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This new edition of the "Danckert" - the benchmark in terms of reference books in European Porcelain - has been very thoroughly revised and considerably expanded by the author. The 980-page work now contains more than 3,200 keywords and approximately 5,800 porcelain maker's marks. The clear design and arrangement in directory form mean the many different variations of the same marks can be quickly and reliably identified. Additional information on everything worth knowing about individual manufacturers transforms the "Danckert" into an indispensable and practical work of reference. The new edition dispenses with the former Appendix containing some 861 items of supplementary information, which has now been incorporated, in alphabetical order, into the keyword section. At the same time, this comprehensive directory on porcelain includes 400 new keywords, more than 300 newly discovered porcelain marks and vast additional material on dates based on the latest research.

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In over 700 specially taken colour photographs a wide range of imperial and regional, decorative and practical, export and domestic, ceremonial and funerary wares are fully represented, organized into chronological sections, from the Neolithic to the end of the Qing dynasty, each accompanied by a survey of the period and detailed descriptions of the pieces illustrated. Systematic study of Chinese ceramics, begun in the eighteenth century, was greatly enlarged in the twentieth century, and extensive excavations at kiln sites have yielded invaluable new insights into the chronological development of ceramic forms, glaze types and decorative styles. Drawing on the extraordinary collection housed in the Asian Art Museum of San Francisco, this remarkable book cites the latest scientific and archaeological evidence, examining provenance, technique, archaeological and historical context, and ancient traditions of Chinese connoisseurship and patronage to provide an integrated and highly detailed approach to the subject. The notes on the plates are further illustrated with photographs of base marks, a vital aid in the identification process. An important reference section includes a glossary of technical terms, complete with Chinese characters; a bibliography; and lists of major public collections.

This catalogue of the Ewers-Tyne Collection provides lovers of fine porcelain with a very special opportunity. Curiously, this is the first time that all three centuries of Worcester porcelain have been presented together in a single book. The earliest pieces at Cheekwood were made in the middle of the eighteenth century. During the Dr Wall Period, Worcester porcelain was inspired by China and Japan and yet has an English charm all of its own. Important early coloured wares copy royal productions from Dresden and Sèvres. Here are special pieces from famous services, some painted in the Giles workshop in London. Split into two separate factories during the Regency period, the Flight family ran the original Worcester works in partnership with the Barrs. Meanwhile the Chamberlain family set up a rival factory across the city. Many masterpieces from the early nineteenth century are in the Ewers-Tyne Collection, including specimens from some of the finest armorial services finished off with sumptuous gilding. The Worcester Royal Porcelain Company, known today as Royal Worcester, was established in 1862. The Victorian period is represented at Cheekwood by the incredible figures of James Hadley and Thomas Brock, while painted porcelain by senior artists show how the traditions of fine craftsmanship continued into the twentieth century. Henry and John Sandon are the leading authorities on Worcester porcelain and their informative text accompanies clear colour illustrations of every piece. The result is a beautiful as well as invaluable reference book detailing the long history of porcelain making at Worcester. This sumptuous volume provides a fitting tribute to an inspired collection housed in the gorgeous setting of Cheekwood in Nashville, Tennessee.

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The last of the great 18th-century German porcelain factories was established by Carl Eugen, Duke of Württemberg, in Ludwigsburg on 5 April 1758. The present book is published on the occasion of the 250th anniversary of the founding of the Ludwigsburg Factory, and the Museum für Angewandte Kunst in Cologne is presenting the first special exhibition devoted to it in Germany. The book is definitely a “feast for the eyes”.
In February 1759, the Duke appointed the experienced arcanist Joseph Jakob Ringler as the first director of the Factory. Outstanding modellers and other specialists ensured that the Ludwigsburg Factory attained its zenith within the first decade of its existence (1760 to 1770). The Factory was, however, shut down in October 1824 due to lack of funds. More than a third of the approx. 150 objects from the heyday of the Ludwigsburg Factory have never been publicly shown. Alongside examples of services magnificently decorated with rocaille, imbricated patterns and exquisitely painted genre scenes and flowers, figurines as table-decoration are highlighted. The focal point of the collection is the so-called “Venetian Fair Group” depicting stalls and the corresponding figures at the Ludwigsburg Fair after the mid-18th century.
The exceptional sculpture produced by the Ludwigsburg Porcelain Factory reflects the luxury of ducal table-decorations and memorably documents Rococo culture and the intellectual achievements of the period. Exhibition "Glanz des rokoko ludwigsburg porcelain from the Jansen collection" at the Museum für Angewandte Kunst, Cologne: 29 March to 29 June 2008
 

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On 23 January 1710, Augustus the Strong (1670-1733), Elector of Saxony and King of Poland, founded the first and most important European porcelain factory of the 18th century, thus breaking the supremacy of Chinese porcelain in Europe. He had the invention of porcelain as well as the establishment of the factory in Saxony celebrated in four languages. Production began on the Albrechtsburg in Meissen in June of that year. “White Gold” from Saxony would soon become the luxury item most coveted at European courts. Meissen – Barockes Porzellan presents a world-beating private porcelain collection and marks the 300th anniversary of the founding of the Meissen factory. The extremely rare and valuable exhibits from the 18th century – a total of over three hundred objects – convey insights into the diverse range of porcelains produced by the celebrated porcelain factory as well as the sophisticated cultural and intellectual world of the Baroque era. Colour illustrations of the objects – and numerous detail photographs – make the enchanting beauty and consummate artistry of the Meissen factory come alive. The exhibits include outstanding pieces of porcelain, a large number of exquisitely painted snuffboxes as well as tableware magnificently decorated with chinoiserie, landscapes, Hong scenes and flower painting. Our contribution to celebrating the re-invention of porcelain in Europe three centuries ago. Court porcelain from the early years of the first German porcelain factory.

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The publication "Passion for Meissen Marouf Collection" of the Said and Roswitha Marouf Collection focuses the viewer’s eye on the magnificent art works of the Meissen porcelain manufactory, which in 2010, on the occasion of its 300 anniversary, will celebrate the multifarious artistic wealth of the first European manufactory for porcelain. This book is not about the history of Meissen porcelain in the eighteenth century, which has been examined in numerous publications, but is rather a feast for the senses. The collection documented here provides a representative survey of the early creative period of the Meissen manufactory, especially in the area of painting, with outstanding works of art by Johann Gregorius Höroldt and his workshop.
Also the small sculptural work of Johann Joachim Kaendler and co-workers is presented in detail. The diversity of the porcelain items, chosen with care and collector’s passion, is reflected in the some 500 reproductions – including numerous large-format reproductions – of the nearly 200 art works. In the clear commentaries and in magnificent reproductions – including many details – the individual characteristics and distinctive features of these works are vividly presented.
Since 1994 the author, Dr. Ulrich Pietsch, has been director of the Porcelain Collection of the Staatliche Kunstsammlungen Dresden, the world’s largest collection of Meissen porcelain of the eighteenth century.
This meticulously designed publication focuses on the artistic details of the masterpieces of Meissen porcelain.
 

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This book traces the history of Meissen porcelain from the "goldmaker" Johann Freidrich Bottger's first tests to the latest design, "Japan Form", for oriental dishes, that was first shown in 1983. Both the most typical and the most beautiful creations of Meissen are shown and described. Special attention is given to the 19th and 20th century products, neglected in most books about Meissen. In thirteen chapters the book describes all facets of the Meissen manufactory: The present state of the manufactory and its latest creations, Bottger's first ceramic invention, the red stoneware and its re-discovery in the 20th century, sculptural Meissen art, the different shapes and forms of tableware, Meissen painting and decorations, and often-neglected little things the manufactory made like medals and coins, lithopanes, tiles, knick-knacks and technical porcelain.

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The appearance of the Rörstrand porcelain factory from Stockholm at the 1900 world exhibition in Paris was brilliant: the world had never seen such expert handling of porcelain mass – some in the form of waferthin petals – and an underglaze colour palette with such subtle nuances. The critics were full of praise and the economic success was soon to follow.
The foundation for this laid in the cooperation between Rörstrand and the painter Alf Wallander, who had worked for the manufacturer from 1894/1895. By 1896 Rörstrand had his first big success with the porcelain designed by Wallander at exhibitions in Stockholm, Malmö and Gothenburg. Its artistic rise finally began in 1897 with the Art and Industry Exposition in Stockholm and found its crowning moment in Paris, the International Exhibition of Modern Art in Turin in 1902 and the World Exhibition in St. Louis in 1904. Rörstrand could now compete on an international level alongside the two significant Danish manufacturers Royal Copenhagen and Bing & Grøndahl.
Wallander combined the underglaze painting cultivated in Copenhagen with a plastic modelling. The reliefs of the famous Rörstrand vases were all carried out by hand and are unique pieces. Other artists who worked with Rörstrand included Per Algot Eriksson, Nils Lundström and Karl and Waldemar Lindström, who all advocated a naturalistic Art Nouveau style (ca. 1895 to 1910).
Rörstrand’s porcelain factory had already been founded in 1726 as a faience factory. For over 120 years it produced fine stoneware; later majolica, bisque porcelain and Parian ware were added, and also the porcelain production from around 1895, with which Rörstrand rose to world renown.
Finest underglaze painting and delicate free-formed relief and a jour decoration helped establish the Rörstrand porcelain factory’s rise to international fame. With approximately 170 objects the publication shows outstanding examples of the Rörstrand production at the time of Art nouveau.
Exhibition in the International Ceramics Museum,Weiden (branch of Die Neue Sammlung Neue Sammlung, Munich) from 16.10.2011 – Mid-January 2012
 

This new edition of the "Danckert" - the benchmark in terms of reference books in European Porcelain - has been very thoroughly revised and considerably expanded by the author. The 980-page work now contains more than 3,200 keywords and approximately 5,800 porcelain maker's marks. The clear design and arrangement in directory form mean the many different variations of the same marks can be quickly and reliably identified. Additional information on everything worth knowing about individual manufacturers transforms the "Danckert" into an indispensable and practical work of reference. The new edition dispenses with the former Appendix containing some 861 items of supplementary information, which has now been incorporated, in alphabetical order, into the keyword section. At the same time, this comprehensive directory on porcelain includes 400 new keywords, more than 300 newly discovered porcelain marks and vast additional material on dates based on the latest research.

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A special feature of this outstanding book is its lavish use of colour, with hundreds of wonderful full-colour illustrations depicting some 800 individual pieces from this unique collection. As these are fully supported by an authoritative and informative text, written by the leading experts on the subject, the result is an important work of reference which will demand a place on the bookshelves of not only those with an interest in Worcester, but also all lovers of fine porcelain.
 

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