Casual Dinnerware

Formal Dinnerware Formal Stemware Casual Dinnerware Casual Stemware Stemware Under $100 Flatware Barware Table Accessories Table Linens Spring Table Setting

Juliska Country Estate Saucer Nestle your teacup upon its idyllic saucer, close your eyes, and sip away... Featuring: Kite Fliers

Juliska Country Estate Saucer (111095)
$25

$Juliska Country Estate Charger An expanded view of the Main House reveals a rolling countryside studded with the estate\'s bucolic features on the horizon. Jump on a horse from our stable and gallop over hill and dale for a grand adventure. Whether you are descending from the heavens in a hot air balloon or racing through traffic after a busy day, this handsome charger beckons you to home, hearth, and the abundant fare that the countryside provides. Featuring: Main House, Rose Arbor, Apple Orchard, Stable, and Balloon$

Juliska Country Estate Charger (111099)
$89

$Juliska Country Estate Cereal Bowl Juliska\'s bowls serve as perfect vessels for the morning cereal or your proverbial cherries. Life is lovely when you have a bowlful. Featuring: Hen House, Tea Party Tent, Apple Orchard, and Rose Arbor$

Juliska Country Estate Cereal Bowl (111097)
$36

Juliska Country Estate Set/4 Party Plates An afternoon stroll about the grounds is a lovely interlude, indeed. Each plate in this collection of four highlights a different charming location that you may explore on your walk. Use them as a beautiful way to gather small household items like spare change and buttons, or to serve your favorite nibbles. Featuring: Apple Orchard, Rose Arbor, and Spring Gardening scenes.

Juliska Country Estate Set/4 Party Plates (111126)
$95

Juliska Country Estate Dessert The Conservatory is a serene place of growth and nurturing, reminding us to spend time with loved ones over al fresco summertime lunches. This scalloped plate pairs superbly with long conversations and perfumed salads plucked from the herb garden. Or for a solitary respite, spend an afternoon penning sonnets in the Reading Pavilion with a slice of spiced chocolate cake. Featuring: Conservatory, Reading Pavilion, Hen House, and Balloon

Juliska Country Estate Dessert (111092)
$38

Juliska Country Estate Tall Ginger Jar (111124)
$349

$Juliska Country Estate Dinner Welcome to the main house, where friends and family have gathered for generations and country food is raised to a point of fine art. A feast for the eyes and table, Juliska\'s stately dinner plate is a portrait of the inviting and bustling life you can explore on the estate and where you can always find something delectable bubbling away in the kitchen. Featuring: the Main House, Boathouse, and Apple Orchard.$

Juliska Country Estate Dinner (111091)
$45

$Juliska Country Estate Ramekin Profusely practical and painted with the estate\'s landscape on a minuscule scale, these ramekins are reminiscent of the fine portrait miniatures that lovers would carry in their waistcoats and skirt ruffles. These versatile and petite gems will quickly become among your most cherished items from the kitchen. Featuring: Kite Fliers, Main House, Boathouse, and Tea Party Tent$

Juliska Country Estate Ramekin (111100)
$24

Juliska Country Estate Side A gallivant across the fields on your favorite filly from our stables promotes rosy cheeks and stimulates the appetite. The side plate is the perfect companion to a slice of homemade bread, generously slathered with butter. Featuring: Stable and Golf Hut

Juliska Country Estate Side (111093)
$24

Juliska Country Estate Mug Embark upon every daily adventure with a piping hot cup of coffee, whether you go punting on the river or play a round of golf. Featuring: Boathouse, Golf Hut, and Stable

Juliska Country Estate Mug (111096)
$38

Richard Ginori Venezia Milk Jug (92295)
$120

$Juliska Country Estate Tea Cup We admit to a modicum of Prejudice but remain devotedly Prideful in our charming teacup that evokes positively romantic Senses and Sensibilities. Open the gate to an English garden à la Mansfield Park, sit in the shade with your cup of tea, and enjoy the verdure, for the most perfect of life\'s refreshments. Featuring: Tea Party Tent, Reading Pavilion, and Conservatory$

Juliska Country Estate Tea Cup (111094)
$32

$Meissen Blue Onion Vine 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 moulds 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, 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 Blue Onion Vine Dinner Plate (92969)
$181

$Meissen Blue Onion Vine Teacup and 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 moulds 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, 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 Blue Onion Vine Teacup and Saucer (92970)
$162

$Meissen Blue Onion Vine 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 moulds 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, 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 Blue Onion Vine Salad Plate (92968)
$119

$Meissen Blue Onion Vine 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 moulds 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, 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 Blue Onion Vine Bread & Butter Plate (92967)
$105

Meissen Blue Onion Dinner Plate (61888)
$210

Meissen Blue Onion Oval Platter (61879)
$466

Meissen Blue Onion Sauce Boat (61869)
$204

Meissen Waves White Five Piece Place Setting (61218)
$200

$Meissen Waves Relief Tureen 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 moulds 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, 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 Waves Relief Tureen (61222)
$501

Meissen Lobster Dinner Plate (83131)
$380

Meissen 2 Lobster Oval Platter (89776)
$1,250

Meissen Crab Bowl / Dish (89775)
$116

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