349:
288:, 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.
252:
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,
402:
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
367:
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
325:
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
150:
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
133:
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
240:
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
125:
524:
563:
512:
575:
382:, 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.
41:
461:
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
403:
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.
341:. 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
245:, 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
536:
368:
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.
303:, 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.
812:
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:
146:. 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
1052:, 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,
371:
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
101:
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
109:. 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
1994:
1316:
1984:
1979:
218:
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.
2024:
496:
484:
2014:
551:
375:, 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.
1989:
93:
1574:
1324:
188:
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
1476:
1461:
1915:
1886:
268:
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
966:
764:
1921:
1486:
652:
345:
figure. Many pieces of tableware, especially cups with saucers, were now essentially made for display in porcelain cabinets, rather than use.
1778:
1194:
873:
842:
333:
A new director, Konrad von Sorgenthal, took over during a financial crisis in 1784 and changed the style of wares, following the fashion for
212:
173:; these were typically brightly coloured, but less finely painted than those for European markets. Many were sets of the small cups used for
1706:
833:
Wardropper; Frick, 6. It seems almost certain this was a gift to Anna from the Holy Roman Emperor, but this cannot be precisely documented.
1067:
1860:
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1154:
472:
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338:
110:
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1045:, online feature, Frick Collection. The numbers refer to the online pages, listed at left (e.g. "Frick, 4" = "Visions of the East")
318:. Other pieces are dispersed (the early Soviet government sold several pieces), and a tureen from the service made $ 365,000 at
1664:
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296:
185:
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1107:
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1026:
419:
300:
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1712:
434:, ran another from November 2018 to March 2019, covering only the Du Paquier period and drawing from the collections of the
192:. Although exports to the Ottoman Empire continued, by the 1860s the factory was suffering from increased competition from
1622:
1289:
1897:
1742:
1423:
379:
86:, an official of the Viennese Imperial court, but in 1744 it was rescued from financial difficulties when bought by the
390:
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435:
1855:
2009:
1939:
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415:
197:
82:, and for 25 years the two remained the only European producers. Initially it was a private enterprise, founded by
2004:
1945:
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356:
Sorgenthal employed painters known in other media: Anton Kothgasser (1769–1851) was also a painter of glass, and
299:, Vienna produced a few porcelain rooms for palaces, the only surviving example of which is now installed in the
35:
360:(1790–1849), the son of a painter for the factory, worked for them until 1809, before concentrating on painting
260:
184:
in 1815, in the course of which it was visited by a number of monarchs and other leading figures, although King
1189:
582:
439:
357:
97:
1790s Sorgenthal period cup and saucer, probably mainly intended to be displayed in a cabinet rather than used.
765:
https://search.ebscohost.com/login.aspx?direct=true&db=pwh&AN=3758456&site=eds-live&scope=site
1147:
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277:
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1031:
Falke, Jacob. "The Late Imperial Porcelain Manufactory in Vienna: IV. Fourth Period. Decline and Fall."
292:
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169:
By the last quarter of the 18th century, as many as 120,000 pieces annually were exported to the
1610:
948:
Miller, J. (Ed.). (2003). Vienna. In Miller’s Antiques Encyclopedia (2nd ed.). Mitchell Beazley.
912:
Miller, J. (Ed.). (2003). Vienna. In Miller’s Antiques Encyclopedia (2nd ed.). Mitchell Beazley.
642:
Miller, J. (Ed.). (2003). Vienna. In Miller’s Antiques Encyclopedia (2nd ed.). Mitchell Beazley.
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hard-paste porcelain production. The factory was on Porzellangasse ("Porcelain Lane") in
763:
HENKIN, S. Porcelain Perfect. World & I, , v. 15, n. 11, p. 88, 2000. DisponĂvel em:
449:
One of the most complete collections of Vienna porcelain is the over 1,000 pieces in the
776:
HENKIN, S. Porcelain Perfect. World & I, , v. 15, n. 11, p. 88, 2000. DisponĂvel em:
754:
HENKIN, S. Porcelain Perfect. World & I, , v. 15, n. 11, p. 88, 2000. DisponĂvel em:
446:
in New York also celebrated the anniversary with a dedicated installation in 2017–2018.
113:
the main influence. Wares were used as diplomatic gifts by the emperors, and exports to
1927:
1819:
1688:
1381:
1265:
348:
311:
174:
170:
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in 2009–2010. To celebrate the 300th anniversary of the founding of the factory, the
1973:
1730:
1491:
1217:
1199:
542:
458:
450:
378:
Some moulds and undecorated fired "blanks" were bought by other factories, including
334:
319:
1829:
1247:
1041:
Fired by Passion: Masterpieces of Du Paquier Porcelain from the Sullivan Collection
1014:
656:
457:, showing the development from the Du Paquier period until 1864, especially in the
155:
1538:
1068:"Du Paquier Porcelain from Vienna: The Generous Gift of Melinda and Paul Sullivan"
326:
other German factories, some Vienna pieces were decorated by outside painters, or
158:
period" (1744–1784), the third is the "Sorgenthal period", or "Painterly period" (
978:
1440:
1396:
1391:
1277:
254:
163:
45:
1039:
264:
Goblet and saucer, Sorgenthal period 1804, showing the range of colours in use.
1809:
1371:
1126:
1120:
821:
232:
189:
135:
68:
1089:
Fired by Passion: Vienna Baroque Porcelain of Claudius Innocentius du Paquier
1241:
1235:
1163:
372:
327:
281:
64:
166:
period" (1805–1833) and finally the "Late Biedermeier period" (1833–1864).
1658:
1386:
1229:
785:
HENKIN, S. Porcelain Perfect. World & I, , v. 15, n. 11, p. 88, 2000.
431:
426:, to September 2018, covering all periods of production in Vienna. The
285:
269:
147:
1909:
1754:
1718:
1223:
454:
193:
1121:"The World of Refinement: Du Paquier Porcelain in Everyday Court Life"
427:
315:
276:
in German. The style has intricate painted borders or backgrounds of
139:
114:
72:
257:
decoration was also often used, as were hunting and battle scenes.
845:(see Lot Essay); Frick, 6 – another tureen in the Frick Collection]
569:
Plate from a "Neo-Egyptian" service, Sorgenthal period c. 1802–1811
1127:"Gifts, Diplomacy, and Foreign Trade: Du Paquier Porcelain Abroad"
389:
347:
259:
225:
124:
92:
40:
29:
967:"Exhibition of Rare Du Paquier Porcelain at Metropolitan Museum"
272:
in some pieces. In 1725 the factory inaugurated a style, called
200:
in 1864, with the moulds and other equipment being given to the
1136:
822:
Lecture on the room at the Metropolitan Museum of Art, New York
624:
Frick, 1; as by Wardropper, and the auction houses cited below
1323:
1315:
1132:
78:
The firm was Europe's second-oldest porcelain factory after
75:, Austria. It was founded in 1718 and continued until 1864.
1129:, Lecture at the Metropolitan Museum of Art, New York, 2009
1123:, Lecture at the Metropolitan Museum of Art, New York, 2009
412:
Imperial Privilege: Vienna Porcelain of Du Paquier, 1718–44
291:
Like other factories in major capitals, including Meissen,
129:
Sorgenthal period, early 1800s, Neoclassical cup and saucer
843:
Lot 27, "The Exceptional Sale", New York, 11 December 2014
196:
factories in particular, and was eventually closed by the
727:
Wien; Battie, 96, but see p. 153 "finally closed in 1866"
530:
Milk jug, c. 1800, with view of Vienna, Sorgenthal period
490:
Scent bottle with gold mounts, c. 1730, Du Paquier period
211:
The name was revived in 1923 with the foundation of the
1102:(German and English), 2018, Arnoldsche Art Publishers,
606:
in official documents "Claudius Innocentius du Paquier"
90:, and thereafter remained an asset of the emperors.
979:"300 Years of the Vienna Porcelain Manufactory", MAK
1874:
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204:. The wares are sometimes called "old Vienna" (or
1320:Ming plate 15th century Jingdezhen kilns Jiangxi
1094:Christoph Thun-Hohenstein, Rainald Franz (eds),
1995:1864 disestablishments in the Austrian Empire
1148:
1100:300 Years of the Vienna Porcelain Manufactory
424:300 Years of the Vienna Porcelain Manufactory
306:Porcelain was used for diplomatic gifts; the
8:
1985:1718 establishments in the Holy Roman Empire
1980:1718 establishments in the Habsburg monarchy
990:Le Vie della Porcellana tra Vienna e Firenze
61:Kaiserlich privilegierte Porcellain Fabrique
34:Service set - a tray and two jugs, c. 1770.
1019:Sotheby's Concise Encyclopedia of Porcelain
310:retains most of a service made in 1735 for
1466:
1413:
1339:
1174:
1155:
1141:
1133:
2025:Purveyors to the Imperial and Royal Court
518:From a service imitating prints and wood
2015:Manufacturing companies based in Vienna
599:
587:Cecrops' Daughters Discover Erichtonius
468:
314:of Russia, which included more than 40
27:Defunct Austrian porcelain manufacturer
1990:18th-century establishments in Austria
1487:Chinese porcelain in European painting
466:, and catalogues have been published.
180:The factory received a boost from the
1195:Chinese influences on Islamic pottery
213:Vienna Porcelain Manufactory Augarten
7:
1096:300 Jahre Wiener Porzellanmanufaktur
236:cup from the du Paquier period, 1730
930:Falke, 53; Battie, 96, 153, 187–188
48:plate, 1730–1735, Du Paquier period
1851:Ehrenfried Walther von Tschirnhaus
653:"Du Paquier Porcelain Manufactory"
25:
1296:Famille jaune, noire, rose, verte
1043:, June 8, 2017 to August 12, 2018
876:, Sale 18 November 2011, New York
506:typical of the Du Paquier period.
1910:Kuskovo State Museum of Ceramics
1328:Meissen hard porcelain vase 1735
574:
562:
550:
535:
523:
511:
495:
483:
471:
478:Saucer, 1726, Du Paquier period
337:and taking some influence from
186:George IV of the United Kingdom
1073:"Wien": Wien Geschichte Wiki,
581:Detail from a tray painted by
420:Museum of Applied Arts, Vienna
202:Museum of Applied Arts, Vienna
1:
1916:Sèvres – Cité de la céramique
1861:François Xavier d'Entrecolles
1898:Dresden Porcelain Collection
1075:"Wiener Porzellanmanufaktur"
1070:, Frick Collection, New York
957:Lehman, 184–188; Battie, 153
57:Vienna Porcelain Manufactory
18:Vienna Porcelain Manufactory
557:From a coffee-service, 1806
2041:
1940:Victoria and Albert Museum
767:. Acesso em: 12 mar. 2024.
416:Metropolitan Museum of Art
162:) of 1784–1805, then the "
154:The second period is the "
1946:Museum of Royal Worcester
1922:Musée des Arts Décoratifs
1887:Percival David Foundation
1881:British Museum (London):
1355:Japanese export porcelain
1313:
921:Falke, 49–53; Battie, 153
794:Battie, 94–95; Frick, 3–5
545:, Sorgenthal period, 1801
436:Florence Porcelain Museum
398:and his family, 1775–1780
352:Painters at work, c. 1830
36:National Museum in Warsaw
1856:Johann Friedrich Böttger
1190:Chinese export porcelain
1087:Chilton, Meredith (ed),
1021:, 1990, Conran Octopus.
440:Liechtenstein collection
358:Moritz Michael Daffinger
1035:, vol. 8, no. 4, 1875,
1329:
1321:
399:
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301:Museum of Applied Arts
265:
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130:
98:
55:is the product of the
49:
38:
1327:
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393:
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322:in New York in 2014.
312:Czarina Anna Ivanovna
297:Buen Retiro in Madrid
263:
229:
128:
96:
88:Empress Maria Theresa
44:
33:
1892:The David Collection
1815:Overglaze decoration
1805:Hard-paste porcelain
1800:Soft-paste porcelain
667:Battie, 94; Frick, 1
504:Laub- und Bandelwerk
502:Tureen, 1730s, with
464:Liechtenstein Museum
394:Group of the future
274:Laub- und Bandelwerk
247:hard-paste porcelain
103:Du Paquier porcelain
1749:Bing & Grøndahl
1713:Dihl & Guérhard
1611:Villeroy & Boch
422:had the exhibition
362:portrait miniatures
198:Austrian parliament
1958:Ludwigsburg Palace
1952:Walters Art Museum
1350:Japanese porcelain
1330:
1322:
1220:(16th century BCE)
400:
396:Emperor Leopold II
354:
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182:Congress of Vienna
160:Malerische Periode
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117:were significant.
107:Du Paquier factory
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2010:Culture in Vienna
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1866:Dmitry Vinogradov
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1477:List of companies
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1268:(14th century on)
1262:(14th century on)
1256:(11th century on)
1185:Chinese porcelain
1066:Wardropper, Ian,
1060:, 9781588394507,
343:biscuit porcelain
243:Meissen porcelain
230:Vienna porcelain
84:Claude du Paquier
80:Meissen porcelain
16:(Redirected from
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2005:Austrian pottery
1575:Saint Petersburg
1482:French porcelain
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414:was held at the
308:Hermitage Museum
111:Sèvres porcelain
67:manufacturer in
53:Vienna porcelain
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1091:, 2009, 3 vols.
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1050:Decorative Arts
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1449:(14th century)
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1274:(16th century)
1269:
1266:Blanc de Chine
1263:
1260:Blue and white
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1250:(12th century)
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1244:(10th century)
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1115:External links
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1218:Proto-celadon
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459:Maria Theresa
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451:Marton Museum
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58:
54:
47:
43:
37:
32:
19:
1894:(Copenhagen)
1830:Factory mark
1793:Technologies
1701:Clignancourt
1532:
1099:
1095:
1088:
1062:Google books
1049:
1040:
1033:The Workshop
1032:
1018:
997:
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723:
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690:
681:
672:
663:
657:Getty Museum
651:Wardropper;
647:
638:
629:
620:
611:
602:
586:
503:
448:
423:
411:
410:
401:
377:
370:
366:
355:
332:
324:
305:
290:
273:
267:
251:
239:
231:
217:
210:
208:in German).
205:
179:
168:
159:
153:
144:9th district
132:
106:
102:
100:
83:
77:
60:
56:
52:
51:
1954:(Baltimore)
1948:(Worcester)
1875:Collections
1641:Ludwigsburg
1623:Frankenthal
1599:Nymphenburg
1593:FĂĽrstenberg
1569:Capodimonte
1521:Saint-Cloud
1077:(in German)
903:Battie, 153
894:Battie, 153
863:Battie, 153
676:Battie, 153
633:Battie, 153
407:Exhibitions
293:Capodimonte
255:chinoiserie
164:Biedermeier
46:Chinoiserie
2000:Alsergrund
1974:Categories
1936:(Istanbul)
1810:Bone china
1695:Copenhagen
1689:Loosdrecht
1671:Wallendorf
1254:Jingdezhen
1108:3897905302
1058:1588394506
1048:"Lehman":
1027:1850292515
1009:References
939:Battie, 96
885:Battie, 96
694:Battie, 96
615:Battie, 94
328:Hausmalers
320:Christie's
233:trembleuse
190:Tokay wine
136:Alsergrund
69:Alsergrund
2020:Porcelain
1930:(Beijing)
1906:(Toronto)
1900:(Dresden)
1773:Porsgrund
1767:Rosenthal
1707:Hollóháza
1617:Worcester
1557:Vincennes
1545:Chantilly
1539:Rörstrand
1382:Nabeshima
1164:Porcelain
1038:"Frick":
718:Falke, 50
583:Daffinger
373:piecework
286:palmettes
105:from the
65:porcelain
59:(German:
1942:(London)
1912:(Moscow)
1846:Chinamen
1779:Augarten
1659:Wedgwood
1605:Plymouth
1470:General:
1417:General:
1387:Kakiemon
1343:General:
1178:General:
1001:Frick, 1
803:Frick, 5
438:and the
432:Florence
282:bandwork
270:openwork
206:Alt Wien
194:Bohemian
148:monopoly
1924:(Paris)
1918:(Paris)
1825:Biscuit
1755:Zsolnay
1731:Doulton
1719:Mintons
1683:Limoges
1581:Mennecy
1563:Chelsea
1527:Meissen
1248:Qingbai
1224:Celadon
1017:, ed.,
455:Croatia
442:. The
316:tureens
278:trellis
156:Plastic
121:History
1839:People
1781:(1923)
1775:(1885)
1769:(1879)
1763:(1877)
1757:(1853)
1751:(1853)
1745:(1826)
1743:Herend
1739:(1822)
1737:Lichte
1733:(1815)
1727:(1814)
1721:(1793)
1715:(1781)
1709:(1777)
1703:(1775)
1697:(1775)
1691:(1774)
1685:(1771)
1679:(1768)
1673:(1764)
1667:(1763)
1665:Berlin
1661:(1759)
1655:(1760)
1653:Retiro
1649:(1759)
1643:(1758)
1637:(1757)
1631:(1756)
1629:Sèvres
1625:(1755)
1619:(1751)
1613:(1748)
1607:(1748)
1601:(1747)
1595:(1747)
1589:(1747)
1583:(1745)
1577:(1744)
1571:(1743)
1565:(1743)
1559:(1740)
1553:(1735)
1551:Doccia
1547:(1730)
1541:(1726)
1535:(1718)
1533:Vienna
1529:(1710)
1523:(1693)
1517:(1673)
1511:(1575)
1509:Medici
1502:Types:
1462:Europe
1447:Joseon
1441:Goryeo
1434:Types:
1397:Hirado
1392:Kutani
1365:Types:
1302:Canton
1290:Kangxi
1284:Tianqi
1278:Swatow
1211:Types:
1202:(1338)
1106:
1056:
1025:
824:, 2009
428:Uffizi
380:Herend
339:Sèvres
140:Vienna
138:, now
115:Turkey
73:Vienna
1677:Revol
1647:Weesp
1635:Derby
1515:Rouen
1410:Korea
1377:Imari
1372:Arita
1336:Japan
1272:Kraak
1171:China
969:, Met
708:, 239
594:Notes
386:Marks
63:), a
1242:Ding
1236:Xing
1104:ISBN
1054:ISBN
1023:ISBN
745:Wien
685:Wien
295:and
1587:Bow
1230:Yue
453:in
430:in
142:'s
71:in
1976::
1885:/
1098:/
655:,
364:.
330:.
284:,
280:,
215:.
177:.
1156:e
1149:t
1142:v
20:)
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