The second porcelain manufacturer in Europe after Meissen (1709) was in Vienna, in 1718. While the initial establishment of private businessman du Paquier ultimately declined, it was revived by the state itself in 1744 when Empress Maria Theresa bankrolled the Imperial State Manufactory, Vienna. The blue shield mark came shortly after (sometimes called a beehive, as when viewed upside down it resembles one….).
Vienna figure of ‘Autumn’, circa 1765
This remarkable figure dates to the 1760’s, and along with others in the same theme, would have been part of a grand table decoration for the banquets of an important household. The figures depict idealic ‘pastorale pastimes’, such as the harvesting of grapes seen here, and show us a favourite occupation of the Rococo courts in Europe: dress-up balls.
Marie Antoinette as a shepherdess is an image well remembered in the present, and such themed events were a common occurrence in the 18th century. Grand balls were held with attendees all dressing in ‘pastorale’ costumes, imaginative interpretations of the life of the ‘common folk’. Imagine such a ball, with an associated dining experience included. Sitting at the table in one’s costume, there was a splendid representation of the pastoral ideal in the form of the colourful figures spread down the tabletop between the guests. They were the perfect conversation starters, and with the lively & expressive interactions of the characters seen in these Viennese figures, no end of witty comments would be possible.
18th century Viennese Table Figures in use
Vienna Porcelain c.1765
This example is one of a group of four figures depicting the seasons. With the grapes being harvested, it is Autumn; in the same Prague collection are two other figure groups matching (the key difference being 3-figures on a single oval base) – ‘Reaper as allegory of summer’ and ‘Ice skater as allegory of Winter’. Missing is a figure of spring; presumably the ladies depicted will have baskets of ‘spring flowers’ or fruits.
Viennese Porcelain c.1765
The modeller who incised ‘Q’ is well represented in any collection with early Vienna figures.
This example differs very slightly in the construction of the components, with the kneeling woman’s hand resting under the man’s armpit rather than on his coat tail, and her other hand not actually grasping the tool. The colour palette is the same yellow, pink, blue, and tones of green & brown, but the Prague example also includes two instances of gold being used.
Left: Prague collection Right: Moorabool Antiques, Australia
The definitive book on these early figures ‘Ceremonies Feasts Costumes : Viennese Porcelain Figures during the reign of Maria Theresia’ is a splendid 2007 publication with large clear illustrations, detailing hundreds of Vienna figures from the 1740’s until the 1780’s. A private businessman, Du Paquier, had started the porcelain works in Vienna as early as 1719 ( making it the second true porcelain manufacturer in Europe, after Meissen), but by 1744 he was financially struggling, and the Viennese State purchased the works. This was of course ruled by Maria Theresia, the Empress of Austria, and she loved a good party… the porcelain works were an excellent source of the needed table wares, and this included table figures.
Refer p148 of this book for an example of the above figure, also the frontispiece of the book; fig. 228 “Wine grower as an allegory of autumn”, c. 1765 (Decorative Arts Museum, Prague).
