with the portrait of “Maria Josepha of Austria”, and with Allegories of Time, Fortune, and Glory, Chronos holding an oval medallion with the én grisaille painted moulded bust on a pink ground, flanked by the goddess Fortune on a winged globe, in the right hand a fluttering cloth bound with flowers, in the left hand a floral bouquet representing the flourishing of the realm, surmounted by Fama on towering clouds, blowing a trumpet, at the centre of the base the crowned coat-of-arms of the Prince-Electorate Saxony with Prince Elector's hat, below the attributes of the fine arts of painting, music, poetry, sculpture, and astronomy with compass, a small genius with palm branches, rock base with 3 palms, tufts of grass, flowering- and leafy branches, and mushrooms, porcelain polychromed and gilt, height: 37,5 cm, restorations,
Meissen, underglaze blue crossed swords with dot 1765, model by J. J. Kändler 1765, model no. A 80 documented in the archive, this group is a unique form (Ru)

The “Glorification of the Prince-Electorate Saxony” is a truly exceptional figural group as it represents the portrait of Maria Josepha of Austria, the wife of August III., (Dresden 17.10.1696–5.10.1763), King of Poland 1733, as Friedrich August II. Prince-Elector of Saxony. In light of the fact that a similar group had been formed in 1765 featuring a portrait of August III., it had, for longest time, been assumed that the present portrait represented the eight child of Maria Josepha and August, Franz Xaver, (Dresden 1730–1806 Zabelitz), Prince of Saxony and Poland, Count von der Lausitz and 1763–1768 Regent of the Prince-Electorate of Saxony, and that the figural group had originally been presented to him on the occasion of his name day on 3.12.1765. However, research has shown that this long-held opinion is in fact in error. The delicately painted portrait with the elegant neckline on a pink ground does not depict Franx Xaver, but rather his mother Maria Josepha of Austria.
Maria Josepha Benedikta Antonia Theresia Xaveria Philippine of Austria, (Vienna 8.12.1699–17.11.1757 Dresden), was a Habsburg Archduchess of Austria, the oldest daughter of Emperor Josef I. and Princess Amalie Wilhelmine von Braunschweig-Lüneburg. In 1733, she married Friedrich August II. resp. III. and became Electress of Saxony and Queen of Poland. She gave birth to 15 children and was personally involved in the education of the 11 who survived infancy. The coat-of-arms shows a variation of the coat-of-arms of the Prince-Electorate of Saxony in use during the 17th century.

The heraldic escutcheon: main coat-of-arms, quartered: field 1: Duchy Saxony; nine divisions black and gold, surmounted by green wreath of rhombs. field 2: County of Thuringia; gilt crowned and armed lion on blue, seven division silver and red. field 3: Duchy Jülich; black rampant lion on gold, armed silver. field 4: Duchy Kleve: silver shield with gilt "Gleven" edge, in red. heart-shaped shield: black and silver field with two red crossed swords, symbol of the Arch-Marshal (Archimareschallus), awarded to the Prince-Elector of Saxony 1356 in conjunction with the Golden Bull. Surmounted by the Prince-Elector's hat HRR.
Lit.: Die Arbeitsberichte des Meissener Porzellanmodellleurs Johann Joachim Kaendler 1706–1775, Leipzig 2002, p. 152–153.
Lit.: Berling, Das Meissener Porzellan und seine Geschichte, ill. No. 134, p. 67;
Lit.: Auction House Bergmann, Meissener Figuren, model no A1-Z99, Erlangen 2014, p. 145, cat. no. 276;
Johann Joachim Kändler, (Fischbach near Dresden 1706–1775 Meissen), from ca. 1723, apprenticed to the sculptor Benjamin Thomae in Dresden, where his skill leads to his employ in the sculptural decoration of the Green Vault. 1730 appointed court sculptor by August II. Prince-Elector of Saxony and King of Poland, 1731–1775 modeller at the Porcelain Manufactory Meissen, 1733 master modeller, 1740 head of the sculpture dept., 1741 arcanist, 1749 court commissar, 1750 in Paris. In Dresden, he was involved in the design of the Porcelain chateau desired by the king, the Japanese Palais. He creates a number of very dynamic animal sculptures, overcoming a number of technical difficulties. He investigates the development of European table- and dinner culture, e.g. in form of the "Swan Service" and works on a number of monumental sculptures, such as the larger-than-life equestrian statue of August III., which cannot, however, be carried out in the porcelain medium. After 44 years of creative activity, he is considered to be the artist mainly responsible for the typical formal vocabulary of European porcelain. His name became synonymous with independent European porcelain art.
Lit. cf.: Keramos, issue 208, April 2010, Samuel Wittwer, p.60 "... for as early as 1774, Kändler had created a mountain of the Muses for Count Brühl, with Apollo, Pegasus, the Muses and a figure of August III..
Lit. cf.: VEB Staatliche Porzellan-Manufaktur Meissen, Meißner Porzellan von 1710 bis zur Gegenwart, exhibition catalogue MAK Vienna;