Pottery and procelain, from early times down to the Philadelphia exhibition of 1876

Preface

HAT we have attempted has been to gather and present, in a way to be easily understood, the most important facts respecting "Pottery and Porcelain."

The study of this interesting subject has for more than a century been constant in Europe, and notably so during the last twenty-five years. A correct knowledge of it may now almost be called a liberal education. In the United States something has been done ; and the public mind is now asking, " What is it that makes ' pottery and porcelain ' so attractive to scholars, statesmen, women, and wits % "

In some degree we have answered this question. My part of the work has been to gather where I could such historical and technical facts and such illustrations as seemed most valuable, not only to the student but to the collector.

Many of these came from Europe, of course, where since Queen Anne's day the love of " old china " has at times risen to enthusiasm. But I have drawn from our own collections whenever it has been possible. In the preparation and engraving of the illustrations I hope the judicious critic, as well as the judicious public, will give due credit to the publishers and their artists, who, it seems to me, deserve great praise for having so well done what they have undertaken to do. Permit me to say a word for collectors.

Busy men who are making railways and coal-pits, under the pleasing

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illusion that they are developing the country more than the rest of us, are apt to think a man with any hobby except that of making money is wasting his time.

I would like to remind the reader that there are a few — many of them young men and young women too — who have money enough for all reasonable wants, and who do not care to waste time and life in getting more money, for which they have no special uses ; these persons find a perennial occupation in the study, the comparison, the purchasing, the collecting, of all that will illustrate their subject of study — their hobby. Around this subject of pottery and porcelain may be grouped, if one so pleases, all the habits, the wants, the inventions, the growths, of human society.

Some have yet a notion that the study of the politics and the fightings of man is most important ; others, how man came to be an Arminian or an Augustinian ; others, whether the sun is or is not gradually cooling down, and must finally cease to be, or whether, on the contrary, its flames are fed by the self-sacrificing stars.

Without detracting from their labors, I beg leave to say that my great hobby or central fact being the home, I hold that whatever makes that interesting, beautiful, or useful, is, or should be, interesting, beautiful, and useful, to all the world. I believe that what we call politics, or government, is only valuable in that it helps to create and to protect desirable homes ; all the rest — all the speeches, and processions, and crownings, and court-balls, and receptions, and dinners — are " leather and prunella."

Therefore I believe the " art of living " is first and foremost ; to know how to make this life comfortable and beautiful is all-important. Yet there is not a teacher of this great art in all the land, although " professors " are legion.

We may well ask, when we go to a house : " What have they there to tell us — what to show us? What have they collected to interest, to please, to instruct % " fjgj

PEE FACE.

If a person has only many bonds bearing coupons locked up in his safe — delightful as the fact may be to him — what pleasure or satisfaction is that to us ?

But if in that house are gathered all the interesting examples of any growth of Nature or of Art, what a pleasure to go there ! — they may be beetles, or butterflies, or stones, or shells, or silvers, or porcelains. I thank God that here is a man who can and does collect — one who does care for something which I too care for.

I wish, therefore, that every young man and young woman would get a liobbij early in life to which he or she can at any time devote some spare time and spare money. Ennui, the demon who afflicts the idle, is thus exorcised, and vice loses its charming power.

The collector, too, does not waste his money. There is not a collection of pictures or of minerals, of birds or of butterflies, of chinas or of books, of armor or of gems, of laces or of tapestries, if made with ordinary care and knowledge, but is worth more — often ten times or fifty times more — than it has cost. Even in a pecuniary way, therefore, the hobby is productive ; and the collection is not only as interesting, but it is as good as gold.

Our Collections. — Of collections of porcelain and pottery one must of course look for great exhibitions to the museums of Europe — such as the Kensington Museum, in London ; the Cluny, in Paris ; the Green Vaults, in Dresden ; the Oriental, at Ley den — and to private collections, such as the Rothschilds have made at London and at Paris, to Lady Schreiber's, and many more, in England.

What are accessible to us are the private collections of some of our OAvn people.

In New York, Mr. William C. Prime's collection is quite large, numbering some four thousand pieces. It is particularly devoted to the porcelains of Europe, and is an excellent collection. In it are some four or Ave complete dinner-services of old Dresden and Sevres porcelain, and many single pieces which rank high.

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Mr. S. P. Avery's collection of Oriental porcelains is the most complete we have, and is very rich in all the departments, especially the Chinese. His pieces of " celestial bine " number more than any other single collection in this country.

In the Loan Collection of the Metropolitan Museum of Art have been exhibited many examples from Mr. Prime's collection of porcelains, and about five hundred pieces of Oriental ware from Mr. Avery's, of nearly every distinctive style made in China and Japan in their best times.

The collection of Mr. Robert Hoe, Jr., is extremely choice in its admirable specimens of Oriental porcelain. Its egg-shells, crackles, and " celestial blues," are not to be excelled. In this collection are also examples of other styles, among them some of the best of old Dresden.

Mr. W. L. Andrews, of New York, has a very choice collection of Oriental porcelain, probably the best in the country, and containing the most of the " rose-back " and other " egg-shell."

Mr. Edward Cunningham, of Milton, Massachusetts, has many superb vases, some of them of great size, obtained by himself in China.

In Albany, Mr. J. Y. L. Pruyn has several complete dinner-services of Sevres porcelain, made for King Louis Philippe, one large service of Lowestoft, and many other individual and interesting specimens. Some of his examples of Sevres painting cannot be surpassed. He has also a small breakfast-service of " celestial blue," mounted in silver, which is excellent.

In Boston, Mr. G. W. Wales's collection is very varied and rich. He has excellent examples of Oriental and of European porcelains, and some perfect pieces of " celestial blue." Many of his best specimens are on loan in the Boston Art Museum.

Mrs. Anson Burlingame's collection of Chinese porcelain, at Cambridge, made while in China, is not large, but it has in it some of the best examples of the " green," the "celestial blue," the "rose,"

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and the " chrysanthemum." Some of these have been exhibited in the Loan Collection in Boston.

Dr. F. "W. Lewis and Mr. E. S. Clarke, of Philadelphia, have small and good collections, particularly devoted to Oriental porcelains.

Mr. W. S. Vaux and Dr. Lewis have made interesting exhibitions of the pottery of Greece and of Italy.

Mr. Joseph A. Clay, of Philadelphia, has a small and valuable collection of early Peruvian pottery, of the period before the Spanish Conquest. There is also a varied collection of South and North American Indian pottery in the Peabody Museum at Cambridge.

There may be, and probably are, in the United States many interesting collections of which I know nothing. I am told that Mr. Walters, of Baltimore, and Mr. Probasco, of Cincinnati, both have many very rare and valuable pieces ; but, I regret to say, I have had no opportunity of seeing them.

I do not doubt that the love for these fine works of man's hand will grow, that more and more small collections will be begun, and and that time will make them large and valuable and interesting.

A word of caution may be said to guard against imitations, which abound in Europe. I hear now that the Chinese and Japanese are learning, all too quickly, our Christian ways of counterfeiting, and are likely to better the instruction.

In conclusion, I implore our people not to fill their houses with imitations of old things — not even when the antiques are good is it desirable to encourage porcelain-painters in that sort of thing : when it comes to copying antiquity which is poor, it is inexcusable ; and when we reach the counterfeiting of the antique, it smacks of baseness.

For this sort of thing we, the public, are responsible. The painter paints what will sell.

~No gentleman or lady should consent to be shabby, or to help other people along that facile road. Let us keep our eyes open to any and all new work which is good, and especially to all which shows originality

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and courage on the part of modelers or of painters. Let us moderns admire the good in the Orientals, but let us worship our own gods, and dare and do for ourselves.

As far as practicable, I have in these pages pointed to examples, and have illustrated by such as are owned in this country ; so that many persons who wish to examine these interesting works of fictile art may see them for themselves.

The public collections are of course all open ; and I am glad to say that private collectors seem willing and ready to open their collections to students as much as possible. It is human and pleasant to wish that others should enjoy what we enjoy.

Marks, and especially upon porcelain, are not the most important thing ; but still they are important, and to many are most satisfactory. I have therefore included in this volume all the prominent ones ; so that the book will be found useful not only to the collector at home, but also to him who travels abroad.

The traveler who has a wise hobby gets a thousand times more pleasure from his travels than he who has no purpose except change of place and aimless movement. I suggest to the man who has none to try " pottery and porcelain."

As to prices of porcelain, etc., I have given those paid at actual sales whenever I could find them ; they will be of service to buyers and collectors, as something of a guide to what they may safely pay.

Books which may be referred to, and especially such as may be found in some of our public libraries, are given at the end of the volume.

I hope the public will buy this book, and also good pottery and porcelain.

a w. e.

Chapter I. Unglazed Pottery

The Pottery of the Stone Age. — The Lacustrine Dwellings. — Vases of the Bronze Age. — Peruvian Pottery. — Mexican Pottery. — Pottery of Western Mounds. — The Cesnola Collections.— Roman Pottery. — Saxon and Scandinavian Pottery. — The Pottery of Ancient Gaul — of Ancient Germany ........ page IS

Chapter II

TJNGLAZED POTTERY. THE GREEK VASE.

Palaces of Homer's Heroes. — The Ceramicus at Athens. — Egyptian Pottery. — Etruscan Tombs. — Good and Bad Vases. — Age of Vases. — Various Styles. — The Archaic Style. — The Fine Style. — Beauty a Birthright. — Aspasia's House. — Names of Vases. — The Cup of Arcesilaus. — Number of Extant Vases. — Their Uses. — The Greek Houses. — Greek Women. — Greek Men. — The Hetairai. — Etruscan Vases ...... 29

Chapter III. Tjnglazed Pottery At The Great Exhibition Of 1876

Unglazed Water-Colors. — Clay Sketches. — Japanese Clay Figures. — Spanish Pots. — Italian Peasant Pottery. — Egyptian. — Turkish. — Mexican. — Watcombc Terra-cotta. — Copenhagen Pottery 65>

CHAPTER IY.

GLAZED POTTERY. GRES DE FL ANDRE, FRENCH, GERMAN, ETC.

Definition of Glaze. — Varnish. — Enamel in Egypt, Babylon. — The Arabs and the Moors. — Gres de Flandre. — Cologne, Regensburg, Baireuth, Neuwied, Grenzhausen, Coblentz. — Holland. — Beauvais. — Flanders.— Apostle-Mugs.— Graybeards. — " Bellarmines." — "Pottle-Pots." — Modern Work. — Doulton Stone-ware. — Early German Stone-ware at Breslau. — Hirschvogel. — Nuremberg . . . .. . . . . . . .69

CON-TENTS.

Chapter V

GLAZED POTTERY. MOORISH, PERSIAN, RHODIAN, ETC., ETC.

The Arabs in Spain. — Cordova, Granada, Seville. — Enamel and Lustres. — Hispano-Moresque. — The Alhambra. — Tiles. — Vase of the Alhambra. — Malaga. — Majorca and Maiolica. — Rhodian Pottery. — Damascus Pottery. — Persian and Arabic Pottery. — Persian Porcelain. — Persian and Arabic Tiles ........ page 81

Chapter VI

GLAZED POTTERY. ITALIAN MAIOLICAS.

The Word Maiolica, or Majolica. — -Italian Renaissance. — The Dark Ages. — The Crusades. — The Mezza-Maiolica. — The True Maiolica. — Luca della Robbia. — Urbino. — Xanto and Fontana. — Raffaelesque Ware. — Mr. Fortnum. — Prices to-day. — Gubbio. — Maestro Giorgio. — The Lustres.— Castel-Durante. — Faenza. — The Sgraffito. — Forli, Venice, Castelli, etc. — Castellani. — Maiolicas at the Centennial ........ 95

Chapter VII

FRENCH FAIENCE. PALISSY WARE, AND H ENRI-DEUX WARE.

Bernard Palissy. — The Catholics and the Huguenots. — Saintes. — Figurines. — The Centennial Exhibition. — Prices. — Henri-Deux — where made — when. — Copies at Philadelphia. — List of Pieces extant, and Prices . . . . . . . . 123

Chapter VIII

FRENCH FAIENCE. NEVERS, ROUEN, BEAUVAIS, ETC.

Number of Manufactories. — Their Rise and Decline. — Nevers. — Prices. — Beauvais. — Rouen. — Moustiers. — Strasbourg, or Haguenau. — Marseilles. — Sarreguemines. — Sinceny, Nancy, Creil, Montpellier. — Paris. — Paris to-day. — Limoges. — Deck ..... 138

Chapter IX. Dutch Delft And English Earthen-ware

Delft, Number of Fabriques. — Haarlem. — Paste. — Great Painters. — Violins. — Tea-Services. — A Dutch Stable. — Broeck Dutch Tiles. — England. — Queen Elizabeth. — Pepys's Diary. — Brown Stone-ware. — The Tyg. — Lambeth Pottery. — Fulham Pottery. — Elers. — Elizabethan Pottery. — Stoke-upon-Trent. — Josiah Wedgwood. — Cheapness. — Queen's-ware. — Jasper-ware. — Flaxman. — Cameos. — Basalt. — The Portland Vase. — Prices . . . . . 153

CONTENTS.

Chapter X. The Porcelain Of China

Difficulties. — The Porcelain Tower at Nanking. — First Making of Porcelain. — Kaolin and Pe-tun-tse. — Marco Polo. — Portuguese Importation. — The City of King-te-chin. — Jacquemart's Groups. — Symbolic Decoration. — Inscriptions. — The Ming Period. — The Celestial Blue. — The Celadons. — Reticulated Cups. — The Crackle. — Various Periods. — Individualism. — Marks and Dates .......... page 175

CHAPTER XL

THE PORCELAIN OF JAPAN.

Corean Porcelain. — Katosiro-ouye-mon. — The Province of Idsoumi. — Styles prevailing in Japan. — Marks. — Japanese Blue. — Indian Porcelain. — Dutch East India Company. — Egg-shell and Crackle. — Mandarin China. — Kaga Ware. — Satsuma Ware. — Japanese Art. — The Philadelphia Exhibition ......... 210

Chapter XII. The Porcelains Of Central Europe Dresden, Berlin, Hochst, Etc

Dresden China, — Porcelain in Europe. — The Alchemists. — Augustus II. — Bottger. — Tschirnhaus. — Experiments. — Kaolin discovered. — Horoldt and Kandler. — Fine Art, or Decorative Art. — Lindenir. — Angelica Kauffmann. — Rococo- Work. — Collectors. — Marcolini. — Prices. — Marks. — Berlin. — The Seven Years' War. — Frederick the Great. — Prices. — Marks. — Vienna. — Stenzel. — Maria Theresa. — Lamprecht. — Prices. — Marks. — Hungary. — Hercnd. — Fischer. — Marks. — Hochst, or Mayence. — Ringler. — Marks. — Frankenthal, or Bavarian. — Carl Theodor. — Mclchior. — Prices. — Marks. — Fiirstenburg, or Brunswick. — Von Lang. — Prices. — Marks. — Nymphenburg. — Heintzmann and Lindemann. — Prices. — Marks. — Ludwigsburg, or Kronenburg. — Fulda. — Hesse-Cassel. — Switzerland. — Marks ..... 229

Chapter XIII. The Porcelain Of France St.-cloud, Chantilly, Sevres, Etc

Hard and Soft Porcelain. — Discovery of Kaolin. — St.-Cloud. — Pate Tcndre. — Marks. — Rouen. — Small Manufactories. — Marks of same. — Chantilly. — Sceaux-Penthievre. — Niderviller. — Marks. — Limoges. — Sevres. — Flower- Work. — Hard Porcelain, Pdte Dure. — The Grand Monarque. — Florid Taste. — Boucher. — Vieux Sevres. — Three Vases. — Greek Vases. — Prices at Bernal Sale. — Chemists. — Colors used. — Collections. — Art Museums. — Alexandre Brongniart. — Marks and Dates .......... 253

CONTENTS.

CHAPTER X1Y.

THE PORCELAINS OF SOUTHERN EUROPE ITALY, SPAIN, ETC.

Florentine, or Medicean. — Is it a True Porcelain? — The House of Medici. — Marks. — Doccia Porcelain.— The Marquis Ginori. — Beccheroni. — Present Work. — Marks. — Venice. — Vezzi. — Cozzi. — Marks. — Turin. — Gioanetti. — Marks. — Nove. — Terraglia. — Marks. — Capo di Monte. — Naples. — In Kelief. — Marks. — Spanish Porcelain. — Buen Retire — Marks. — Portugal, page 274

Chapter XV. The Porcelains Of England

Bow. — Chelsea. — Derby. — Chelsea-Derby. — Lowestoft. — Worcester. — Chamberlains. — Plymouth. — Bristol. — Pinxton. — Nantgaraw. — Swansea. — Turners. — Coalport. — Coalbrookdale. — Her culaneum. — Shelton, New Hall. — Rockingham. — Spode, Copeland. — Place. — Danicll. — Minton. ■ — Prices and Marks ......... 288

CHAPTER XYI.

THE PORCELAINS OF NORTHERN EUROPE.

Holland and Belgium. — Oriental Trade. — Weesp. — Marks. — Loosdrecht. — Amstel, Old and New. — Marks. — The Hague. — Marks. — Lille. — Mark. — Tournay. — Marks. — Sweden. — Gustavus Adolphus and Charles XII. — Marieberg. — Rorstrand. — Marks. — Denmark. — Copenhagen. — Marks. — Russia. — Peter the Great. — Catherine II. — Marks. — Tver. — Gardner. — Moscow. — Popoff. — Gulena. — Mark. — Poland. — Korzec . . . . . . .319