Bardzo ładny dzbanuszek o prostym eleganckim kształcie. Dzbanuszek pochodzi z lat 70' i zdobiony jest wzorem przywołującym na myśl japońską porcelanę Imari. kolorystyka - kobalt, czerwień i złoto, to baza tego stylu. stylizowane kwiaty opuncji i lotosu wdzięcznie oplataja brzusiec i szyję dzbanka. Świetna ozdoba i alternatywa dla konewki stojącej na parapecie.

The Volkstedt Porcelain factory produced a wide array of fine porcelain wares. These included candlesticks, steins, buttons, medals, and butter boxes to name just a few of their offerings. The Volkstedt porcelain factory is probably most famous, however, for its intricately detailed figurines. These figurines were often of women and men of nobility going about activities such as playing musical instruments, reading, courtship, and dancing.

Using lace dipped in porcelain paste and kiln baked so that the cotton lace burned away was a popular technique used at the factory of Volkstedt porcelain. This process left a porcelain lace behind that was very delicate and fragile. With the proper care, however, this lace can last for generations.

The factory of Volkstedt porcelain was fortunate in that the raw materials for the manufacture of their porcelain products were able to be obtained locally. The porcelain soil came from Gabersdorf which is near Graefenthal. A specialized type of clay called kapselton was found in the Coburg area. The sand that was necessary for the production of Volkstedt Porcelain was obtained from the Koenigssee and Rudolstadt regions.

Around 1832, the Volkstedt Porcelain factory ceased to enjoy the protection of exclusivity afforded the factory in previous years by the reigning prince of Schwarzburg-Rudolstadt. This enabled other porcelain factories to move into the area. As the 19th century turned into the 20th century, the Volkstedt Porcelain factory was merged with a factory called Porzellanfabrik Unterweibach A.G. This stock corporation was owned by Max Adolf Pfeiffer.

The history of Volkstedt porcelain dates to 1760 in Thuringia, Germany, when an entrepreneur by the name of Georg Heinrich Macheleid approached the Prince of Schwarzburg-Rudolstadt. Macheleid requested the exclusive privilege to build a porcelain factory within his principality. The prince, Johann Friedrich, agreed to Macheleid's request with one condition: his exclusive right to produce porcelain in the principality would be maintained so long as no one else in the region was able to verifiably produce a superior product. In exchange, the deal assured Macheleid's factory a constant supply of firewood, tax exemption for four years, low jurisdiction for the factory, religious freedom, and the right to produce all the food the factory would need within its own grounds. Essentially, the porcelain factory quickly became self-sustaining, a village unto itself. In addition, all the materials needed to produce the porcelain could be obtained from nearby regions. These included sand from Rudostaldt, Kapselton-a special type of clay used by the factory-from Coburg, and porcelain mass and glaze from Sitzendorf. To view Volkstedt porcelain marks, click here.

While the early years were difficult for the Volkstedt porcelain factory, by the late 18^th century the company was producing a high volume of merchandise that earned it renown throughout Europe. The Volkstedt factory produced everything from porcelain dinnerware, vases, candlesticks, basins, boxes, and of course, figurines. A catalogue of 1795 claimed to offer 90 different types of figurines. By the mid-nineteenth century, the Volkstedt factory began producing the famous lace figurines. Also known as "Dresden lace," the effect was accomplished when real cotton lace was dipped in soft paste porcelain and then fired. The fabric burned away, leaving a fragile porcelain "lace" shell that, though delicate, could withstand the test of time given proper care. A number of fine examples of these porcelain lace products, including the famous Volkstedt lace ballerinas, can be found among our collection.

The exclusive privilege of this original Volkstedt factory was revoked in 1832, opening the way for smaller porcelain workshops to be opened in the region. One example was the operation begun by Anton Müller. His porcelain lace figurines gained immediate renown. His pieces can be identified by his stamp trademark: the crown over the letters 'MV," which stands for Müller - Volkstedt. By the late 1930's his operation had blossomed and was exporting worldwide, along with the older Volkstedt factory, which continues production to this day.

Müller - Volkstedt encountered more difficulties in the 20^th century than the older factory, however. The factory was completely destroyed during the allied bombings of World War II. Although Anton Müller himself died at this time, his niece Johanna Saar was able to salvage some of the old master moulds and rebuilt the factory in 1945. The Saar family eventually moved the operation to Ireland, and the factory currently known as 'Irish Dresden" was opened in Dromcolliher, Limerick, and continues to operate to the present day.