Fig. 137.—Lamp-stand.
Höchst, a town situated on the Main, and now in Nassau, belonged to the Electors of Mainz. A manufactory was founded in 1746 by J. C. Göltz and J. F. Clarus, two merchants of Frankfort, assisted by A. von Löwenfinck, but they were unsuccessful, and called in Ringler, of Vienna, who had escaped from the manufactory. During the Electorate of Johann Friedrich Karl, Archbishop of Mainz, their porcelain ranked among the first in Europe. About 1760 the celebrated modeller Melchior was engaged, and some very elegant statuettes and designs for vases, &c., were produced. Melchior left the manufactory about 1785, and his successor, Ries, was not so skilful, and all his figures having disproportionate heads, the so-called “thick-head” period commenced. ChristianGottlieb Kuntze was another celebrated worker in thisfabrique. On the invasion of the French under General Custine in 1794, all the materials were sold by auction.
Fig. 138.—Tray and Sucrier.
Frankenthal, in Bavaria. Established in 1754, by Paul Hannong, who, having discovered the secret of hard porcelain, offered it to the royal manufactory at Sèvres, but the authorities not agreeing as to the price, the offer was declined, and they commenced persecuting him—for in that year a decree forbade the making of translucent ware in France except at Sèvres—and Hannong was compelled to go to Frankenthal, leaving his fayence manufactory at Strassburg in charge of his sons. In 1761 the factory was purchased by the Elector Carl Theodore, and itattained great celebrity, which it maintained until he became Elector of Bavaria, in 1777. It then declined, and all the stock and utensils were sold in 1800 and removed to Greinstadt. The following chronogram denotes the year 1775:—
VarIantIbVs · fLosCVLIs · DIVersI · CoLores ·fabrICæ · sVb · reVIVIsCentIs · soLIs · hVIVs ·raDIIs · eXVLtantIs ·In·frankenthaL·✴
It occurs on a porcelain plate, Fig. 139, having in the centre the initials of Carl Theodore, interlaced and crowned, within a gold star of flaming rays; radiating from this are thirty divisions, and on the border thirty more, all numbered and painted with small bouquets,en camaïeu, of all the various shades of colour employed in the manufactory.
Fig. 139.—Plate.
Fig. 140.—A Déjeuner Service.
Neudeck, on the Au, andNymphenburg. This factory was established in 1747, by a potter named Niedermayer. Graf von Hainshausen became its patron in 1754, and in 1756 he sent for Ringler, who organised the establishment, and it was then placed under the protection of the Elector Maximilian Joseph. On the death of his successor, Carl Theodore, in 1799, the Frankenthal manufactory was abandoned,and transferred to Nymphenburg, which is still a royal establishment, and well supported. The pieces are manufactured in white at Nymphenburg, but chiefly decorated at Munich and elsewhere; that is the reason why on the same piece the Nymphenburg mark is frequently found impressed, with the mark of some other factory painted in colour.
Fig. 141.—Tankard.
Fig. 141, moulded in relief and painted with flowers; marks, the coat of Bavaria, 1765 in gold, two leaves and I. A. H. in green; height 7¼ in.
Fig. 142, painted in colours; marks, the coat of arms of Bavaria, and A incised; diameter 3¼ in. and 5¼ in.
Fig. 142.—Cup and Saucer.
Fig. 143.—Cup and Saucer.
Anspach, a town which belonged to the Margravesof Anspach and is now in Bavaria. There was a factory here about 1760.
Fig. 143 is painted with figures in colour; signed “Schelk, pinx.”; mark A in blue; diameter 3 ins. and 5¼ in.
Bayreuthwas under the same rulers as Anspach, and is now also in Bavaria. There was a manufactory here in the 18th century, but little appears to be known respecting it.
Fig. 144.—Cup.
Fig. 144 is painted in colours, and gilt inside; mark, “Metzsch 1748 Bayr”; diameter 2¾ in.
Kelsterbach, in Hesse. A manufactory for pottery was founded here about 1758, where laterporcelain was also made. The works only lasted about sixteen years.
Fig. 145.—Harlequin.
Fig. 145 is painted in colours; mark, H. D. under a crown, in blue; height 6¾ in.
Thuringia.In the middle of the 18th century a number of small porcelain factories sprang up in this district. It is said that they owe their origin to a chemist named Macheleid, who discovered by accident a deposit of kaolin, and obtained permission from the Prince of Schwarzburg to establish a factory atSitzenroda, which in 1762 was removed to Volkstedt.
Fig. 146.—Cup and Saucer.Diam. 2¾ in. and 5¾ in.
Closter, orKloster,Veilsdorf, orVolkstedt. The porcelain manufactory of Sitzenroda was transferred to Volkstedt, in Thuringia, in 1762, where it was farmed by a merchant named Nonne, of Erfurt, who greatly enlarged and improved the works. About the year 1770 it was carried on by Greiner. In 1795 more than 120 workmen were employed.
Fig. 147.—Teapot.
Fig. 148.—Tray.
Fig. 148 is moulded in rococo style, and painted with flowers; mark, shield of Saxe-Meiningen between C. V.; length 12½ in.
Rudolstadt.The factory at Volkstedt was afterwards removed to Rudolstadt, near Jena. Gotthelf Greiner had the direction of several of the other Thuringian manufactories; he died in 1797.
Fig. 149.—Milk-pot and Cup and Saucer.
Fulda, in Hesse. A factory was established here about 1763 by Arnandus, Prince-Bishop of Fulda, for the manufacture of porcelain. The best artists were employed, and many grand vases, figures, and services of a fine white paste and handsomely decorated were produced.
Fig. 150.—A Peasant.
Fig. 151.—A Peasant.
Fig. 152.—Cup and Saucer.
Fig. 153.—Coffee-pot.
Fürstenberg.In Brunswick, established in 1750, by the help of Bengraf, who came from Höchst; he died the same year, and Baron von Lang, a distinguished chemist, undertook the direction of the works, under the patronage of Carl, Duke of Brunswick. The manufactory was carried on by the Government up to the middle of last century.
Fig. 154, a bust of Augusta, Duchess of Brunswick, grand-daughter of King George II., is in white biscuit; mark, F in blue, a running horse, and W; height 20½ in.
Fig. 154.—Bust.
Fig. 155—Medallions.In white biscuit.
Fig. 155. Portraits of O. D. Beckmann and A. L. Schlötzer; marked with a running horse and F; length 2⅞ in.
Ludwigsburg, in Würtemberg. Established by J. J. Ringler in 1758, under the patronage of Carl Eugene, the reigning duke. It was celebrated for the excellence of its productions and the fine paintings on its vases and services, as well as for its excellent groups. This factory ceased in 1824.
Fig. 156.—Chocolate-pot.
Fig. 156 is painted with figures of Hope and Musicin panels; mark, double C under a crown, in blue; height 5¼ in.
Fig. 157.—Coffee-pot.
Fig. 157 is painted in lakecamaïeu, with a landscape and buildings after Claude, and has a gilt, arabesque and scroll border.
Regensburg, orRatisbon. This factory was established about 1760.
Fig. 158.—Cup and Saucer.
Grossbreitenbach.A factory was established here about 1770 by Greiner. The demand for his porcelain was so great, that not being able to enlarge his works at Limbach, he started this as well as Veilsdorf and Volkstedt.
Fig. 159.—Milk-pot.
Fig. 159 is grey blue ware in imitation of Wedgwood,with classical group in white relief, bearing a wreath with the cypher F. G. C. under a crown; marks, “Breitenbach et Limbach,” and “Gruber”; height 4 in.
LIMBACH
Fig. 160.—Sucrier, Cover, and Stand.
Limbach, Saxe-Meiningen. This manufactory was also under the direction of Gotthelf Greiner. It was established about 1762.
Fig. 160 is painted with flowers; mark, two letters L crossed; diameters 4⅞ and 8¼ in.
Gera.A manufactory was founded here about 1780.
Fig. 161.—Sugar Basin.
Fig. 161 is painted with festoons of pink flowers; mark, G in blue; height 6¼ in.
Fig. 162.—Cup, Cover, and Saucer.
Fig. 162 is grained in imitation of oak, with medallions painted with views, “Schloss aus dem Kohlenhofe” on cup, and “Lauchstaedt vor dem Brunnen” on saucer; signed, “Rühlig Fec”; mark, G in blue; diameters 3 and 5¼ in.
Baden-Baden.A porcelain manufactory was established in 1753 by the widow Sperl and workmen from Höchst, with the patronage of the reigning Margrave, under Pfälzer. It ceased in 1778.
GOTHA
Fig. 163.—Figure of Bacchus.In white biscuit.Height 11 in.
Gotha.Founded in 1780 by Rothenberg, and afterwards (1802) conducted by Henneberg.
Rauenstein, in Saxe-Meiningen. A factory for hard paste was established here in 1760.
Fig. 164.—Cup and Saucer.
Fig. 164 is painted with flowers; mark, R—n; diameters 3 and 5 in.
Wallendorf, in Saxe-Coburg. There was also a factory for hard paste established by Greiner and Haman here in 1762.
Fig. 165 is painted in dark blue, and with leaves in relief; mark, W, in blue; height 10 in.
Fig. 165.—Vase.
Thismanufactory forhard pastewas founded about 1717. There are several traditions as to its origin: one is that a musician named La France, and a billiard-marker, named Dupuis, brought with them to Vienna, in October 1717, a certain Cristofle Conrad Hünger, who had been employed at Meissen as an enamel painter and gilder, and that in the following year they were joined by a man named Stölzel of Meissen, who was possessed of the secret, and became director. Another that it was a private enterprise set on foot by Claude du Pasquier, who obtained from the Emperor Charles VII. a privilege for twenty-five years. Major Byng Hall (Adventures of a Bric-à-Brac Hunter), however, says that it was established in 1718 by Claude Innocenz de Blaquier, who engaged one Stenzel or Stölzel to co-operate with him. With this object in view De Blaquier proceeded secretly to Meissen, where he contrived to scrape acquaintance with the arcanist in a coffee-house. He engaged with Stenzel in a game of billiards, taking care to lose, and thus he secured his object. Stenzel after some slight hesitation, accepted an offer of a thousand dollars to be paid yearly.
Fig. 166.—Cabaret.
De Blaquier had to contend with many difficulties owing to his not being possessed of the secret, and at the end of the second year Stenzel not having been paid regularly according to his contract, returned to Meissen, after having maliciously destroyed many ofthe models. The works had consequently to be suspended. But De Blaquier, being a man of energy and determination, endeavoured by numerous experiments to discover the porcelain mixture, and his efforts were finally crowned with success.
Fig. 167.—Milk-pot.
After twenty-five years’ labour De Blaquier decided in 1744 to offer the works to the Government.
The young Empress Maria Theresa resolved to support the factory, which promised to give occupation and profit to her subjects, honour and gain tothe State. She therefore commanded that it should be taken by State contract from its owner, and that De Blaquier should receive the direction with a salary of 1500 florins a year.
Fig. 168.—Plate.
From 1747 to 1790 was the best period for figures and groups, while from 1780 to 1820 painting on china became celebrated, the subjects being taken from paintings by Watteau, Lancret, Boucher, Angelica Kauffmann, and others.
In 1785 the most important improvements were made under the Baron de Lorgenthal or Sorgenthal; artists of the highest talents were employed, a first-rate chemist named Leithner was engaged to prepare the colours and gilding, thechefs d’œuvreof the early masters were copied, while the gilding was brought to a perfection which has never been surpassed.
Fig. 169.—Cup and “Trembleuse” Saucer.18th Century.
After the death of the Baron in 1805, Neidermayer became Director. The manufacture continuedin its flourishing condition until about 1815. From the year 1784 to the date of its extinction, it was the custom to mark every piece with the number of the year, which circumstance may be of great service to the connoisseur who seeks early specimens of Vienna porcelain. It is stamped without colour underneath the piece—or rather indented, the first numeral being omitted; thus the number 792 stands for 1792; 802 for 1802; and so on.
From 1827, under the direction of Scholtz, who followed Niedermayer, the manufactory began to decline, and what with economy, indifferent workmen, and bad artists copying from French models its doom was sealed. It gradually dwindled down to a second-rate factory, and in consequence of the great annual expense it was discontinued in 1864. The books on art belonging to the factory, and all the drawings of its most successful period, together with many of the models, the library, and the keramic collection, were given to the Imperial Museum in Vienna, to be retained as a lasting memorial of its celebrity.
Fig. 166 is painted incamaïeuon purple ground, and gilt; mark, shield crowned; length of tray 12 in.
Fig. 167 is painted in colours and gilt, with busts of ladies, entitled “L’Hérisson” and “Fantaisie Moderne”; mark, the shield in blue; height 6 in.
Fig. 168 is painted in colours, with two nymphs in a landscape playing with the infant Bacchus; mark, the Austrian shield of arms, in blue; the painting attributed to Fürstler.
Schlaggenwald, in Bohemia. This manufactory was established in the year 1810. George Lippert was the owner in 1842, and much improved the industry. Some pieces are marked “Lippert & Haas.”
Fig. 170.—Cup and Saucer.
Fig. 170 is painted in colours, with medallions containing figures of Justice; mark, S; diam. 2½ and 5 in.
Herend, in Hungary. There was a manufactory of porcelain here towards the end of the 18th century, but particulars concerning its origin are not known.
Fig. 171 is painted in oriental style, with flowers, &c.; late 18th century.
Fig. 171.—Portion of a Cabaret or Breakfast Service.
Nyon, on the lake of Geneva. A manufactory was in full work here towards the end of the 18th century. It is said to have been established by a French flower painter named Maubrée, and several Genevese artists painted on the porcelain, occasionally marking it with a “G” or “Geneva” in full; but there never was a manufactory of china at Geneva itself.
Fig. 172.—Cup and Saucer.
Zürich.Established here in 1763 by a few Zürich gentlemen, with the aid of a workman, named Spengler, from Höchst. Another German, Sonnenschein, a sculptor, was employed to model figures and groups. The factory was not a financial success. In 1793 the works were sold to a potter named Nehracher, and on his death in 1800 the works ceased.
NYON
Fig. 173.—Cup and Saucer.With mark, fish in blue.
Fig. 174 represents a soldier trampling on a Turk and unveiling a lady, martial and love trophies on the ground.
Fig. 174.—A Group.
Weesp.The first manufactory for porcelain in Holland was at Weesp, near Amsterdam. It was established in 1764 by the Count Cronsfeldt-Diepenbroick, who had by some means obtained the secret of the composition of hard paste. After existing seven years, the factory was closed in 1771. Notwithstanding the unsuccessful result from a commercial point of view, it was reopened by a Protestant minister, the Rev. De Moll, of Oude Loosdrecht, associated with some capitalists of Amsterdam, but the next year it was removed to Loosdrecht. The decorations are very much of the Saxon character.
Fig. 175.—Ewer.With mark, W.
Fig. 176.—Coffee-pot.Mark, a cross and dots.
Oude Loosdrecht, situated between Utrecht and Amsterdam, was the next town where porcelain was successfully made. It sprang from the ashes of Weesp, and in 1772 became a company, with the Rev. De Moll at its head; after his death, in 1782, the concern passed into the hands of his partners, J. Rendorp, A. Dedel, C. Van der Hoop, Gysbz, and J. Hope, and was by them removed, in 1784, to Oude Amstel. The ware is of fine quality, decorated in the Saxon style; specimens are frequently met with, having gilt borders and a light blue flower between green leaves.
Fig. 177.—Vase.
Fig. 178.—Panel.Mark, M : o L. in blue.Width 12¾ in.
Amsterdam.Fig. 179. Painted in lakecamaïeuwith birds and trees; the mark, lion, in blue.
Fig. 179.—A Pair of Bottles.
Oude Amstel.On the death of the Rev. De Moll in the year 1782, the manufactory of Loosdrecht was removed to Oude Amstel (Old Amstel), near Amsterdam, and carried on with redoubled zeal by the same company, directed by a German named Däuber, about 1784. It flourished under his direction for a few years, and produced a fine description of porcelain, but it gradually declined, in consequence of the large importations from England which inundated the country. In 1789 it came into the hands of J. Rendorp, C. Van der Hoop, and Gysbz, still remaining under Däuber’s direction, but it was entirely demolished at the close of the 18th century.
Fig. 180.—Teapot and Sucrier.
Fig. 181.—Sucrier.
The Hague.About the year 1775, a porcelain manufactory for both hard and soft paste was opened at The Hague, under the direction of a German named Leichner or Lynker. The works ceased in 1785 or 1786.
Fig. 182.—Plate.Of soft paste.
Fig. 182 bears the mark of a stork in blue; diam. 9½ in.
Tournai.Established in 1750 by Peterinck. For some time previous to 1815 the works were carried on by M. Maximilien de Bettignies, who, in consequence of the annexation of Tournai to Belgium, ceded it in that year to his brother Henri, and established another factory at St. Amand-les-Eaux. Soft paste, which has been discontinued for many years in every otherfabriquein France, is still made at both places, and they consequently produce the closest imitations of old Sèvrespâte tendre.
Fig. 183.—Cup and Saucer.With the early mark in gold.
Fig. 184 is painted in blue; mark, crossed swords and three crosses; diam. 9½ in.
Fig. 184.—Plate.
Fig. 185.—Salt-cellar.
Fig. 185 is painted with birds; mark, crossed swords and four crosses, in gold; height 4⅜ in.
Brussels.There was a manufactory of hard paste porcelain here towards the end of the 18th century.
Fig. 186.—Milk Jug.Signed L. Cretté.
Fig. 187.—Teapot.
A factory for hard paste porcelain was established at Sept Fontaines about 1806, by the brothers Boch. Both pottery and porcelain were made here, including plates, vases, figures, &c.
LUXEMBURG
Fig. 188.—Two Figures of “The Seasons.”With mark, B. L.
AtSt. Petersburg, an Imperial china manufactory was established in 1744, by the Empress Elizabeth Petrowna, with workmen from Meissen. Catherine II. patronised the works, and in 1765 enlarged them considerably, under the direction of the minister, J. A. Olsoufieff, since which thisfabriquehas held a distinguished place among European manufactories. The paste is hard and of a blueish cast, finely glazed, and it betrays its Dresden origin.
Fig. 189.—Cup and Saucer.With the mark of the Emperor Paul.
Fig. 190.—Verrière.
Moscow, 1720. The potter Eggebrecht, who had undertaken a manufactory of delft at Dresden, by direction of Böttcher, had, after that was discontinued, left to go to Moscow, and, being acquainted with some of the processes for making porcelain, commenced manufacturing it at Moscow.
Fig. 191.—Statuette.Mark, G in blue.Height 8 in.
Fig. 192.—Cup and Saucer.With view of Moscow. Mark, A. Popoffe’s initials.
A porcelain manufactory was established atTwer, by an Englishman named Gardner, in 1787, and another by A. Popoff.
Korzec, in Volhynia. About 1803, Mérault, a chemist of the Sèvres manufactory, went to direct thefabriqueat Korzec, taking with him a laboratory assistant named Pétion. After carrying it on for a few years, Mérault abandoned the direction, and returned to France.
Fig.193.—Pâte dureCup and Saucer.Painted with a portrait of a lady, en grisaille,with gilt borders.Mark, Eye within a triangle.
Baranowka, in Volhynia. A small factory existedhere at which the porcelain clay found in the neighbourhood was used.
Fig. 194.—Milk Jug.Mark, the name of the town.
Marieberg.This manufactory produced porcelain (soft paste), as well as fayence. In quality as well as in decoration the porcelain is like that of Mennecy-Villeroy in France. The industry was established by Ehrenreich, under the patronage of Count Scheffer, Councillor of State, in 1750, and altogether ceased about 1780.
Fig. 195.—Custard Cup and Cover.Mark, M.B. combined.Height 3¼ in.
Copenhagen.This manufactory was commenced by an apothecary of the name of Müller, in 1772, and Baron von Lang, from the Fürstenberg manufactory, is said to have been instrumental in forming it. The capital was raised in shares, but the factory not being successful, the Government interfered, and it became a royal establishment in 1775, and has remained so ever since.
Fig. 196.—Cabaret.With portraits of Raphael, and other celebrated painters.
Fig. 197.—Cabaret.
St. Cloud.A factory was established here about 1695 for the production of porcelain, at which time M. Morin was proprietor, and M. Chicanneau director of the works.
Fig. 198.—Jug.
According to letters patent of 1702, granted to the heirs of Chicanneau, his widow, Barbe Courdray, and her children, were interested in the works; their father had made many experiments and attempts to discover the secret of true porcelain, and from the year 1696 had produced some nearly equal to the porcelain of China. His children, to whom he imparted the secret, successfully continued the fabrication, and were permitted to manufacture porcelain at St. Cloud, or in any other part or parts of the kingdom, except Rouen and its faubourgs. In 1712 a renewal of the patent took place for ten years, and in the meantime the widow Barbe Courdray married a M. Trou.