Above $200

Under $100 Under $200 Above $200

Louisville Stoneware One of a Kind Vase L.V. Harkness is proud to join Louisville Stoneware in presenting this exclusive hand-painted collection, perfectly capturing the excitement of the race track and the beauty of the horse in motion.

Original works of art, no two alike.

Private commissions available.

Louisville Stoneware One of a Kind Vase (91159)
$2,200

$Unbridled Set Of 4 Canisters In Backstretch We are delighted to introduce \Unbridled,\ the product of our first collaboration with Louisville Stoneware. We did not want to miss the opportunity to have an exclusive pattern from one of the country\'s oldest and most revered stoneware manufacturers, with roots to the early 1800\'s. This wonderful company is truly a Kentucky tradition. And so we present \Unbridled\ as the Kentucky tradition for a new generation. This wonderful hand painted design in two motifs, “Gate\ and \Backstretch\ embodies the excitement, first of the starting gate, followed by the field racing towards the finish; and all to the sound of a cheering crowd. Its beauty lies also in the ease of care: completely dishwasher, oven (after warming the piece in the oven before baking in it), microwave, and freezer. Safe. Perfect for everyday use, “Unbridled\ is a constant reminder that racing season is just around the corner anytime of year!$

Unbridled Set Of 4 Canisters In Backstretch (78485)
$280

Louisville Stoneware One of a Kind Plate L.V. Harkness is proud to join Louisville Stoneware in presenting this exclusive hand-painted collection, perfectly capturing the excitement of the race track and the beauty of the horse in motion.

Original works of art, no two alike.

Private commissions available.

Louisville Stoneware One of a Kind Plate (91161)
$592

Louisville Stoneware One of a Kind Plate Set L.V. Harkness is proud to join Louisville Stoneware in presenting this exclusive hand-painted collection, perfectly capturing the excitement of the race track and the beauty of the horse in motion.

Original works of art, no two alike.

Private commissions available.

Louisville Stoneware One of a Kind Plate Set (91160)
$1,184

Daum Baladine Limited Edition 500 (97699)
$1,490

$Daum Horsehead Andalusian 9\$

Daum Horsehead Andalusian (68170)
$3,625

Daum Resting Mare (97765)
$4,845

$Daum Jockey Limited Ed. 1000 The art of glassmaking has always been at the heart of the French decorative arts, and no company embodies this better than Daum. It began as a glassworks in 1878, founded by Jean Daum in Nancy in the heart of the Lorraine region. The true spirit of Daum as a leader in the artistic movements of the decorative arts started in 1891, when his son Antonin inaugurated the art department. The first pieces were decorated with very finely cut flowers, and were the precursors to the style we know as Art Nouveau. The workshops began to master the art and techniques of the shaping of hot glass, acid etching, engraving, glass painting, and the use of triple layered glass to produce graduations in color. Throughout the end of the 19th century, and the beginning of the 20th, many inventions and patents came to pass at Daum. In fact, Daum was the first to cloak electric lamps in glass. In 1920, under the direction of Paul Daum, the first pieces in the Art Deco style were created. The glass took on an almost \mineral\ aspect- it was frosted, cut deeply, and decorated in the style of cutting edge cubist design. It was this innovative spirit that led many to seek out Daum, including a very important commission to produce the tableware for the ocean liner Normandie. Daum re-discovered the technique of pate de verre in 1968, which is what they are most famous for today. This rare and ancient process, dating back to 5000 B.C, is extremely difficult to master; however, the pieces produced by this method have a texture, substance, and softness simply not attainable any other way. It is actually a paste made of crystal with a 30% lead content. It originates from specially produced batches of crystal melted and broken into smaller pieces. Several factors have a bearing on the final color, including the size of the fragments, proportions, chemical reaction between certain minerals, and the rate of increase and decrease in temperature within the kilns. The following steps illustrate how a piece is made in pate de verre: Step 1: The sculptor produces an initial model in clay from pencil drawings. From this, an original model in plaster is made and the details are fine tuned. Step 2: Once the model is complete, it is used to produce a negative mold in elastomer, or rubber. This material is poured to follow exact shape and details. It is flexible and produces a hollow mold of the original form. Step 3: When the original plaster mold is removed, hot wax is then poured into the hollow rubber mold. When the wax is set, it creates a sculpture in wax. Step 4: The wax model is then further reworked and refined. It is encased in plaster, and the entire object is set in a kiln. While in the kiln, the wax melts and runs out of the plaster mold through a hole drilled previously. Thus the nickname, the \lost wax method\ with which many are familiar. Step 5: When the wax has drained out, the hollow part of the mold is then filled with the differently sized and colored pieces of fragmented crystal, called \groisil.\ It is placed in a kiln and the temperature is gradually raised to 1800 degrees Fahrenheit over a 10 day period. The groisil melts and flows into all of the crevices in the mold. The temperature is slowly reduced while cooling. Step 6: Once the piece is completely cooled, the plaster mold is broken, revealing the sculpture in pate de verre. After all of these steps, Daum then takes quality control to the next level. The piece begins a series of checks of color, shape, and quality. It is then cleaned, buffed, and polished until it is exactly what the artist imagined. Only after a final quality control check does the piece receive the famous Daum signature. Every laborious step is followed for every piece of Daum, from the smallest flower to the largest vase. This is why every piece of Daum pate de verre is truly a one of a kind piece, painstakingly created by hand from the initial idea to the final execution.$

Daum Jockey Limited Ed. 1000 (5093)
$3,240

Daum Love Horses Daum’s conseiller, Monsieur Charles, was hopelessly smitten by the P. He made overtures. Sent extravagant bouquets — hourly. Once, on a return trip from Nancy, the P. found this enamored pair waiting at her desk. Subtle, Charles. Subtle.

When the P. was a little girl, roaming the rooms of Walnut Hall, her favorite spot was the study. L.V., her great-grandfather, had used that room hammering out deals that would change the world. On the desk reared a beautiful glass horse, which caught the sun and glowed fire. That horse haunted the P. ...

Years later, as an intrepid woman wandering the world, the P. discovered the origins of her mysterious horse in Nancy, France and the magical manufactuory of Daum. L.V., it turned out had made the same discovery himself just as Art Nouveau was taking the world by storm, heralding in the Modern Age.

The House of Daum is the undisputed master of Pate de Verre — a rare and ancient alchemy that lends glass an unrivaled softness and luminescence. The P. made a private appeal to the guardians of this secret technique, invoking French romance and nostalgia. Their reply? An exquisite study of horses she shares with you here.

Daum Love Horses (88406)
$16,085

$Daum Hadrien Horse The art of glassmaking has always been at the heart of the French decorative arts, and no company embodies this better than Daum. It began as a glassworks in 1878, founded by Jean Daum in Nancy in the heart of the Lorraine region. The true spirit of Daum as a leader in the artistic movements of the decorative arts started in 1891, when his son Antonin inaugurated the art department. The first pieces were decorated with very finely cut flowers, and were the precursors to the style we know as Art Nouveau. The workshops began to master the art and techniques of the shaping of hot glass, acid etching, engraving, glass painting, and the use of triple layered glass to produce graduations in color. Throughout the end of the 19th century, and the beginning of the 20th, many inventions and patents came to pass at Daum. In fact, Daum was the first to cloak electric lamps in glass. In 1920, under the direction of Paul Daum, the first pieces in the Art Deco style were created. The glass took on an almost \mineral\ aspect- it was frosted, cut deeply, and decorated in the style of cutting edge cubist design. It was this innovative spirit that led many to seek out Daum, including a very important commission to produce the tableware for the ocean liner Normandie. Daum re-discovered the technique of pate de verre in 1968, which is what they are most famous for today. This rare and ancient process, dating back to 5000 B.C, is extremely difficult to master; however, the pieces produced by this method have a texture, substance, and softness simply not attainable any other way. It is actually a paste made of crystal with a 30% lead content. It originates from specially produced batches of crystal melted and broken into smaller pieces. Several factors have a bearing on the final color, including the size of the fragments, proportions, chemical reaction between certain minerals, and the rate of increase and decrease in temperature within the kilns. The following steps illustrate how a piece is made in pate de verre: Step 1: The sculptor produces an initial model in clay from pencil drawings. From this, an original model in plaster is made and the details are fine tuned. Step 2: Once the model is complete, it is used to produce a negative mold in elastomer, or rubber. This material is poured to follow exact shape and details. It is flexible and produces a hollow mold of the original form. Step 3: When the original plaster mold is removed, hot wax is then poured into the hollow rubber mold. When the wax is set, it creates a sculpture in wax. Step 4: The wax model is then further reworked and refined. It is encased in plaster, and the entire object is set in a kiln. While in the kiln, the wax melts and runs out of the plaster mold through a hole drilled previously. Thus the nickname, the \lost wax method\ with which many are familiar. Step 5: When the wax has drained out, the hollow part of the mold is then filled with the differently sized and colored pieces of fragmented crystal, called \groisil.\ It is placed in a kiln and the temperature is gradually raised to 1800 degrees Fahrenheit over a 10 day period. The groisil melts and flows into all of the crevices in the mold. The temperature is slowly reduced while cooling. Step 6: Once the piece is completely cooled, the plaster mold is broken, revealing the sculpture in pate de verre. After all of these steps, Daum then takes quality control to the next level. The piece begins a series of checks of color, shape, and quality. It is then cleaned, buffed, and polished until it is exactly what the artist imagined. Only after a final quality control check does the piece receive the famous Daum signature. Every laborious step is followed for every piece of Daum, from the smallest flower to the largest vase. This is why every piece of Daum pate de verre is truly a one of a kind piece, painstakingly created by hand from the initial idea to the final execution.$

Daum Hadrien Horse (88407)
$8,105

$Daum Brown Trotter The art of glassmaking has always been at the heart of the French decorative arts, and no company embodies this better than Daum. It began as a glassworks in 1878, founded by Jean Daum in Nancy in the heart of the Lorraine region. The true spirit of Daum as a leader in the artistic movements of the decorative arts started in 1891, when his son Antonin inaugurated the art department. The first pieces were decorated with very finely cut flowers, and were the precursors to the style we know as Art Nouveau. The workshops began to master the art and techniques of the shaping of hot glass, acid etching, engraving, glass painting, and the use of triple layered glass to produce graduations in color. Throughout the end of the 19th century, and the beginning of the 20th, many inventions and patents came to pass at Daum. In fact, Daum was the first to cloak electric lamps in glass. In 1920, under the direction of Paul Daum, the first pieces in the Art Deco style were created. The glass took on an almost \mineral\ aspect- it was frosted, cut deeply, and decorated in the style of cutting edge cubist design. It was this innovative spirit that led many to seek out Daum, including a very important commission to produce the tableware for the ocean liner Normandie. Daum re-discovered the technique of pate de verre in 1968, which is what they are most famous for today. This rare and ancient process, dating back to 5000 B.C, is extremely difficult to master; however, the pieces produced by this method have a texture, substance, and softness simply not attainable any other way. It is actually a paste made of crystal with a 30% lead content. It originates from specially produced batches of crystal melted and broken into smaller pieces. Several factors have a bearing on the final color, including the size of the fragments, proportions, chemical reaction between certain minerals, and the rate of increase and decrease in temperature within the kilns. The following steps illustrate how a piece is made in pate de verre: Step 1: The sculptor produces an initial model in clay from pencil drawings. From this, an original model in plaster is made and the details are fine tuned. Step 2: Once the model is complete, it is used to produce a negative mold in elastomer, or rubber. This material is poured to follow exact shape and details. It is flexible and produces a hollow mold of the original form. Step 3: When the original plaster mold is removed, hot wax is then poured into the hollow rubber mold. When the wax is set, it creates a sculpture in wax. Step 4: The wax model is then further reworked and refined. It is encased in plaster, and the entire object is set in a kiln. While in the kiln, the wax melts and runs out of the plaster mold through a hole drilled previously. Thus the nickname, the \lost wax method\ with which many are familiar. Step 5: When the wax has drained out, the hollow part of the mold is then filled with the differently sized and colored pieces of fragmented crystal, called \groisil.\ It is placed in a kiln and the temperature is gradually raised to 1800 degrees Fahrenheit over a 10 day period. The groisil melts and flows into all of the crevices in the mold. The temperature is slowly reduced while cooling. Step 6: Once the piece is completely cooled, the plaster mold is broken, revealing the sculpture in pate de verre. After all of these steps, Daum then takes quality control to the next level. The piece begins a series of checks of color, shape, and quality. It is then cleaned, buffed, and polished until it is exactly what the artist imagined. Only after a final quality control check does the piece receive the famous Daum signature. Every laborious step is followed for every piece of Daum, from the smallest flower to the largest vase. This is why every piece of Daum pate de verre is truly a one of a kind piece, painstakingly created by hand from the initial idea to the final execution.$

Daum Brown Trotter (5456)
$535

Daum Polo Player (101367)
$3,820

Daum Grey Stallion (101846)
$38,565

Haviland Sulky Ashtray (73932)
$220

Run For The Roses Ice Bucket (35738)
$800

$Meissen Horse Maestoso 20.4\$

Meissen Horse Maestoso (93841)
$2,831

$Meissen Bluegrass Vase The history of porcelain manufacturing in Europe begins in Meissen, Germany near Dresden, the cradle of European porcelain. Apart from the short-lived production of the Medici factory in Florence in the 1560\'s, Meissen was the first successful producer of hard-paste porcelain - or true porcelain - in Europe. Meissen\'s products, and those of its imitators, who came later, destroyed the supremacy of the oriental porcelain that had held a virtual monopoly in the world since Marco Polo opened the china trade in 1295. In the 17th and 18th centuries porcelain was viewed as a great luxury in Europe. Court society longed for everything rare, which porcelain was. It became the fashion for northern European rulers to install a porcelain room where every inch was covered by porcelain. Just as in our time, the ownership of such precious things demonstrated wealth, luxury, and culture. Before Meissen discovered how to produce it, porcelain was being imported from China by the East Indian Company (thus, the term chinaware). The European countries\' desire for porcelain was so great it was causing them troubling trade gaps. To arrest this disastrous outflow of monies, European rulers were frantically trying to find out how to make this chinaware themselves. Nowhere was this search more intense than in Saxony in eastern Germany. Augustus the Strong, Elector of Saxony and King of Poland (who reigned from about 1693 to 1733), was obsessed with a passion for porcelain. He had heard of a young alchemist, Johann Frederick Bottger, who had worked for Frederick I of Prussia, having boasted that he could turn base metal into gold. Proving unsuccessful in this process, Bottger fled Berlin to Saxony (he was only about 20 years old at this time), where he was immediately imprisoned by Augustus. Augustus felt if Bottger could produce gold, he could also produce porcelain-or \white gold\ as it was called then. In 1709, aided by the discovery of deposits of Kaolin (china clay) nearby, Bottger informed Augustus that he had discovered the arcanum-the secret ingredients of porcelain. In 1710 Augustus decreed the founding of his manufactory and transferred Bottger and his helpers to the royal summer palace in Meissen. Augustus continued to hold them prisoners in the palace in order to protect the Arcanum. Meissen was able to protect this secret for years before workmen escaped with their knowledge of porcelain making, and wholesale copying of Meissen across the western world began. Bottger died in 1719, and a year later Johann Gregorius Horoldt began work at Meissen, which he took to a whole new level when he invented and manufactured many brilliant Meissen paint colors, as well as introducing many of the decorations typical of Meissen. In 1730, influenced greatly by the East Indian wares, Meissen created its first Red Dragon pattern. Augustus commissioned the first complete dinner service for his court dining room, thus giving this pattern its name of \court dragon\. This pattern remained in the sole preserve of the Saxon royal family until 1918, when the first world war ended Saxon royalty. By 1739, under Horoldt\'s direction, the mastering of cobalt blue underglaze color was such that the blue-white decorations (such as Blue Onion) could be manufactured. In 1730, Horoldt was joined by a 24 year old court sculptor, Johann Joachim Kaendler. Augustus, impressed by his work, had ordered Kaendler to join the Meissen manufactory. Augustus proved himself to have a good eye, for J.J. Kandler turned out to be, perhaps, the greatest porcelain modeler of all time. One of his greatest works, the Swan Service, was commissioned by the Saxon Prime Minister, Heinrich Count Von Bruhl, and was produced between 1735 and 1741. It consisted of over 2000 pieces, and was the most extensive service ever made. Many of these pieces will never be produced again, as the occupying forces used the molds for target practice during the Second World War. Nevertheless, Meissen continues to create a number of these extraordinary pieces today. Meissen is as famous for its figurines as for its table services. The members of the royal court used figurines for table decorations, much as people do today. Kaendler\'s talent is known to every connoisseur of porcelain today. In 1734, Kaendler produced the now famous pug dog. These dogs happened to be Prime Minister Count Bruhl\'s favorite dogs, and Kaendler captured their charm with great skill. Indeed, centuries later, the Duchess of Windsor collected these pieces. Kaendler also created the Italian Comedy, composed of a wide variety of humorous, sad and sympathetic characters. The most frequently depicted and most endearing character is Harlequin. The poses in which Kaendler imagined this one character alone would suffice to establish his greatness as a modeler. In 1753 Kaendler created 21 charmingly amusing Monkey Musicians, which composed the famous Monkey Orchestra. The story is that Kaendler modeled them after members of the Saxon court, though this cannot be documented. As every piece of Meissen is handpainted by Meissen artisans, each monkey has its own unique touch. The monkey band is one of the most famous of the Meissen figurine collections, and is extremely popular among today\'s collectors. Kaendler and Hoeroldt both died in 1775, a great loss for the manufactory and the world, but Meissen\'s creativity continued. In 1814 Heinrich Gootlob Kuehn became the managing director, and, three years after his arrival, developed the color chromium-oxide green, resulting in the much loved \Vine Leaves\ pattern being produced. Ten years later, in 1827, Kuehn developed the bright gold, which we take so much for granted today. Fast forward to1889, when Julius Conrad Hentschel began attending Meissen drawing school. His enormous talent did not go unnoticed, and by 1897, after much training, Hentschel became a Meissen designer. Hentschel designed during the Art Nouveau period, and this movement influenced the sculptor in the production of his most famous work, \Hentschel\'s Children\, fourteen porcelain children created between1904 - 1907. Hentschel captured the changing attitude toward children in the early 1900s. Children were no longer viewed as little adults, but rather as individuals in their own right. Figures of children became more true to life. Cuteness was replaced by everyday childhood realities. Hentschel died quite unexpectedly in 1907, leaving behind his detailed, loving observations of children\'s activities. The Second World War and its aftermath were difficult years for Meissen. Molds were destroyed and pieces were broken or disappeared. Meissen was instructed to produce wares representing the new meaning of life in a socialist society. This proved nearly impossible for the Meissen manufactory, as designers attempted to conform to these orders, and no one was interested in the objects created under such restrictions. During this period, Meissen had to confront the question as to whether or not it should remain a manufactory, where everything was made by hand and every piece would remain unique with no two pieces exactly alike, or become a factory, where machines mass produced the large numbers required of a factory. It was not until 1969, when the new Director, Karl Peterman, took the helm and returned the freedom to create to the designers, that the original course of Meissen as manufactory again reigned. Once again, Meissen was able to preserve the old traditions, and maintain the high standards of its workers and artists. In 1960 Professor Heinz Werner (porcelain designer and pattern painter), Ludwig Zepner (designer and modeler), and Peter Strang (sculpturer) became founding members of Meissen\'s new Artistic Development group. Professor Werner\'s best known creations are \Arabian Nights\, shown in the March, 2005 edition of Elle Décor, and \Blue Orchid\. Ludwig Zepner designed two new table services \Grosse Ausschnitt\ and \Grosse Ausschnitt Relief\ the most successful Meissen services of the second half of the 20th century. Peter Strang opened a new chapter in the history of Meissen sculpture. His work dominates contemporary Meissen sculpture. Much of Strang\'s work is based on the theater and on circus figures-his clown musicians are loved the world over. Sabine Wachs arrived at Meissen in 1986, and, between1993-1996, created the newest Meissen tableware. This service, called \Waves\ and \Waves Relief\, is shown in many patterns, one as beautiful as the next. In 2000, Meissen visited L. V. Harkness & Company in Lexington, Kentucky. They became enchanted with the Bluegrass region, its legends and its stories, and not long after their visit, created a new pattern, called \Bluegrass\ on the Waves form. This they dedicated to L. V. Harkness to commemorate their visit. It is understandable that we are very proud of such an incredible honor. L.V. Harkness is also proud to have Meissen create \Jockey\ Birds in honor of Kentucky\'s rich racing heritage. a very unique gift from the rolling hills of Kentucky. Meissen continues to be one of the finest porcelain manufactories in the world today, and we urge you to view Meissen on our website.$

Meissen Bluegrass Vase (83167)
$1,579

$Meissen Bluegrass Five Piece Place Setting The history of porcelain manufacturing in Europe begins in Meissen, Germany near Dresden, the cradle of European porcelain. Apart from the short-lived production of the Medici factory in Florence in the 1560\'s, Meissen was the first successful producer of hard-paste porcelain - or true porcelain - in Europe. Meissen\'s products, and those of its imitators, who came later, destroyed the supremacy of the oriental porcelain that had held a virtual monopoly in the world since Marco Polo opened the china trade in 1295. In the 17th and 18th centuries porcelain was viewed as a great luxury in Europe. Court society longed for everything rare, which porcelain was. It became the fashion for northern European rulers to install a porcelain room where every inch was covered by porcelain. Just as in our time, the ownership of such precious things demonstrated wealth, luxury, and culture. Before Meissen discovered how to produce it, porcelain was being imported from China by the East Indian Company (thus, the term chinaware). The European countries\' desire for porcelain was so great it was causing them troubling trade gaps. To arrest this disastrous outflow of monies, European rulers were frantically trying to find out how to make this chinaware themselves. Nowhere was this search more intense than in Saxony in eastern Germany. Augustus the Strong, Elector of Saxony and King of Poland (who reigned from about 1693 to 1733), was obsessed with a passion for porcelain. He had heard of a young alchemist, Johann Frederick Bottger, who had worked for Frederick I of Prussia, having boasted that he could turn base metal into gold. Proving unsuccessful in this process, Bottger fled Berlin to Saxony (he was only about 20 years old at this time), where he was immediately imprisoned by Augustus. Augustus felt if Bottger could produce gold, he could also produce porcelain-or \white gold\ as it was called then. In 1709, aided by the discovery of deposits of Kaolin (china clay) nearby, Bottger informed Augustus that he had discovered the arcanum-the secret ingredients of porcelain. In 1710 Augustus decreed the founding of his manufactory and transferred Bottger and his helpers to the royal summer palace in Meissen. Augustus continued to hold them prisoners in the palace in order to protect the Arcanum. Meissen was able to protect this secret for years before workmen escaped with their knowledge of porcelain making, and wholesale copying of Meissen across the western world began. Bottger died in 1719, and a year later Johann Gregorius Horoldt began work at Meissen, which he took to a whole new level when he invented and manufactured many brilliant Meissen paint colors, as well as introducing many of the decorations typical of Meissen. In 1730, influenced greatly by the East Indian wares, Meissen created its first Red Dragon pattern. Augustus commissioned the first complete dinner service for his court dining room, thus giving this pattern its name of \court dragon\. This pattern remained in the sole preserve of the Saxon royal family until 1918, when the first world war ended Saxon royalty. By 1739, under Horoldt\'s direction, the mastering of cobalt blue underglaze color was such that the blue-white decorations (such as Blue Onion) could be manufactured. In 1730, Horoldt was joined by a 24 year old court sculptor, Johann Joachim Kaendler. Augustus, impressed by his work, had ordered Kaendler to join the Meissen manufactory. Augustus proved himself to have a good eye, for J.J. Kandler turned out to be, perhaps, the greatest porcelain modeler of all time. One of his greatest works, the Swan Service, was commissioned by the Saxon Prime Minister, Heinrich Count Von Bruhl, and was produced between 1735 and 1741. It consisted of over 2000 pieces, and was the most extensive service ever made. Many of these pieces will never be produced again, as the occupying forces used the molds for target practice during the Second World War. Nevertheless, Meissen continues to create a number of these extraordinary pieces today. Meissen is as famous for its figurines as for its table services. The members of the royal court used figurines for table decorations, much as people do today. Kaendler\'s talent is known to every connoisseur of porcelain today. In 1734, Kaendler produced the now famous pug dog. These dogs happened to be Prime Minister Count Bruhl\'s favorite dogs, and Kaendler captured their charm with great skill. Indeed, centuries later, the Duchess of Windsor collected these pieces. Kaendler also created the Italian Comedy, composed of a wide variety of humorous, sad and sympathetic characters. The most frequently depicted and most endearing character is Harlequin. The poses in which Kaendler imagined this one character alone would suffice to establish his greatness as a modeler. In 1753 Kaendler created 21 charmingly amusing Monkey Musicians, which composed the famous Monkey Orchestra. The story is that Kaendler modeled them after members of the Saxon court, though this cannot be documented. As every piece of Meissen is handpainted by Meissen artisans, each monkey has its own unique touch. The monkey band is one of the most famous of the Meissen figurine collections, and is extremely popular among today\'s collectors. Kaendler and Hoeroldt both died in 1775, a great loss for the manufactory and the world, but Meissen\'s creativity continued. In 1814 Heinrich Gootlob Kuehn became the managing director, and, three years after his arrival, developed the color chromium-oxide green, resulting in the much loved \Vine Leaves\ pattern being produced. Ten years later, in 1827, Kuehn developed the bright gold, which we take so much for granted today. Fast forward to1889, when Julius Conrad Hentschel began attending Meissen drawing school. His enormous talent did not go unnoticed, and by 1897, after much training, Hentschel became a Meissen designer. Hentschel designed during the Art Nouveau period, and this movement influenced the sculptor in the production of his most famous work, \Hentschel\'s Children\, fourteen porcelain children created between1904 - 1907. Hentschel captured the changing attitude toward children in the early 1900s. Children were no longer viewed as little adults, but rather as individuals in their own right. Figures of children became more true to life. Cuteness was replaced by everyday childhood realities. Hentschel died quite unexpectedly in 1907, leaving behind his detailed, loving observations of children\'s activities. The Second World War and its aftermath were difficult years for Meissen. Molds were destroyed and pieces were broken or disappeared. Meissen was instructed to produce wares representing the new meaning of life in a socialist society. This proved nearly impossible for the Meissen manufactory, as designers attempted to conform to these orders, and no one was interested in the objects created under such restrictions. During this period, Meissen had to confront the question as to whether or not it should remain a manufactory, where everything was made by hand and every piece would remain unique with no two pieces exactly alike, or become a factory, where machines mass produced the large numbers required of a factory. It was not until 1969, when the new Director, Karl Peterman, took the helm and returned the freedom to create to the designers, that the original course of Meissen as manufactory again reigned. Once again, Meissen was able to preserve the old traditions, and maintain the high standards of its workers and artists. In 1960 Professor Heinz Werner (porcelain designer and pattern painter), Ludwig Zepner (designer and modeler), and Peter Strang (sculpturer) became founding members of Meissen\'s new Artistic Development group. Professor Werner\'s best known creations are \Arabian Nights\, shown in the March, 2005 edition of Elle Décor, and \Blue Orchid\. Ludwig Zepner designed two new table services \Grosse Ausschnitt\ and \Grosse Ausschnitt Relief\ the most successful Meissen services of the second half of the 20th century. Peter Strang opened a new chapter in the history of Meissen sculpture. His work dominates contemporary Meissen sculpture. Much of Strang\'s work is based on the theater and on circus figures-his clown musicians are loved the world over. Sabine Wachs arrived at Meissen in 1986, and, between1993-1996, created the newest Meissen tableware. This service, called \Waves\ and \Waves Relief\, is shown in many patterns, one as beautiful as the next. In 2000, Meissen visited L. V. Harkness & Company in Lexington, Kentucky. They became enchanted with the Bluegrass region, its legends and its stories, and not long after their visit, created a new pattern, called \Bluegrass\ on the Waves form. This they dedicated to L. V. Harkness to commemorate their visit. It is understandable that we are very proud of such an incredible honor. L.V. Harkness is also proud to have Meissen create \Jockey\ Birds in honor of Kentucky\'s rich racing heritage. a very unique gift from the rolling hills of Kentucky. Meissen continues to be one of the finest porcelain manufactories in the world today, and we urge you to view Meissen on our website.$

Meissen Bluegrass Five Piece Place Setting (76933)
$1,894

$Meissen Bluegrass Dinner Plate The history of porcelain manufacturing in Europe begins in Meissen, Germany near Dresden, the cradle of European porcelain. Apart from the short-lived production of the Medici factory in Florence in the 1560\'s, Meissen was the first successful producer of hard-paste porcelain - or true porcelain - in Europe. Meissen\'s products, and those of its imitators, who came later, destroyed the supremacy of the oriental porcelain that had held a virtual monopoly in the world since Marco Polo opened the china trade in 1295. In the 17th and 18th centuries porcelain was viewed as a great luxury in Europe. Court society longed for everything rare, which porcelain was. It became the fashion for northern European rulers to install a porcelain room where every inch was covered by porcelain. Just as in our time, the ownership of such precious things demonstrated wealth, luxury, and culture. Before Meissen discovered how to produce it, porcelain was being imported from China by the East Indian Company (thus, the term chinaware). The European countries\' desire for porcelain was so great it was causing them troubling trade gaps. To arrest this disastrous outflow of monies, European rulers were frantically trying to find out how to make this chinaware themselves. Nowhere was this search more intense than in Saxony in eastern Germany. Augustus the Strong, Elector of Saxony and King of Poland (who reigned from about 1693 to 1733), was obsessed with a passion for porcelain. He had heard of a young alchemist, Johann Frederick Bottger, who had worked for Frederick I of Prussia, having boasted that he could turn base metal into gold. Proving unsuccessful in this process, Bottger fled Berlin to Saxony (he was only about 20 years old at this time), where he was immediately imprisoned by Augustus. Augustus felt if Bottger could produce gold, he could also produce porcelain-or \white gold\ as it was called then. In 1709, aided by the discovery of deposits of Kaolin (china clay) nearby, Bottger informed Augustus that he had discovered the arcanum-the secret ingredients of porcelain. In 1710 Augustus decreed the founding of his manufactory and transferred Bottger and his helpers to the royal summer palace in Meissen. Augustus continued to hold them prisoners in the palace in order to protect the Arcanum. Meissen was able to protect this secret for years before workmen escaped with their knowledge of porcelain making, and wholesale copying of Meissen across the western world began. Bottger died in 1719, and a year later Johann Gregorius Horoldt began work at Meissen, which he took to a whole new level when he invented and manufactured many brilliant Meissen paint colors, as well as introducing many of the decorations typical of Meissen. In 1730, influenced greatly by the East Indian wares, Meissen created its first Red Dragon pattern. Augustus commissioned the first complete dinner service for his court dining room, thus giving this pattern its name of \court dragon\. This pattern remained in the sole preserve of the Saxon royal family until 1918, when the first world war ended Saxon royalty. By 1739, under Horoldt\'s direction, the mastering of cobalt blue underglaze color was such that the blue-white decorations (such as Blue Onion) could be manufactured. In 1730, Horoldt was joined by a 24 year old court sculptor, Johann Joachim Kaendler. Augustus, impressed by his work, had ordered Kaendler to join the Meissen manufactory. Augustus proved himself to have a good eye, for J.J. Kandler turned out to be, perhaps, the greatest porcelain modeler of all time. One of his greatest works, the Swan Service, was commissioned by the Saxon Prime Minister, Heinrich Count Von Bruhl, and was produced between 1735 and 1741. It consisted of over 2000 pieces, and was the most extensive service ever made. Many of these pieces will never be produced again, as the occupying forces used the molds for target practice during the Second World War. Nevertheless, Meissen continues to create a number of these extraordinary pieces today. Meissen is as famous for its figurines as for its table services. The members of the royal court used figurines for table decorations, much as people do today. Kaendler\'s talent is known to every connoisseur of porcelain today. In 1734, Kaendler produced the now famous pug dog. These dogs happened to be Prime Minister Count Bruhl\'s favorite dogs, and Kaendler captured their charm with great skill. Indeed, centuries later, the Duchess of Windsor collected these pieces. Kaendler also created the Italian Comedy, composed of a wide variety of humorous, sad and sympathetic characters. The most frequently depicted and most endearing character is Harlequin. The poses in which Kaendler imagined this one character alone would suffice to establish his greatness as a modeler. In 1753 Kaendler created 21 charmingly amusing Monkey Musicians, which composed the famous Monkey Orchestra. The story is that Kaendler modeled them after members of the Saxon court, though this cannot be documented. As every piece of Meissen is handpainted by Meissen artisans, each monkey has its own unique touch. The monkey band is one of the most famous of the Meissen figurine collections, and is extremely popular among today\'s collectors. Kaendler and Hoeroldt both died in 1775, a great loss for the manufactory and the world, but Meissen\'s creativity continued. In 1814 Heinrich Gootlob Kuehn became the managing director, and, three years after his arrival, developed the color chromium-oxide green, resulting in the much loved \Vine Leaves\ pattern being produced. Ten years later, in 1827, Kuehn developed the bright gold, which we take so much for granted today. Fast forward to1889, when Julius Conrad Hentschel began attending Meissen drawing school. His enormous talent did not go unnoticed, and by 1897, after much training, Hentschel became a Meissen designer. Hentschel designed during the Art Nouveau period, and this movement influenced the sculptor in the production of his most famous work, \Hentschel\'s Children\, fourteen porcelain children created between1904 - 1907. Hentschel captured the changing attitude toward children in the early 1900s. Children were no longer viewed as little adults, but rather as individuals in their own right. Figures of children became more true to life. Cuteness was replaced by everyday childhood realities. Hentschel died quite unexpectedly in 1907, leaving behind his detailed, loving observations of children\'s activities. The Second World War and its aftermath were difficult years for Meissen. Molds were destroyed and pieces were broken or disappeared. Meissen was instructed to produce wares representing the new meaning of life in a socialist society. This proved nearly impossible for the Meissen manufactory, as designers attempted to conform to these orders, and no one was interested in the objects created under such restrictions. During this period, Meissen had to confront the question as to whether or not it should remain a manufactory, where everything was made by hand and every piece would remain unique with no two pieces exactly alike, or become a factory, where machines mass produced the large numbers required of a factory. It was not until 1969, when the new Director, Karl Peterman, took the helm and returned the freedom to create to the designers, that the original course of Meissen as manufactory again reigned. Once again, Meissen was able to preserve the old traditions, and maintain the high standards of its workers and artists. In 1960 Professor Heinz Werner (porcelain designer and pattern painter), Ludwig Zepner (designer and modeler), and Peter Strang (sculpturer) became founding members of Meissen\'s new Artistic Development group. Professor Werner\'s best known creations are \Arabian Nights\, shown in the March, 2005 edition of Elle Décor, and \Blue Orchid\. Ludwig Zepner designed two new table services \Grosse Ausschnitt\ and \Grosse Ausschnitt Relief\ the most successful Meissen services of the second half of the 20th century. Peter Strang opened a new chapter in the history of Meissen sculpture. His work dominates contemporary Meissen sculpture. Much of Strang\'s work is based on the theater and on circus figures-his clown musicians are loved the world over. Sabine Wachs arrived at Meissen in 1986, and, between1993-1996, created the newest Meissen tableware. This service, called \Waves\ and \Waves Relief\, is shown in many patterns, one as beautiful as the next. In 2000, Meissen visited L. V. Harkness & Company in Lexington, Kentucky. They became enchanted with the Bluegrass region, its legends and its stories, and not long after their visit, created a new pattern, called \Bluegrass\ on the Waves form. This they dedicated to L. V. Harkness to commemorate their visit. It is understandable that we are very proud of such an incredible honor. L.V. Harkness is also proud to have Meissen create \Jockey\ Birds in honor of Kentucky\'s rich racing heritage. a very unique gift from the rolling hills of Kentucky. Meissen continues to be one of the finest porcelain manufactories in the world today, and we urge you to view Meissen on our website.$

Meissen Bluegrass Dinner Plate (61493)
$667

$Meissen Bluegrass Salad Plate The history of porcelain manufacturing in Europe begins in Meissen, Germany near Dresden, the cradle of European porcelain. Apart from the short-lived production of the Medici factory in Florence in the 1560\'s, Meissen was the first successful producer of hard-paste porcelain - or true porcelain - in Europe. Meissen\'s products, and those of its imitators, who came later, destroyed the supremacy of the oriental porcelain that had held a virtual monopoly in the world since Marco Polo opened the china trade in 1295. In the 17th and 18th centuries porcelain was viewed as a great luxury in Europe. Court society longed for everything rare, which porcelain was. It became the fashion for northern European rulers to install a porcelain room where every inch was covered by porcelain. Just as in our time, the ownership of such precious things demonstrated wealth, luxury, and culture. Before Meissen discovered how to produce it, porcelain was being imported from China by the East Indian Company (thus, the term chinaware). The European countries\' desire for porcelain was so great it was causing them troubling trade gaps. To arrest this disastrous outflow of monies, European rulers were frantically trying to find out how to make this chinaware themselves. Nowhere was this search more intense than in Saxony in eastern Germany. Augustus the Strong, Elector of Saxony and King of Poland (who reigned from about 1693 to 1733), was obsessed with a passion for porcelain. He had heard of a young alchemist, Johann Frederick Bottger, who had worked for Frederick I of Prussia, having boasted that he could turn base metal into gold. Proving unsuccessful in this process, Bottger fled Berlin to Saxony (he was only about 20 years old at this time), where he was immediately imprisoned by Augustus. Augustus felt if Bottger could produce gold, he could also produce porcelain-or \white gold\ as it was called then. In 1709, aided by the discovery of deposits of Kaolin (china clay) nearby, Bottger informed Augustus that he had discovered the arcanum-the secret ingredients of porcelain. In 1710 Augustus decreed the founding of his manufactory and transferred Bottger and his helpers to the royal summer palace in Meissen. Augustus continued to hold them prisoners in the palace in order to protect the Arcanum. Meissen was able to protect this secret for years before workmen escaped with their knowledge of porcelain making, and wholesale copying of Meissen across the western world began. Bottger died in 1719, and a year later Johann Gregorius Horoldt began work at Meissen, which he took to a whole new level when he invented and manufactured many brilliant Meissen paint colors, as well as introducing many of the decorations typical of Meissen. In 1730, influenced greatly by the East Indian wares, Meissen created its first Red Dragon pattern. Augustus commissioned the first complete dinner service for his court dining room, thus giving this pattern its name of \court dragon\. This pattern remained in the sole preserve of the Saxon royal family until 1918, when the first world war ended Saxon royalty. By 1739, under Horoldt\'s direction, the mastering of cobalt blue underglaze color was such that the blue-white decorations (such as Blue Onion) could be manufactured. In 1730, Horoldt was joined by a 24 year old court sculptor, Johann Joachim Kaendler. Augustus, impressed by his work, had ordered Kaendler to join the Meissen manufactory. Augustus proved himself to have a good eye, for J.J. Kandler turned out to be, perhaps, the greatest porcelain modeler of all time. One of his greatest works, the Swan Service, was commissioned by the Saxon Prime Minister, Heinrich Count Von Bruhl, and was produced between 1735 and 1741. It consisted of over 2000 pieces, and was the most extensive service ever made. Many of these pieces will never be produced again, as the occupying forces used the molds for target practice during the Second World War. Nevertheless, Meissen continues to create a number of these extraordinary pieces today. Meissen is as famous for its figurines as for its table services. The members of the royal court used figurines for table decorations, much as people do today. Kaendler\'s talent is known to every connoisseur of porcelain today. In 1734, Kaendler produced the now famous pug dog. These dogs happened to be Prime Minister Count Bruhl\'s favorite dogs, and Kaendler captured their charm with great skill. Indeed, centuries later, the Duchess of Windsor collected these pieces. Kaendler also created the Italian Comedy, composed of a wide variety of humorous, sad and sympathetic characters. The most frequently depicted and most endearing character is Harlequin. The poses in which Kaendler imagined this one character alone would suffice to establish his greatness as a modeler. In 1753 Kaendler created 21 charmingly amusing Monkey Musicians, which composed the famous Monkey Orchestra. The story is that Kaendler modeled them after members of the Saxon court, though this cannot be documented. As every piece of Meissen is handpainted by Meissen artisans, each monkey has its own unique touch. The monkey band is one of the most famous of the Meissen figurine collections, and is extremely popular among today\'s collectors. Kaendler and Hoeroldt both died in 1775, a great loss for the manufactory and the world, but Meissen\'s creativity continued. In 1814 Heinrich Gootlob Kuehn became the managing director, and, three years after his arrival, developed the color chromium-oxide green, resulting in the much loved \Vine Leaves\ pattern being produced. Ten years later, in 1827, Kuehn developed the bright gold, which we take so much for granted today. Fast forward to1889, when Julius Conrad Hentschel began attending Meissen drawing school. His enormous talent did not go unnoticed, and by 1897, after much training, Hentschel became a Meissen designer. Hentschel designed during the Art Nouveau period, and this movement influenced the sculptor in the production of his most famous work, \Hentschel\'s Children\, fourteen porcelain children created between1904 - 1907. Hentschel captured the changing attitude toward children in the early 1900s. Children were no longer viewed as little adults, but rather as individuals in their own right. Figures of children became more true to life. Cuteness was replaced by everyday childhood realities. Hentschel died quite unexpectedly in 1907, leaving behind his detailed, loving observations of children\'s activities. The Second World War and its aftermath were difficult years for Meissen. Molds were destroyed and pieces were broken or disappeared. Meissen was instructed to produce wares representing the new meaning of life in a socialist society. This proved nearly impossible for the Meissen manufactory, as designers attempted to conform to these orders, and no one was interested in the objects created under such restrictions. During this period, Meissen had to confront the question as to whether or not it should remain a manufactory, where everything was made by hand and every piece would remain unique with no two pieces exactly alike, or become a factory, where machines mass produced the large numbers required of a factory. It was not until 1969, when the new Director, Karl Peterman, took the helm and returned the freedom to create to the designers, that the original course of Meissen as manufactory again reigned. Once again, Meissen was able to preserve the old traditions, and maintain the high standards of its workers and artists. In 1960 Professor Heinz Werner (porcelain designer and pattern painter), Ludwig Zepner (designer and modeler), and Peter Strang (sculpturer) became founding members of Meissen\'s new Artistic Development group. Professor Werner\'s best known creations are \Arabian Nights\, shown in the March, 2005 edition of Elle Décor, and \Blue Orchid\. Ludwig Zepner designed two new table services \Grosse Ausschnitt\ and \Grosse Ausschnitt Relief\ the most successful Meissen services of the second half of the 20th century. Peter Strang opened a new chapter in the history of Meissen sculpture. His work dominates contemporary Meissen sculpture. Much of Strang\'s work is based on the theater and on circus figures-his clown musicians are loved the world over. Sabine Wachs arrived at Meissen in 1986, and, between1993-1996, created the newest Meissen tableware. This service, called \Waves\ and \Waves Relief\, is shown in many patterns, one as beautiful as the next. In 2000, Meissen visited L. V. Harkness & Company in Lexington, Kentucky. They became enchanted with the Bluegrass region, its legends and its stories, and not long after their visit, created a new pattern, called \Bluegrass\ on the Waves form. This they dedicated to L. V. Harkness to commemorate their visit. It is understandable that we are very proud of such an incredible honor. L.V. Harkness is also proud to have Meissen create \Jockey\ Birds in honor of Kentucky\'s rich racing heritage. a very unique gift from the rolling hills of Kentucky. Meissen continues to be one of the finest porcelain manufactories in the world today, and we urge you to view Meissen on our website.$

Meissen Bluegrass Salad Plate (61491)
$456

$Meissen Bluegrass Bread & Butter Plate The history of porcelain manufacturing in Europe begins in Meissen, Germany near Dresden, the cradle of European porcelain. Apart from the short-lived production of the Medici factory in Florence in the 1560\'s, Meissen was the first successful producer of hard-paste porcelain - or true porcelain - in Europe. Meissen\'s products, and those of its imitators, who came later, destroyed the supremacy of the oriental porcelain that had held a virtual monopoly in the world since Marco Polo opened the china trade in 1295. In the 17th and 18th centuries porcelain was viewed as a great luxury in Europe. Court society longed for everything rare, which porcelain was. It became the fashion for northern European rulers to install a porcelain room where every inch was covered by porcelain. Just as in our time, the ownership of such precious things demonstrated wealth, luxury, and culture. Before Meissen discovered how to produce it, porcelain was being imported from China by the East Indian Company (thus, the term chinaware). The European countries\' desire for porcelain was so great it was causing them troubling trade gaps. To arrest this disastrous outflow of monies, European rulers were frantically trying to find out how to make this chinaware themselves. Nowhere was this search more intense than in Saxony in eastern Germany. Augustus the Strong, Elector of Saxony and King of Poland (who reigned from about 1693 to 1733), was obsessed with a passion for porcelain. He had heard of a young alchemist, Johann Frederick Bottger, who had worked for Frederick I of Prussia, having boasted that he could turn base metal into gold. Proving unsuccessful in this process, Bottger fled Berlin to Saxony (he was only about 20 years old at this time), where he was immediately imprisoned by Augustus. Augustus felt if Bottger could produce gold, he could also produce porcelain-or \white gold\ as it was called then. In 1709, aided by the discovery of deposits of Kaolin (china clay) nearby, Bottger informed Augustus that he had discovered the arcanum-the secret ingredients of porcelain. In 1710 Augustus decreed the founding of his manufactory and transferred Bottger and his helpers to the royal summer palace in Meissen. Augustus continued to hold them prisoners in the palace in order to protect the Arcanum. Meissen was able to protect this secret for years before workmen escaped with their knowledge of porcelain making, and wholesale copying of Meissen across the western world began. Bottger died in 1719, and a year later Johann Gregorius Horoldt began work at Meissen, which he took to a whole new level when he invented and manufactured many brilliant Meissen paint colors, as well as introducing many of the decorations typical of Meissen. In 1730, influenced greatly by the East Indian wares, Meissen created its first Red Dragon pattern. Augustus commissioned the first complete dinner service for his court dining room, thus giving this pattern its name of \court dragon\. This pattern remained in the sole preserve of the Saxon royal family until 1918, when the first world war ended Saxon royalty. By 1739, under Horoldt\'s direction, the mastering of cobalt blue underglaze color was such that the blue-white decorations (such as Blue Onion) could be manufactured. In 1730, Horoldt was joined by a 24 year old court sculptor, Johann Joachim Kaendler. Augustus, impressed by his work, had ordered Kaendler to join the Meissen manufactory. Augustus proved himself to have a good eye, for J.J. Kandler turned out to be, perhaps, the greatest porcelain modeler of all time. One of his greatest works, the Swan Service, was commissioned by the Saxon Prime Minister, Heinrich Count Von Bruhl, and was produced between 1735 and 1741. It consisted of over 2000 pieces, and was the most extensive service ever made. Many of these pieces will never be produced again, as the occupying forces used the molds for target practice during the Second World War. Nevertheless, Meissen continues to create a number of these extraordinary pieces today. Meissen is as famous for its figurines as for its table services. The members of the royal court used figurines for table decorations, much as people do today. Kaendler\'s talent is known to every connoisseur of porcelain today. In 1734, Kaendler produced the now famous pug dog. These dogs happened to be Prime Minister Count Bruhl\'s favorite dogs, and Kaendler captured their charm with great skill. Indeed, centuries later, the Duchess of Windsor collected these pieces. Kaendler also created the Italian Comedy, composed of a wide variety of humorous, sad and sympathetic characters. The most frequently depicted and most endearing character is Harlequin. The poses in which Kaendler imagined this one character alone would suffice to establish his greatness as a modeler. In 1753 Kaendler created 21 charmingly amusing Monkey Musicians, which composed the famous Monkey Orchestra. The story is that Kaendler modeled them after members of the Saxon court, though this cannot be documented. As every piece of Meissen is handpainted by Meissen artisans, each monkey has its own unique touch. The monkey band is one of the most famous of the Meissen figurine collections, and is extremely popular among today\'s collectors. Kaendler and Hoeroldt both died in 1775, a great loss for the manufactory and the world, but Meissen\'s creativity continued. In 1814 Heinrich Gootlob Kuehn became the managing director, and, three years after his arrival, developed the color chromium-oxide green, resulting in the much loved \Vine Leaves\ pattern being produced. Ten years later, in 1827, Kuehn developed the bright gold, which we take so much for granted today. Fast forward to1889, when Julius Conrad Hentschel began attending Meissen drawing school. His enormous talent did not go unnoticed, and by 1897, after much training, Hentschel became a Meissen designer. Hentschel designed during the Art Nouveau period, and this movement influenced the sculptor in the production of his most famous work, \Hentschel\'s Children\, fourteen porcelain children created between1904 - 1907. Hentschel captured the changing attitude toward children in the early 1900s. Children were no longer viewed as little adults, but rather as individuals in their own right. Figures of children became more true to life. Cuteness was replaced by everyday childhood realities. Hentschel died quite unexpectedly in 1907, leaving behind his detailed, loving observations of children\'s activities. The Second World War and its aftermath were difficult years for Meissen. Molds were destroyed and pieces were broken or disappeared. Meissen was instructed to produce wares representing the new meaning of life in a socialist society. This proved nearly impossible for the Meissen manufactory, as designers attempted to conform to these orders, and no one was interested in the objects created under such restrictions. During this period, Meissen had to confront the question as to whether or not it should remain a manufactory, where everything was made by hand and every piece would remain unique with no two pieces exactly alike, or become a factory, where machines mass produced the large numbers required of a factory. It was not until 1969, when the new Director, Karl Peterman, took the helm and returned the freedom to create to the designers, that the original course of Meissen as manufactory again reigned. Once again, Meissen was able to preserve the old traditions, and maintain the high standards of its workers and artists. In 1960 Professor Heinz Werner (porcelain designer and pattern painter), Ludwig Zepner (designer and modeler), and Peter Strang (sculpturer) became founding members of Meissen\'s new Artistic Development group. Professor Werner\'s best known creations are \Arabian Nights\, shown in the March, 2005 edition of Elle Décor, and \Blue Orchid\. Ludwig Zepner designed two new table services \Grosse Ausschnitt\ and \Grosse Ausschnitt Relief\ the most successful Meissen services of the second half of the 20th century. Peter Strang opened a new chapter in the history of Meissen sculpture. His work dominates contemporary Meissen sculpture. Much of Strang\'s work is based on the theater and on circus figures-his clown musicians are loved the world over. Sabine Wachs arrived at Meissen in 1986, and, between1993-1996, created the newest Meissen tableware. This service, called \Waves\ and \Waves Relief\, is shown in many patterns, one as beautiful as the next. In 2000, Meissen visited L. V. Harkness & Company in Lexington, Kentucky. They became enchanted with the Bluegrass region, its legends and its stories, and not long after their visit, created a new pattern, called \Bluegrass\ on the Waves form. This they dedicated to L. V. Harkness to commemorate their visit. It is understandable that we are very proud of such an incredible honor. L.V. Harkness is also proud to have Meissen create \Jockey\ Birds in honor of Kentucky\'s rich racing heritage. a very unique gift from the rolling hills of Kentucky. Meissen continues to be one of the finest porcelain manufactories in the world today, and we urge you to view Meissen on our website.$

Meissen Bluegrass Bread & Butter Plate (61490)
$372

$Meissen Bluegrass Cup & Saucer The history of porcelain manufacturing in Europe begins in Meissen, Germany near Dresden, the cradle of European porcelain. Apart from the short-lived production of the Medici factory in Florence in the 1560\'s, Meissen was the first successful producer of hard-paste porcelain - or true porcelain - in Europe. Meissen\'s products, and those of its imitators, who came later, destroyed the supremacy of the oriental porcelain that had held a virtual monopoly in the world since Marco Polo opened the china trade in 1295. In the 17th and 18th centuries porcelain was viewed as a great luxury in Europe. Court society longed for everything rare, which porcelain was. It became the fashion for northern European rulers to install a porcelain room where every inch was covered by porcelain. Just as in our time, the ownership of such precious things demonstrated wealth, luxury, and culture. Before Meissen discovered how to produce it, porcelain was being imported from China by the East Indian Company (thus, the term chinaware). The European countries\' desire for porcelain was so great it was causing them troubling trade gaps. To arrest this disastrous outflow of monies, European rulers were frantically trying to find out how to make this chinaware themselves. Nowhere was this search more intense than in Saxony in eastern Germany. Augustus the Strong, Elector of Saxony and King of Poland (who reigned from about 1693 to 1733), was obsessed with a passion for porcelain. He had heard of a young alchemist, Johann Frederick Bottger, who had worked for Frederick I of Prussia, having boasted that he could turn base metal into gold. Proving unsuccessful in this process, Bottger fled Berlin to Saxony (he was only about 20 years old at this time), where he was immediately imprisoned by Augustus. Augustus felt if Bottger could produce gold, he could also produce porcelain-or \white gold\ as it was called then. In 1709, aided by the discovery of deposits of Kaolin (china clay) nearby, Bottger informed Augustus that he had discovered the arcanum-the secret ingredients of porcelain. In 1710 Augustus decreed the founding of his manufactory and transferred Bottger and his helpers to the royal summer palace in Meissen. Augustus continued to hold them prisoners in the palace in order to protect the Arcanum. Meissen was able to protect this secret for years before workmen escaped with their knowledge of porcelain making, and wholesale copying of Meissen across the western world began. Bottger died in 1719, and a year later Johann Gregorius Horoldt began work at Meissen, which he took to a whole new level when he invented and manufactured many brilliant Meissen paint colors, as well as introducing many of the decorations typical of Meissen. In 1730, influenced greatly by the East Indian wares, Meissen created its first Red Dragon pattern. Augustus commissioned the first complete dinner service for his court dining room, thus giving this pattern its name of \court dragon\. This pattern remained in the sole preserve of the Saxon royal family until 1918, when the first world war ended Saxon royalty. By 1739, under Horoldt\'s direction, the mastering of cobalt blue underglaze color was such that the blue-white decorations (such as Blue Onion) could be manufactured. In 1730, Horoldt was joined by a 24 year old court sculptor, Johann Joachim Kaendler. Augustus, impressed by his work, had ordered Kaendler to join the Meissen manufactory. Augustus proved himself to have a good eye, for J.J. Kandler turned out to be, perhaps, the greatest porcelain modeler of all time. One of his greatest works, the Swan Service, was commissioned by the Saxon Prime Minister, Heinrich Count Von Bruhl, and was produced between 1735 and 1741. It consisted of over 2000 pieces, and was the most extensive service ever made. Many of these pieces will never be produced again, as the occupying forces used the molds for target practice during the Second World War. Nevertheless, Meissen continues to create a number of these extraordinary pieces today. Meissen is as famous for its figurines as for its table services. The members of the royal court used figurines for table decorations, much as people do today. Kaendler\'s talent is known to every connoisseur of porcelain today. In 1734, Kaendler produced the now famous pug dog. These dogs happened to be Prime Minister Count Bruhl\'s favorite dogs, and Kaendler captured their charm with great skill. Indeed, centuries later, the Duchess of Windsor collected these pieces. Kaendler also created the Italian Comedy, composed of a wide variety of humorous, sad and sympathetic characters. The most frequently depicted and most endearing character is Harlequin. The poses in which Kaendler imagined this one character alone would suffice to establish his greatness as a modeler. In 1753 Kaendler created 21 charmingly amusing Monkey Musicians, which composed the famous Monkey Orchestra. The story is that Kaendler modeled them after members of the Saxon court, though this cannot be documented. As every piece of Meissen is handpainted by Meissen artisans, each monkey has its own unique touch. The monkey band is one of the most famous of the Meissen figurine collections, and is extremely popular among today\'s collectors. Kaendler and Hoeroldt both died in 1775, a great loss for the manufactory and the world, but Meissen\'s creativity continued. In 1814 Heinrich Gootlob Kuehn became the managing director, and, three years after his arrival, developed the color chromium-oxide green, resulting in the much loved \Vine Leaves\ pattern being produced. Ten years later, in 1827, Kuehn developed the bright gold, which we take so much for granted today. Fast forward to1889, when Julius Conrad Hentschel began attending Meissen drawing school. His enormous talent did not go unnoticed, and by 1897, after much training, Hentschel became a Meissen designer. Hentschel designed during the Art Nouveau period, and this movement influenced the sculptor in the production of his most famous work, \Hentschel\'s Children\, fourteen porcelain children created between1904 - 1907. Hentschel captured the changing attitude toward children in the early 1900s. Children were no longer viewed as little adults, but rather as individuals in their own right. Figures of children became more true to life. Cuteness was replaced by everyday childhood realities. Hentschel died quite unexpectedly in 1907, leaving behind his detailed, loving observations of children\'s activities. The Second World War and its aftermath were difficult years for Meissen. Molds were destroyed and pieces were broken or disappeared. Meissen was instructed to produce wares representing the new meaning of life in a socialist society. This proved nearly impossible for the Meissen manufactory, as designers attempted to conform to these orders, and no one was interested in the objects created under such restrictions. During this period, Meissen had to confront the question as to whether or not it should remain a manufactory, where everything was made by hand and every piece would remain unique with no two pieces exactly alike, or become a factory, where machines mass produced the large numbers required of a factory. It was not until 1969, when the new Director, Karl Peterman, took the helm and returned the freedom to create to the designers, that the original course of Meissen as manufactory again reigned. Once again, Meissen was able to preserve the old traditions, and maintain the high standards of its workers and artists. In 1960 Professor Heinz Werner (porcelain designer and pattern painter), Ludwig Zepner (designer and modeler), and Peter Strang (sculpturer) became founding members of Meissen\'s new Artistic Development group. Professor Werner\'s best known creations are \Arabian Nights\, shown in the March, 2005 edition of Elle Décor, and \Blue Orchid\. Ludwig Zepner designed two new table services \Grosse Ausschnitt\ and \Grosse Ausschnitt Relief\ the most successful Meissen services of the second half of the 20th century. Peter Strang opened a new chapter in the history of Meissen sculpture. His work dominates contemporary Meissen sculpture. Much of Strang\'s work is based on the theater and on circus figures-his clown musicians are loved the world over. Sabine Wachs arrived at Meissen in 1986, and, between1993-1996, created the newest Meissen tableware. This service, called \Waves\ and \Waves Relief\, is shown in many patterns, one as beautiful as the next. In 2000, Meissen visited L. V. Harkness & Company in Lexington, Kentucky. They became enchanted with the Bluegrass region, its legends and its stories, and not long after their visit, created a new pattern, called \Bluegrass\ on the Waves form. This they dedicated to L. V. Harkness to commemorate their visit. It is understandable that we are very proud of such an incredible honor. L.V. Harkness is also proud to have Meissen create \Jockey\ Birds in honor of Kentucky\'s rich racing heritage. a very unique gift from the rolling hills of Kentucky. Meissen continues to be one of the finest porcelain manufactories in the world today, and we urge you to view Meissen on our website.$

Meissen Bluegrass Cup & Saucer (61494)
$399

$Meissen Bluegrass Leaf Dish The history of porcelain manufacturing in Europe begins in Meissen, Germany near Dresden, the cradle of European porcelain. Apart from the short-lived production of the Medici factory in Florence in the 1560\'s, Meissen was the first successful producer of hard-paste porcelain - or true porcelain - in Europe. Meissen\'s products, and those of its imitators, who came later, destroyed the supremacy of the oriental porcelain that had held a virtual monopoly in the world since Marco Polo opened the china trade in 1295. In the 17th and 18th centuries porcelain was viewed as a great luxury in Europe. Court society longed for everything rare, which porcelain was. It became the fashion for northern European rulers to install a porcelain room where every inch was covered by porcelain. Just as in our time, the ownership of such precious things demonstrated wealth, luxury, and culture. Before Meissen discovered how to produce it, porcelain was being imported from China by the East Indian Company (thus, the term chinaware). The European countries\' desire for porcelain was so great it was causing them troubling trade gaps. To arrest this disastrous outflow of monies, European rulers were frantically trying to find out how to make this chinaware themselves. Nowhere was this search more intense than in Saxony in eastern Germany. Augustus the Strong, Elector of Saxony and King of Poland (who reigned from about 1693 to 1733), was obsessed with a passion for porcelain. He had heard of a young alchemist, Johann Frederick Bottger, who had worked for Frederick I of Prussia, having boasted that he could turn base metal into gold. Proving unsuccessful in this process, Bottger fled Berlin to Saxony (he was only about 20 years old at this time), where he was immediately imprisoned by Augustus. Augustus felt if Bottger could produce gold, he could also produce porcelain-or \white gold\ as it was called then. In 1709, aided by the discovery of deposits of Kaolin (china clay) nearby, Bottger informed Augustus that he had discovered the arcanum-the secret ingredients of porcelain. In 1710 Augustus decreed the founding of his manufactory and transferred Bottger and his helpers to the royal summer palace in Meissen. Augustus continued to hold them prisoners in the palace in order to protect the Arcanum. Meissen was able to protect this secret for years before workmen escaped with their knowledge of porcelain making, and wholesale copying of Meissen across the western world began. Bottger died in 1719, and a year later Johann Gregorius Horoldt began work at Meissen, which he took to a whole new level when he invented and manufactured many brilliant Meissen paint colors, as well as introducing many of the decorations typical of Meissen. In 1730, influenced greatly by the East Indian wares, Meissen created its first Red Dragon pattern. Augustus commissioned the first complete dinner service for his court dining room, thus giving this pattern its name of \court dragon\. This pattern remained in the sole preserve of the Saxon royal family until 1918, when the first world war ended Saxon royalty. By 1739, under Horoldt\'s direction, the mastering of cobalt blue underglaze color was such that the blue-white decorations (such as Blue Onion) could be manufactured. In 1730, Horoldt was joined by a 24 year old court sculptor, Johann Joachim Kaendler. Augustus, impressed by his work, had ordered Kaendler to join the Meissen manufactory. Augustus proved himself to have a good eye, for J.J. Kandler turned out to be, perhaps, the greatest porcelain modeler of all time. One of his greatest works, the Swan Service, was commissioned by the Saxon Prime Minister, Heinrich Count Von Bruhl, and was produced between 1735 and 1741. It consisted of over 2000 pieces, and was the most extensive service ever made. Many of these pieces will never be produced again, as the occupying forces used the molds for target practice during the Second World War. Nevertheless, Meissen continues to create a number of these extraordinary pieces today. Meissen is as famous for its figurines as for its table services. The members of the royal court used figurines for table decorations, much as people do today. Kaendler\'s talent is known to every connoisseur of porcelain today. In 1734, Kaendler produced the now famous pug dog. These dogs happened to be Prime Minister Count Bruhl\'s favorite dogs, and Kaendler captured their charm with great skill. Indeed, centuries later, the Duchess of Windsor collected these pieces. Kaendler also created the Italian Comedy, composed of a wide variety of humorous, sad and sympathetic characters. The most frequently depicted and most endearing character is Harlequin. The poses in which Kaendler imagined this one character alone would suffice to establish his greatness as a modeler. In 1753 Kaendler created 21 charmingly amusing Monkey Musicians, which composed the famous Monkey Orchestra. The story is that Kaendler modeled them after members of the Saxon court, though this cannot be documented. As every piece of Meissen is handpainted by Meissen artisans, each monkey has its own unique touch. The monkey band is one of the most famous of the Meissen figurine collections, and is extremely popular among today\'s collectors. Kaendler and Hoeroldt both died in 1775, a great loss for the manufactory and the world, but Meissen\'s creativity continued. In 1814 Heinrich Gootlob Kuehn became the managing director, and, three years after his arrival, developed the color chromium-oxide green, resulting in the much loved \Vine Leaves\ pattern being produced. Ten years later, in 1827, Kuehn developed the bright gold, which we take so much for granted today. Fast forward to1889, when Julius Conrad Hentschel began attending Meissen drawing school. His enormous talent did not go unnoticed, and by 1897, after much training, Hentschel became a Meissen designer. Hentschel designed during the Art Nouveau period, and this movement influenced the sculptor in the production of his most famous work, \Hentschel\'s Children\, fourteen porcelain children created between1904 - 1907. Hentschel captured the changing attitude toward children in the early 1900s. Children were no longer viewed as little adults, but rather as individuals in their own right. Figures of children became more true to life. Cuteness was replaced by everyday childhood realities. Hentschel died quite unexpectedly in 1907, leaving behind his detailed, loving observations of children\'s activities. The Second World War and its aftermath were difficult years for Meissen. Molds were destroyed and pieces were broken or disappeared. Meissen was instructed to produce wares representing the new meaning of life in a socialist society. This proved nearly impossible for the Meissen manufactory, as designers attempted to conform to these orders, and no one was interested in the objects created under such restrictions. During this period, Meissen had to confront the question as to whether or not it should remain a manufactory, where everything was made by hand and every piece would remain unique with no two pieces exactly alike, or become a factory, where machines mass produced the large numbers required of a factory. It was not until 1969, when the new Director, Karl Peterman, took the helm and returned the freedom to create to the designers, that the original course of Meissen as manufactory again reigned. Once again, Meissen was able to preserve the old traditions, and maintain the high standards of its workers and artists. In 1960 Professor Heinz Werner (porcelain designer and pattern painter), Ludwig Zepner (designer and modeler), and Peter Strang (sculpturer) became founding members of Meissen\'s new Artistic Development group. Professor Werner\'s best known creations are \Arabian Nights\, shown in the March, 2005 edition of Elle Décor, and \Blue Orchid\. Ludwig Zepner designed two new table services \Grosse Ausschnitt\ and \Grosse Ausschnitt Relief\ the most successful Meissen services of the second half of the 20th century. Peter Strang opened a new chapter in the history of Meissen sculpture. His work dominates contemporary Meissen sculpture. Much of Strang\'s work is based on the theater and on circus figures-his clown musicians are loved the world over. Sabine Wachs arrived at Meissen in 1986, and, between1993-1996, created the newest Meissen tableware. This service, called \Waves\ and \Waves Relief\, is shown in many patterns, one as beautiful as the next. In 2000, Meissen visited L. V. Harkness & Company in Lexington, Kentucky. They became enchanted with the Bluegrass region, its legends and its stories, and not long after their visit, created a new pattern, called \Bluegrass\ on the Waves form. This they dedicated to L. V. Harkness to commemorate their visit. It is understandable that we are very proud of such an incredible honor. L.V. Harkness is also proud to have Meissen create \Jockey\ Birds in honor of Kentucky\'s rich racing heritage. a very unique gift from the rolling hills of Kentucky. Meissen continues to be one of the finest porcelain manufactories in the world today, and we urge you to view Meissen on our website.$

Meissen Bluegrass Leaf Dish (69071)
$686

$Meissen Bluegrass Coffee Pot The history of porcelain manufacturing in Europe begins in Meissen, Germany near Dresden, the cradle of European porcelain. Apart from the short-lived production of the Medici factory in Florence in the 1560\'s, Meissen was the first successful producer of hard-paste porcelain - or true porcelain - in Europe. Meissen\'s products, and those of its imitators, who came later, destroyed the supremacy of the oriental porcelain that had held a virtual monopoly in the world since Marco Polo opened the china trade in 1295. In the 17th and 18th centuries porcelain was viewed as a great luxury in Europe. Court society longed for everything rare, which porcelain was. It became the fashion for northern European rulers to install a porcelain room where every inch was covered by porcelain. Just as in our time, the ownership of such precious things demonstrated wealth, luxury, and culture. Before Meissen discovered how to produce it, porcelain was being imported from China by the East Indian Company (thus, the term chinaware). The European countries\' desire for porcelain was so great it was causing them troubling trade gaps. To arrest this disastrous outflow of monies, European rulers were frantically trying to find out how to make this chinaware themselves. Nowhere was this search more intense than in Saxony in eastern Germany. Augustus the Strong, Elector of Saxony and King of Poland (who reigned from about 1693 to 1733), was obsessed with a passion for porcelain. He had heard of a young alchemist, Johann Frederick Bottger, who had worked for Frederick I of Prussia, having boasted that he could turn base metal into gold. Proving unsuccessful in this process, Bottger fled Berlin to Saxony (he was only about 20 years old at this time), where he was immediately imprisoned by Augustus. Augustus felt if Bottger could produce gold, he could also produce porcelain-or \white gold\ as it was called then. In 1709, aided by the discovery of deposits of Kaolin (china clay) nearby, Bottger informed Augustus that he had discovered the arcanum-the secret ingredients of porcelain. In 1710 Augustus decreed the founding of his manufactory and transferred Bottger and his helpers to the royal summer palace in Meissen. Augustus continued to hold them prisoners in the palace in order to protect the Arcanum. Meissen was able to protect this secret for years before workmen escaped with their knowledge of porcelain making, and wholesale copying of Meissen across the western world began. Bottger died in 1719, and a year later Johann Gregorius Horoldt began work at Meissen, which he took to a whole new level when he invented and manufactured many brilliant Meissen paint colors, as well as introducing many of the decorations typical of Meissen. In 1730, influenced greatly by the East Indian wares, Meissen created its first Red Dragon pattern. Augustus commissioned the first complete dinner service for his court dining room, thus giving this pattern its name of \court dragon\. This pattern remained in the sole preserve of the Saxon royal family until 1918, when the first world war ended Saxon royalty. By 1739, under Horoldt\'s direction, the mastering of cobalt blue underglaze color was such that the blue-white decorations (such as Blue Onion) could be manufactured. In 1730, Horoldt was joined by a 24 year old court sculptor, Johann Joachim Kaendler. Augustus, impressed by his work, had ordered Kaendler to join the Meissen manufactory. Augustus proved himself to have a good eye, for J.J. Kandler turned out to be, perhaps, the greatest porcelain modeler of all time. One of his greatest works, the Swan Service, was commissioned by the Saxon Prime Minister, Heinrich Count Von Bruhl, and was produced between 1735 and 1741. It consisted of over 2000 pieces, and was the most extensive service ever made. Many of these pieces will never be produced again, as the occupying forces used the molds for target practice during the Second World War. Nevertheless, Meissen continues to create a number of these extraordinary pieces today. Meissen is as famous for its figurines as for its table services. The members of the royal court used figurines for table decorations, much as people do today. Kaendler\'s talent is known to every connoisseur of porcelain today. In 1734, Kaendler produced the now famous pug dog. These dogs happened to be Prime Minister Count Bruhl\'s favorite dogs, and Kaendler captured their charm with great skill. Indeed, centuries later, the Duchess of Windsor collected these pieces. Kaendler also created the Italian Comedy, composed of a wide variety of humorous, sad and sympathetic characters. The most frequently depicted and most endearing character is Harlequin. The poses in which Kaendler imagined this one character alone would suffice to establish his greatness as a modeler. In 1753 Kaendler created 21 charmingly amusing Monkey Musicians, which composed the famous Monkey Orchestra. The story is that Kaendler modeled them after members of the Saxon court, though this cannot be documented. As every piece of Meissen is handpainted by Meissen artisans, each monkey has its own unique touch. The monkey band is one of the most famous of the Meissen figurine collections, and is extremely popular among today\'s collectors. Kaendler and Hoeroldt both died in 1775, a great loss for the manufactory and the world, but Meissen\'s creativity continued. In 1814 Heinrich Gootlob Kuehn became the managing director, and, three years after his arrival, developed the color chromium-oxide green, resulting in the much loved \Vine Leaves\ pattern being produced. Ten years later, in 1827, Kuehn developed the bright gold, which we take so much for granted today. Fast forward to1889, when Julius Conrad Hentschel began attending Meissen drawing school. His enormous talent did not go unnoticed, and by 1897, after much training, Hentschel became a Meissen designer. Hentschel designed during the Art Nouveau period, and this movement influenced the sculptor in the production of his most famous work, \Hentschel\'s Children\, fourteen porcelain children created between1904 - 1907. Hentschel captured the changing attitude toward children in the early 1900s. Children were no longer viewed as little adults, but rather as individuals in their own right. Figures of children became more true to life. Cuteness was replaced by everyday childhood realities. Hentschel died quite unexpectedly in 1907, leaving behind his detailed, loving observations of children\'s activities. The Second World War and its aftermath were difficult years for Meissen. Molds were destroyed and pieces were broken or disappeared. Meissen was instructed to produce wares representing the new meaning of life in a socialist society. This proved nearly impossible for the Meissen manufactory, as designers attempted to conform to these orders, and no one was interested in the objects created under such restrictions. During this period, Meissen had to confront the question as to whether or not it should remain a manufactory, where everything was made by hand and every piece would remain unique with no two pieces exactly alike, or become a factory, where machines mass produced the large numbers required of a factory. It was not until 1969, when the new Director, Karl Peterman, took the helm and returned the freedom to create to the designers, that the original course of Meissen as manufactory again reigned. Once again, Meissen was able to preserve the old traditions, and maintain the high standards of its workers and artists. In 1960 Professor Heinz Werner (porcelain designer and pattern painter), Ludwig Zepner (designer and modeler), and Peter Strang (sculpturer) became founding members of Meissen\'s new Artistic Development group. Professor Werner\'s best known creations are \Arabian Nights\, shown in the March, 2005 edition of Elle Décor, and \Blue Orchid\. Ludwig Zepner designed two new table services \Grosse Ausschnitt\ and \Grosse Ausschnitt Relief\ the most successful Meissen services of the second half of the 20th century. Peter Strang opened a new chapter in the history of Meissen sculpture. His work dominates contemporary Meissen sculpture. Much of Strang\'s work is based on the theater and on circus figures-his clown musicians are loved the world over. Sabine Wachs arrived at Meissen in 1986, and, between1993-1996, created the newest Meissen tableware. This service, called \Waves\ and \Waves Relief\, is shown in many patterns, one as beautiful as the next. In 2000, Meissen visited L. V. Harkness & Company in Lexington, Kentucky. They became enchanted with the Bluegrass region, its legends and its stories, and not long after their visit, created a new pattern, called \Bluegrass\ on the Waves form. This they dedicated to L. V. Harkness to commemorate their visit. It is understandable that we are very proud of such an incredible honor. L.V. Harkness is also proud to have Meissen create \Jockey\ Birds in honor of Kentucky\'s rich racing heritage. a very unique gift from the rolling hills of Kentucky. Meissen continues to be one of the finest porcelain manufactories in the world today, and we urge you to view Meissen on our website.$

Meissen Bluegrass Coffee Pot (61495)
$1,055

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