As an exclusive porcelain maker, at Nymphenburg every figurine, plate and cup is made and painted by hand. This goes for both historical and contemporary designs, such as this eleven-centimetre-long egg spoon Bon. Renowned industrial designer Konstantin Grcic designed it in 1999 to complement his Belle eggcup. With this attractive duo, the daily breakfast ritual becomes a culinary and aesthetic treat.

The yellow tip of Bon is the same sunny shade as the yolk of a freshly topped egg. Like every object that leaves the Manufactory’s master workshops, this eleven-centimetre-long egg spoon is made and painted by hand. Renowned German industrial designer Konstantin Grcic designed the small spoon to complement the colour-coordinated, matching counterpart – his Belle eggcup.

As an exclusive porcelain maker, at Nymphenburg every Rococo figurine, plate and cup is made and painted by hand. The same goes for a comparatively simple accessory such as this egg spoon Bon. With an ideal length of eleven centimetres, it is not among the largest pieces of the collection, but is certainly among the very useful. Thus the spoon, designed by Konstantin Grcic, is not only a stylish utensil for eating boiled eggs at breakfast, but also ideal for serving mustard, caviar or homemade pesto.

When an egg spoon is as practical and aesthetically pleasing as Konstantin Grcic’s Bon, we cannot of course restrict its use to eggs at breakfast time. Bon can also be of use for jams and marmalades, sprinkling fleur de sel or serving olives before dinner. Those who like a splash of colour can, in addition to the grey tip, choose a porcelain counterpart in pink, black, green or yellow.

What came first? The egg or the spoon? The egg of course. Bon! As we said, the spoon. The renowned Munich-based industrial designer Konstantin Grcic plays with childhood memories and turns the spoon into an eggcup. He affectionately calls it Belle. The practical and attractive cup is accompanied by a matching egg spoon called Bon. Its eleven-centimetre-long porcelain handle features a black-painted tip.

This gently curving shell by American designer Ted Muehling shows that a spoon can also look very different. Glazed on the inside and with matte bisque porcelain on the outside, the purist form of this eleven-centimetre-long shell spoon highlights the delicacy of the multifaceted material. And those who have concerns about using it need not worry: It is a bit like eating oysters.

It is a little as though you can really feel the slightly rough, brittle surface of a coral when you hold Ted Muehling’s delicate spoon in your hand. The haptic quality of the bisque porcelain is similar to that of the crustacean. The American designer deliberately underscores this impression by strongly orienting his work, also in formal terms, on a lifelike representation. Only the gleaming white and the glazed inner surface of the spoon bowl indicate that this is a 14-centimetre-long masterpiece of the Nymphenburg Manufactory.

Every era sets new standards. In fashion, tableware or the development of new techniques. However, it is particularly fascinating to analyse stylistic features in common everyday objects. This spoon is a wonderful example. As we can see from its fragile pearl handle, it is part of the elegant Pearl service that Dominikus Auliczek designed for Prince Elector Carl Theodor of Bavaria. The dodecagon on which the service is formally based is evident here in the spoon’s unusual shape.