Footnotes

Paul Börner (1888-1970) was one of the most renowned sculptors of Meissen porcelain in the 20th century, but was also known for his porcelain painting, designs for services, vessels and decoration schemes. He also created the first functioning "Glockenspiel" in Meissen porcelain (three bells sold in these rooms in the Prof. J. Rafael Collection, 14 April 2022, lot 87).

His application letter is still preserved in the manufactory's archive:
"Da ich mich nunmehr weiter für die keramische Malerei beschäftigen möchte, so erlaube ich mir die ergebenste Bitte auszusprechen, mich für halbe Tage in der Abteilung für Malerei zu beschäftigen. Es würde mir von großem Werte sein, wenn ich mit meinen persönlichen Interessen für modernes Kunstgewerbe für moderne Staffagen arbeiten könnte." [As I would now like to continue working in ceramic painting, I take the liberty of making the most humble request to work in the painting department for half a day. It would be of great value to me if I could work with my personal interests in modern arts and crafts for modern decoration.] (quoted by Reiner Graff).

Börner was initially employed on a trial basis in 1910 and eventually fully as a painter in 1911 at the Meissen factory. Under the management of Paul Gesell, he soon became responsible for creating new designs for modern, figurative decorations. He was particularly involved in porcelain sculpture and produced a dining service with matching decoration. The parrot vase created in 1911 and the very finely modelled sculptures of the "Spanish Dancers" also caused a sensation and gained him recognition. At the beginning of the First World War, Börner's artistic career was temporarily interrupted, when he was called up for military service for two years, which subsequently greatly influenced his artistic development.

In 1918, the former commercial director of the manufactory, Max Adolf Pfeiffer, an enthusiastic supporter of Börner, was appointed managing director. With Pfeiffer's help, Börner quickly became one of the most important artists at the Meissen manufactory. On 1 September 1923, Börner took over a master studio, initially for five years, and from 1 October 1930 directorship of the painting and design department. In 1924, he was appointed professor by the Ministry of Finance.

Börner's most extensive project of the 1920s was the remodelling of the Nicolaikirche in Meissen into a war memorial to commemorate the victims of the First World War. It was the wish of the newly appointed committee to involve the Meissen manufactory in the process and to give the chosen artist full artistic freedom: "Wir wollen von vorneherein dem Künstler keine bindenden Vorschriften geben, nur möchte der kirchliche Charakter des Kirchleins gewahrt bleiben, auch besteht vielfach der Wunsch, dass die Namen aller Gefallenen angebracht werden." [We do not want to give the artist any binding instructions from the outset, but we would like to preserve the ecclesiastical character of the church, and there is also a widespread desire that the names of all the fallen be included.] (quoted in Caren Marusch-Krohn, Meissener Porzellan 1918-1933. Die Pfeifferzeit, 1993, p. 75). Three porcelain lotteries were held to raise the necessary funds. The lottery tickets issued for this purpose, which were produced in the form of medals made in Böttger stoneware in the Meissen manufactory, were also designed by Börner. After repeated financial delays, the memorial was finally dedicated on 26 May 1929.

Börner supplied the models for the full interior, including those for the largest porcelain groups produced to date, 2.1 meter tall figures of mothers and their children (see Marusch-Krohn, op cit., p. 77, no. 52). The faces of these figures bear a strong resemblance to the bust of the mourning woman in the present lot, which seems to be related to the project. The figures personify the misery, suffering and hardship of the war.