Meissen Mark :: Crossed Swords - ArtiFact :: Free Encyclopedia of Everything Art, Antiques & Collectibles Meissen Mark :: Crossed Swords crossed swords Samples of actual meissen marks. You should remember that the marks are drawn by hand and that slight variations in the format occur and the mark only supports the source. The true test of an antique meissen piece is always the overall quality of the piece and the quality of the decoration. Dresden also used this mark and there are numerous marks that look similar, including modern day marks. It takes more than looking at the mark to identify Meissen or other high quality antique porcelains. Reference books: Meissen Porcelain by Otto Walcha 1981; The Book of Meissen by Robert E. Rontgen 1984 – there are several others but these two should get you started. Meissen Marks and Approximate Dates of Use: Early in the history of Meissen they were very careful when they marked their wares, the swords were placed at a wide angle to each other and were carefully drawn. As time went on, the marks were put on more freely and exact care was not taken with the placement of the marks.

So … the best way to know if what you have is a Meissen is to go to an expert if you are in doubt. If you know for sure that it isn’t a Meissen it may be one of the companies listed below. Get a magnifying glass and look at your mark closely…. is it crossed arrows or crossed swords? There is a difference. Meissen used several marks and there were several “reproduction” Meissen marks: When I say “reproduction marks” I mean reproduction from the 18th Century, maybe copy would be a better word. The canceled swords A canceled line often appears on a piece of Meissen either through or beside the crossed sword mark. This means the piece is supposed to be of inferior quality in either the painting or modeling. Some people say that Meissen used the canceled mark to increase turnover through price reduction. Others refer to the marks as a means of denoting a piece that has been given or sold to an outside decorator where it could be later painted (referred to as Outside Decorated). It can be very confusing for the collector. A piece given or sold to an outside decorator would be completely white in appearance. German Dresden mark, which is sometimes referred to as a Meissen mark.

This mark is now more correctly attributed to Helena Wolfsohn, a Dresden artist in the late 1880s! Mark: Crossed swords. There are several companies that used the crossed swords mark, I have listed those that I could find here but I don’t have photographs of the marks. So I recommend that you visit the library and look through several books on marks to find the one on your antique or collectible piece. I have given you a starting point with the pottery factory name. These are all European factories. Crossed Swords Marks, Crossed Arrows, Flambeaux Mark: * The mark most often mistaken for Meissen is from the rue Fontaine-au-Roy factory (aka Basse Courtille and La Courtille). It is in blue like the Meissen mark but is actually arrows instead of swords.

* Limbach and Volkstedt – Germany (sometimes had a star between the hilts similar to the Marcolini mark) * Weesp – Holland (had 3 dots near the blades) * La Courtille – Paris * Worcester – England (had a 6 looking character between the blades) * Kloster-Veilsdorf * Kalk Porcelain Crossed “L’s” Marks: * Vincennes factory used this mark and when it was taken over by Sevres they added very distinct date letters. **From a very old publication that I have only this page from, no name and not dated. Meissen incised marks, rather than underglaze, used on biscuit porcelain and white glazed porcelain: 1774-1814 — incised mark on biscuit porcelain. 1900 — incised mark on white glazed porcelain. 1814 — incised mark on biscuit porcelain. The Meissen blue crossed sword mark imitators.

Anspach (Germany – Nassau) Founded c1860 – Used From: 1860 onwards Arnstadt (Germany – Thuringia) Founded in 1790 – Used From: 1790 onwards – A small factory in production for a very short time. Berlin (Germany – Prussia) Founded in 1751 – By: Wilhelm Caspar Wegely Used From: 1751-1757 The Wegely factory (Manufacture de Porcelaine de Berlin) produced mainly figurines in the Meissen and Vienna style. Wegely was forced to close his factory in 1757 due to financial problems. Bristol (England – Gloucester) Founded in 1770 – By William Cookworthy – Richard Champion Used From: 1772-1782 William Cookworthy set up a porcelain factory at Plymouth in 1768, which he moved to Bristol around 1770. In 1772 he sold his patent to make porcelain to Richard Champion, who then sold it due to financial problems; to a consortium of Staffordshire potteries in 1782.

The factory in Bristol was closed not long after. Bristol (England – Gloucester) Founded in 1749 – By: William Miller and Benjamin Lund Used From: 1749-1752 Already operating as a glass making company in 1749 when they began manufacturing soft-paste porcelain. In 1752 William Lund sold the porcelain department to the Worcester factory. Buschbad (Germany) Founded in 1886 – By: L. Schleich Period: 1886 – ca. 1927 Produced mainly household porcelain, with some decorative wares. Factory closed in 1927. Caughley (England – Shropshire) Founded in 1755 – By: Gallimore – Thomas Turner Used From: 1772-1799 Thomas Turner, a porcelain-painter from Worcester married the daughter of Gallimore and introduced soft-paste porcelain to the production around 1772. In 1799 the factory was bought by John Rose, the owner of the Coalport factory. Rose transferred production and used factory as a warehouse. Factory closed in 1814.

Founded in 1859 – By: Joseph Schachtel Used From: ca. 1866 The Charlottenbrunn factory specialised in the production of porcelain pipes. WIth some general household porcelain and a few decorative wares. Factory closed in 1920. Founded in 1743 – By: Charles Gouyn – Nicholas Sprimont Used From: 1755-1758 The first English porcelain factory. Nicholas Sprimont, sole owner from 1749 put the factory up for sale in 1763 due to illness. In 1769 it was purchased by James Cox, who resold it in 1770 to William Duesbury, the owner of the Derby factory. Both companies merged afterwards (Chelsea-Derby period). Choisy-le-Roy (France – Seine) Founded in 1786 – By: M. Clément Used From: 1786 – 1886 In 1886, after an official complaint by Meissen: Choisy-le-Roy was forbidden to make further use of the crossed swords mark.

Derby (England – Derbyshire) Founded in 1756 – By Planché, John Heath and William Duesbury Used From: Last quarter of the 18th century The first factory was set up in 1745 by Thomas Briand and James Marchand, but lasted for only a short period. The second attempt, by William Duesbury in 1756, was more succesful: the Derby factory is still operational today. Its products were advertised using the slogan “Derby the second Dresden”, directly relating it to Meissen and high quality porcelain. In 1784 – Derby merged with the Chelsea factory. Dresden (Germany – Saxony) Founded at the end of the 19th century – By Meyers.

Used From: End of the 19th century This was not a porcelain factory but a company and eventually a selection of companies and decorators who decorated porcelain in the Meissen style Dresden (Germany – Saxony) Founded in 1894 – By Franziska Hirsch Used from: 1894 – 1896 In 1894 Franziska Hirsch founded a painting studio located in Struwestrasse 19 where porcelain was decorated in the Meissen style. In 1896 the Meissen factory submitted an official complaint against Hirsch for the imitation of their patented factory mark. The complaint was upheld and Hirsch was forbidden any further use of the mark. The Meissen Porcelain story began when Augustus II The Strong; Elector of Saxony and King of Poland (1670-1733), protected the goldsmith Johann Friedrich Böttger from the Prussians pursuing him. Meissen Castle The protection of this passionate collector of Chinese and Japanese porcelain, together with the encounter of Böttger with the scholar Tschirnhaus and the artistic influence of the designer J. J. Kaendler and the painter J. J.

Hoeroldt in the first half of the 18th century formed the unique group that led to, what is considered, the birth of european porcelain manufacture. The know how, experience and passion for the white gold known as porcelain has defined the character of Meissens porcelain production over the past centuries and still does today. Meissen was founded in 1710 in the gothic Albrechtburg castle. It was the first porcelain manufacturer in Europe. Originally situated in Dresden, in 1710 the factory was moved to the Albrechtsburg in Meissen, where it was more secure and easier to guard the secret of hard paste porcelain. Initial production was, for the most part, red Böttger stoneware and some of it was marked with incised Chinese characters. It wasn’t until 1713 that true porcelain began to take the place of this stoneware. In 1719, after the death of Böttger, Höroldt took charge of the factory. He was brought to Meissen from Vienna by Samuel Stölzel and created a rich palette of enamel colours to be used in decoration.

Höroldts work is known as the chinoiseries, and included typical scenes from the orient. In 1732 around 92 people worked for meissen, among them the famous modellers J.G. Kirchner and J.J. Kändler. On the 7th of April 1723 the Leipziger Post Zeitungen announced that the meissen wares would carry a mark to guard against forgeries. Forgeries had started appearing and were mostly minor damaged pieces, rejected by meissen, but decorated by home painters. Initially, the mark took the form of the letters KPM (Königliche Porzellan Manufaktur) in underglaze blue. From 1756-1773 meissen porcelain was marked with the crossed swords with a dot in between the crosspieces and the period was known as the dot-period. This period marked the transition towards the neo-classical style. When Höroldt and Kändler retired, Michel Victor Acier was appointed as master modeller. During Acier’s production period, mythological figures dominated.

The dot-period was followed by the Marcolini-period, named after Count Camillo Marcolini who became director of the company in 1774 and he held this position until 1814. The Meissen production from this period was marked in undeglaze blue with crossed swords and an asterix in between the cross-pieces. The Marcolini period ended in a crisis for the factory and its debts were enormously high. During the next ten years attempts were made to improve the business: technical innovations were introduced and wares were made in the popular taste ot the time. From that point things started to improve. In 1830 the name of the factory was changed from Königliche Manufaktur to Staatliche Porzellan Manufaktur and the Meissen factory is still operational and is producing the worlds’ most expensive porcelain.

Meissen China & Dinnerware | eBay Meissen China & Dinnerware Showing slide {CURRENT_SLIDE} of {TOTAL_SLIDES} - Shop by Main Color Go to previous slide - Shop by Main Color Go to next slide - Shop by Main Color Hot This Week Showing slide {CURRENT_SLIDE} of {TOTAL_SLIDES} - Hot This Week Go to previous slide - Hot This Week Go to next slide - Hot This Week Results in Meissen China & Dinnerware 1-25 of 3,999 I see no signs of wear. $11.95 Available for best offeror Best Offer ​ 2 beautiful 6" Meissen, First Quality, Crossed Swords, Blue Onion Plates. There are no chips, cracks or repairs. The color is clear and crisp. The crossed swords are on the front and back. Please consider free shipping when placing offer. $50.00 Available for best offeror Best Offer ​ Serving Platter/Trat 9" x 6 3/4" blue onion pattern. Excellent condition, no chips, cracks or crazing. $19.99 Here is an old Meissen Porcelain Trinket/Dresser Box.

Marked with the Meissen Crossed Swords. Made of First Quality. $16.50 Ending Today at 9:59PM PST3h ​ Pretty floral and gold Old Meissen cup and saucer. The saucer is 5.75" in diameter. Cup is 3.75" in diameter at top, 2" tall. $12.99 Vintage Rectangle Meissen Blue Onion Serving Bowl You are bidding on a Vintage Rectangle Meissen Blue Onion Serving Bowl. The bowl measures 11" in length, 8 5/8" in width and 2" in height. Please note the blue is more like a flo blue. Bowls weighs 1 3/4 lbs unpacked. Please see pics for more details. Thank you for your bids and if needed, please email with any questions. Winning bidder to prepay amount of bid plus actual shipping. No Handling charge. Shipping charge shown above was calculated Parcel Post from San Angelo, Texas to Portland, Maine.

$39.99 Available for best offeror Best Offer ​ German Tankards and Steins: Part 4—Porcelain | Milwaukee Art Museum Blog Milwaukee Art Museum Blog Posted on June 24, 2014 by Catherine Sawinski Meissen Porcelain Manufactory (Dresden, Germany, established 1710), Possibly Johann Gregorius Horoldt (German, 1696-1775), Tankard, ca. 1725. Glazed porcelain, polychrome overglaze decoration, gilding, and brass. Milwaukee Art Museum, Gift of the René von Schleinitz Foundation, M1962.1035. Photo: John R. Glembin Last month, we demystified tin-glazed earthenware while putting it into a historical context. This month, we’ll figure out the magic behind the material that tin-glazed earthenware attempted to fill in for: porcelain. Introduced to Europe from China in the fourteenth century, porcelain was the most elegant and fascinating of materials. It was pristine, white yet translucent, and although it was thin and light-weight, it was also amazingly strong and durable.

In other words, it was everything that tin-glazed earthenware and stoneware was not. As you might expect, porcelain imported to Europe were very expensive. To reflect its cost, and because it came in vessel shapes that were not used in the West, nobles would buy Chinese porcelain and then mount them in elaborate fittings made of precious metal . Porcelain was such a sought after material that it was called “White Gold.” The demand was so great that wealthy European collectors started a search to find the secret to making it. It wasn’t easy. True, hard-paste porcelain requires the inclusion of a special clay called kaolin . But the craftsmen attempting to make it did not know this, so their process was trial and error, using different types of clay in various proportions and fired at a number of temperatures. To further confuse the issue, there is another type of porcelain, which is called artificial or soft-paste porcelain. Soft-paste porcelains mimics real porcelain by using white clay mixed with ground glass to make it more transparent–it does not have kaolin.

Meissen Porcelain Manufactory (Dresden, Germany, established 1710), Possibly Johann Gregorius Horoldt (German, 1696-1775), Tankard, ca. 1725. Glazed porcelain, polychrome overglaze decoration, gilding, and brass. Milwaukee Art Museum, Gift of the René von Schleinitz Foundation, M1962.1035. Photo: John R. Glembin The first soft-paste was developed in Florence, Italy, under the patronage of the Medici. Some of these ceramics were made between 1575 and 1587, but after this point the technique was abandoned. Production of soft-paste porcelain began again around 1700 in France. In England, a variation of soft-paste porcelain is bone china, which was developed by Spode in 1799 when bone ash was added to the ceramic, making it more durable and attractive .

But our focus for this post is German drinking vessels, and it is to Germany that we return, and to one of the most important discoveries in European decorative arts history: how to make hard-paste porcelain. Kaolin, the special clay needed to make hard-paste porcelain, was finally discovered in Saxony in the late seventeenth century. Augustus the Strong , Elector of Saxony and King of Poland, was obsessed with porcelain and purchased large amounts of Chinese and Japanese examples for his palaces in Dresden. He even planned to have one castle, the Japanese Palace , dedicated to showing off his porcelain collections. Meissen Porcelain Manufactory (Dresden, Germany, established 1710), Possibly Johann Gregorius Horoldt (German, 1696-1775), Tankard, ca. 1725. Glazed porcelain, polychrome overglaze decoration, gilding, and brass. Milwaukee Art Museum, Gift of the René von Schleinitz Foundation, M1962.1035. Photo: Catherine Sawinski But he, like so many rulers in Europe, wanted to be able to make porcelain, not just buy it.

When Augustus took over the rule of Saxony in 1694, he promptly put a number of craftsmen to work on the problem. In 1709, J.F. Böttger, who originally was brought to the court as an alchemist (because gold gold was just as desirable as white gold), discovered the mixture required to make porcelain. In 1710, Augustus established the royal factory in Meissen. By 1713, the workers at Meissen were producing porcelain for his collection . Augustus tried to keep the process a secret, because it both raised his prestige among the rulers of Europe, and meant that he could sell works to other nobles and make some money from it. As a result, Meissen held a near monopoly on porcelain production in Europe for almost 40 years, although workers took the secrets to Vienna to found a factory in 1719. Then, in 1747, workers defected from Vienna and spread the knowledge throughout Germany. The basics of porcelain production are similar to those used with other ceramics: you can either mold a solid clay or slipcast a liquid clay. Then the object is fired at a low temperature to dry it out.

Once porcelain could be made, it was necessary to figure out how to decorate it. The artist Johann Gregorius Höroldt came to Meissen from the rival Vienna factory and developed a process for enameling porcelain in the early 1720’s. The ware can be decorated under the glaze (usually with cobalt blue) or painted with bright enamel colors over the first glaze, with a second firing to fix the enamel. Meissen Porcelain Manufactory (Dresden, Germany, established 1710), Possibly Johann Gregorius Horoldt (German, 1696-1775), Tankard, ca. 1725. Glazed porcelain, polychrome overglaze decoration, gilding, and brass. Milwaukee Art Museum, Gift of the René von Schleinitz Foundation, M1962.1035. Photo: Catherine Sawinski Porcelain can also be fired at high temperature without a glaze, which is called biscuit porcelain, or bisque . It was more expensive because imperfections could not be hidden under the decorative glaze.

In the earliest years of production, only the best porcelain for the royal family was decorated by the Meissen factory itself. Everything else, called a blank, was sold to hausmalers who decorated in their homes , just as was the case with tin-glazed earthenware. Two types of porcelain wares were made by the royal factory. Sculptural figurines in porcelain were used to replace temporary sugar sculptures made for banquet table decorations (using a luxury like sugar for pure decoration was the ultimate in decadence). Tableware for serving and eating were also made in porcelain. Meissen Porcelain Manufactory (Dresden, Germany, established 1710), Possibly Johann Gregorius Horoldt (German, 1696-1775), Tankard, ca. 1725. Glazed porcelain, polychrome overglaze decoration, gilding, and brass. Milwaukee Art Museum, Gift of the René von Schleinitz Foundation, M1962.1035. Photo: John R. Glembin We are lucky enough to have two early Meissen tankards in the collection. They exemplify two different trends in early eighteenth century porcelain decoration.

The first tankard (above images) has a finely-painted chinoiserie scene, which means that it takes its inspiration from Chinese art. A large group of people in Chinese dress and exotic animals take part in what looks like a formal ceremony of some sort, with musicians and a procession. The animals include monkeys and dogs that look suspiciously like dachshunds in sweaters. In the background is a harbor scene with buildings in the distance. The main scene is contained in a cartouche that is then surrounded by elaborate tendrels and flowers in gold. On either side of the main image are two smaller figures: on one side, a man smokes an opium pipe while a woman pours tea, and on the other a man interacts with exotic birds. We know that in 1728, a number of tankards decorated like this were painted at Meissen by Johann Gregor Höroldt, with luster designs in the manner of Johann Freidrich Böttger. They were made for Augustus the Strong to send to the Russian imperial family in exchange for animals for his live menagerie . Although there is no way to know which tankards were included in that gift, it’s clear that the design was popular.

Other examples of tankards decorated in the style are in the collection of the Museum of Fine Arts, Boston , and the V&A in London . Some of Horoldt’s original drawings still exist. On either sides of the handle are scattered motifs from nature: bugs and shells. These were very likely taken from Joris Hoefnagel’s Archetypa Studiaque Patris Georgii Hoefnagelii, 1592, which was republished in the early eighteenth century. Meissen works of this date were known to have used elements from these prints, which were a treasure-trove of designs. Our second Meissen tankard takes its theme from the classical past. The god of wine, Bacchus, sits upon a barrel wearing only grape vines and lifts a glass of wine in salute to the viewer. For a vessel used to drink an alcoholic beverage, this is very appropriate. Meissen Porcelain Manufactory (Dresden, Germany, established 1710), Tankard, 1725–35. Glazed porcelain, polychrome overglaze decoration, and silver.

Milwaukee Art Museum, Gift and Bequest of René von Schleinitz and the René von Schleinitz Foundation, M1995.1. Photo: John R. Glembin The other two scenes on this tankard, however, show the darker side of the bucholic rendering of the cheery god on the front. On one side, two men in eighteenth century dress fight violently. One beats the other with a stick, until his face is bloody. Two glasses, from the same set that Bacchus uses on the front, spill wine on the ground. The connection is clear: drinking can lead to violence. Meissen Porcelain Manufactory (Dresden, Germany, established 1710), Tankard, 1725–35. Glazed porcelain, polychrome overglaze decoration, and silver. Milwaukee Art Museum, Gift and Bequest of René von Schleinitz and the René von Schleinitz Foundation, M1995.1. Photo: John R.

Glembin The other scene shows the same two men, one standing up holding a wine jug and holding out a full glass, while the other lies on the ground, vomiting. Again, a graphic representation of what too much alcohol will do! Meissen Porcelain Manufactory (Dresden, Germany, established 1710), Tankard, 1725–35. Glazed porcelain, polychrome overglaze decoration, and silver. Milwaukee Art Museum, Gift and Bequest of René von Schleinitz and the René von Schleinitz Foundation, M1995.1. Photo: John R. Glembin Meissen Porcelain Manufactory (Dresden, Germany, established 1710), Tankard, 1725–35. Glazed porcelain, polychrome overglaze decoration, and silver. Milwaukee Art Museum, Gift and Bequest of René von Schleinitz and the René von Schleinitz Foundation, M1995.1. Photo: John R. Glembin Although this must be a warning against over imbibing, it is also a visual joke.

As far back as the seventeenth century, genre scenes showing drunken people were popular in northern Europe ( this one is particularly illustrative of that!). As a testament to its quality, Meissen still produces porcelain today. Its reputation means that the distinctive mark of crossed swords in blue glaze has been copied by other manufacturers. First used in 1720, it is one of the oldest trademarks in existence . Now that we’ve seen how trade and technology led to the production of porcelain at Meissen, next month we’ll take a leap ahead to the nineteenth century to begin a look at our rich holdings in Mettlach steins and what they mean to Germany. Stay tuned! Catherine Sawinski is the Assistant Curator of Earlier European Art. When not handling the day-to-day running of the European art department and the Museum’s Fine Arts Society, she researches the collection of Ancient and European artwork before 1900.

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 shoe design roses $14.99 antique dresden pair of urns dish $299.00 antique meissen 1square bowl 1round plate with gold trim white with pink roses $45.00 2 schumann arzberg baviere dieux meissen dresden flowers large bouillon cups $39.99 antique meissen plate painted in factory white scene early 1800 150 years old $550.00 collectible meissen style porcelain figurine doctor and his patient germany $149.00 antique dresden hand painted meissen style miniature cup and saucer $89.00 beautiful pair of antique 1900s german meissen or dresden lidded urns $1,038.50 antique dresden rose floral 1920s set pepper salt shakers mustard jar germany $44.99 vtg meissen claw footed cylinder vase floral gold dresden pattern excellent $55.99 19c germany meissen dresden porcelain signed f zeh 2 man girls music horn roses $2,395.00 collectible old porcelain figurinemeissen

 style ballerina girl $95.00 collectible old huge biscuit figurine dresden style lady with angel $180.00 antique dresden meissen klemm tea cup saucer quatrefoil lovers blue ca1890s $34.99 antique dresden meissen klemm tea cup saucer quatrefoil lovers yellow ca1890s $34.99 a beautiful rosenthal dresden meissen 13 octogonal platter $49.95 fine antique french dresden meissen figure ormolu tole boudoir lamp $95.00 vintage signed dresden alt meissen bisque relief figurine wall plaque 2 pcs $249.99 meissen porcelain pair of plates dresden scenes crossed swords $195.00 8 vintage pedestalled cups + saucers meissen floral dresden flowers gilt trim $49.99 large meissen dresden quadrefoil watteau bowl 11 inches excellent condition $250.00 12 meissen dresden quadrefoil watteau butter pat plates augustus rex mark rare $600.00 antique meissen dresden

 reticulated basket plate with floral $149.00 antique meissen porcellain gold leaf 11 plate w cross swords dresden germany $375.00 antique dresden meissen klemm lovers porcelain quatrefoil teapot set 3 pcs $94.00 5 richard klemm dresden germany cup saucer floralgold hidden meissen mk $24.99 4 richard klemm dresden germany cup saucer floralgold hidden meissen mk $24.99 antique dresden meissen hirsh early 1900s set of 2 quatrefoil plates 7 3 4 $35.99 3 richard klemm dresden germany cup saucer floralgold hidden meissen mk $24.99 2 richard klemm dresden germany cup saucer floralgold hidden meissen mk $24.99 stunning richard kleem dresden germany cup saucer floralgold hidden meissen mk $26.49 Hammersley Porcelain & China | eBay Hammersley Porcelain & China Showing slide {CURRENT_SLIDE} of {TOTAL_SLIDES} - Shop by Date Go to previous

 slide - Shop by Date Go to next slide - Shop by Date Results in Hammersley Porcelain & China 1-25 of 1,638 Hammersley Porcelain Cup Saucer Plate Trio.

Beautiful trio with gold lace design and handpainted flowers. Gold Lace with Handpainted Flowers. I am only passing on the costs associated with getting the item to you. £17.99 Ending Today at 7:11PM GMT10h 53m ​ Hammersley & Co Longton Stoke on Trent, England. China Tray/Dish Fluted Edge, Gold Trimmed. Floral Pattern. White Square Centre. 26cm x 21cm Good Condition, No Chips or Cracks £5.00 Ending Today at 6:32PM GMT10h 14m ​ VINTAGE HAMMERSLEY &CO CHINA CUP AND SAUCER, VICTORIAN VIOLETS PATTERN,1912-39 TINY NIBBLE IN FOOT OF SAUCER UNDERNEATH. IT MAY BE IN THGE MAKING THGOUGH RATHER THAN A NIBBLE. NO CHIPS/CRACKS. PATTERN GOOD. GOLD GIULD ON RIMS FADED HERE AND THERE . BASE STAMP DATES THEM AS SHOWN.

CUP IS 5.5 CMS HIGH AND 6.5 DIAMETER AT RIM. SAUCER IS 12 CMS ACROSS AND 2 CMS DEEP. £3.75 Ending Saturday at 10:48AM GMT1d 2h ​

Question: Meissen and Dresden of Germany, and Spode of England made high-quality?
Answer: Porcelain