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Adam Friedrich von Löwenfinck

(1714—1754)


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(b Kalisch, 1714; d Haguenau, 13 Nov 1754). German ceramics painter of Polish birth. He served his apprenticeship (1727-34) at the Meissen Porcelain Factory and subsequently worked there as a flower painter, but was forced to flee on 3 October 1736 (allegedly as an embezzler and debtor) and began work at the faience factory in Bayreuth. In 1737, in view of his possible extradition to a Saxon commissioner, the painter Joseph Philipp Dannhofer (fl 1737-44) helped him escape, probably to Ansbach; he may also have stayed briefly at Chantilly (see Chantilly, §2). On 15 October 1741 he was appointed Hoff-Emailler-Mahler at Fulda (e.g. tureen and cover, 1745; London, V&A). On 1 March 1746, together with two merchants, he established a faience factory in Höchst (see Höchst Ceramics Factory) and became its first director. In 1747 he attempted to bring his younger brother, Christian Wilhelm Löwenfinck, and five other painters from the Meissen factory to Höchst. Christian Wilhelm Löwenfinck (1720-53), however, remained there only until November 1748 and then escaped to Strasbourg. On 28 October 1747 Löwenfinck married the porcelain painter Maria Seraphia Susanna Magdalena Schick (1728-1805) in Fulda. Disgraced by the Elector because of his brother's escape, Löwenfinck left Höchst on 19 March 1749 for Koblenz where he probably attempted to start a faience factory in Schönbornlust. Shortly thereafter he went to the Haguenau branch of the Strasbourg Faience Factory, which belonged to the Hannong family. In 1751 he was appointed Director of the Haguenau factory. A number of irregularly marked works have been attributed to him, although the motifs, including chinoiseries, landscapes and animals (e.g. jug with hunting scene; Hamburg, Mus. Kst & Gew.), digress from the colourful flower paintings that he is known to have produced in Meissen. Löwenfinck is regarded as an outstanding porcelain- and faience painter, whose European as well as Chinese decorative schemes contributed considerably to ceramic decoration during the first half of the 18th century.

From The Grove Encyclopedia of Decorative Arts in Oxford Reference.

Subjects: Decorative Arts, Furniture, and Industrial Design.


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