Shards2017spring

__________________________________________________ WINTER/SPRING 2017

GREETINGS FROM OUR PRESIDENT Dear Members, We concluded another year of interesting programs with our Annual Meeting and Tea on Thursday, May 25, 2017. At the meeting, Gail Homer presented candidates for the Executive Board and Board of Directors. I am pleased to report that the end result is largely the same as the 2017-2016 Board with the addition of Nancy Carlisle as Historian and Louise Richardson as Parliamentarian. I would like to welcome and thank them for their willingness to serve on the Board. In addition, Lee-Ann Chellis Wessel is joining Tara Raiselis and me in our efforts to publicize the Ceramics Study Club of Boston. Lee-Ann has taken on the creation and development of the Club’s Facebook page. One of my summer projects is to become a regular visitor and contributor to our Facebook page and I encourage everyone who has a few minutes to spare during the lazy, hazy days of summer to do the same.

On behalf of the Club, I also would like to acknowledge the participation of Barbara Cummings and Dorothy-Lee Jones who have retired from the positions of Parliamentarian and Historian, respectively. Both of them donated time, expertise, and energy over many years. Their presence at and contributions to our meetings are missed by all who know them.

I also want to thank all of the members who shared their knowledge and provided programs during the past year: Martha E. Pinello, Nonie Gadsden, Merry Glosband, and Amanda Lange.

Taken as a group, they epitomize the wide-ranging interests and scholarship of the membership.

Every program provided a wealth of information, proving the point that the best way to appreciate something is to learn about it. I encourage anyone who has an area of interest that they would like to present to the Club, to contact Anne Lanning. Even if you do not feel that you have enough material for a single program, do not hesitate to let Anne know, as the possibility always exists to feature two shorter presentations in one meeting. Suggestions for further research may arise from a presentation to the Club, you never know!

Page 1

Lastly, for those who have paid their membership dues, thank you! For those who have not, please try to send them in before the whirl of summer activities completely overtakes your life! (I live on the Maine coast and I know what that means). Membership renewal forms were sent via email to those who receive their communications from the Club in that way and through the postal service for others. If you do not have a membership renewal form, please go either to the Club website ceramicsstudyclub.org to print one or contact JoAnn Brown or Greg Lovell for assistance. The dues are payable by July 1st and according to the by-laws, failure to pay by July 15th.may be considered a resignation from the Club. We don’t want to lose any of you, so please get your membership dues to Greg Lovell as soon as possible! Prompt payment also allows us to get the Blue Book completed in a timely fashion. Please note that all checks should be made out to Ceramics Study Club of Boston, to be honored by the bank.

Thank you all for making the Ceramics Study Club of Boston a fun, stimulating, educational, and wonderful organization in which to be involved. I hope you all have a healthy and happy summer and I look forward to seeing you in the fall.

Best wishes, Carolyn Parsons Roy

2017 BEGINS WITH A TALK ON AMERICAN ART POTTERY The Ceramics Club of Boston began its 2017 lecture season with a talk by CSC member Nonie Gadsden who is the Katharine Weems Senior Curator of American Decorative Arts and Sculpture at the Museum of Fine Arts, Boston. Nonie’s talk was entitled American Art Pottery at the MFA. Despite the huge amount of ceramics in the MFA’s collections from ancient to contemporary, Nonie’s talk focused on American ceramics, more specifically the long history of American Art Pottery at the museum as well as the important role the MFA played in the development of art pottery in the United States in the late 19th and early 20th centuries.

Nonie defined the term “art pottery” as referring to any work made of clay (earthenware or stoneware) that was primarily created for artistic purposes. And, more specifically, as it is seen by many, as works made between around 1870 and 1920-1930, and that are often associated with the Aesthetic Movement or the Arts and Crafts Movement. This narrower definition was the focus of Nonie’s presentation.

Page 2

Nonie further wanted to describe the extent and kind of relationships that developed between the MFA and several artistically-minded art potteries throughout the United States and how the museum’s focus shifted away from these relationships and the museum’s original mission statement in the early 20th century.

The role of ceramics seemed to have been an important one at the MFA from the earliest years after its founding in 1870. Many early acquisitions were from classical antiquity, but were soon followed by examples of Japanese, Chinese, European and Native American wares. By the end of the 19th century, the MFA had over 9000 pieces of ceramics, 12% of its entire holdings. Of those 9000 pieces, 5100 were part of the Morse Collection of Japanese Pottery. An encyclopedic collection, formed by Salem native Edward Sylvester Morse who taught and studied in Japan during the 1880s. This comprehensive collection, meant to represent every variety of pottery in Japan, became internationally famous and served as an inspiration for American ceramic artists for years to come. Morse was even hired by the museum to catalog and curate his own collection.

From its opening on July 4th, 1876 in Copley Square, the Museum of Fine Arts was modeled after London’s South Kensington Museum (now known as the Victoria and Albert or V&A) as a public repository of art and artifacts meant to inspire artists and designers, teach historic design and instill good taste in the consuming public. With the motto, “Art, Industry, Education”, heavy emphasis was put on the practical need to improve the quality and look of American manufactures, as well as the discernment and taste of the American consuming public. Early interior images show a MFA that emphasized didactic training with access to collections. Objects were organized by medium or technique, hence all ceramics were displayed together. To the modern eye a disconcerting system, but a practice that was followed by other major museums of the time.

By the First World War, though, the MFA was moving away from an emphasis on the didactic to an emphasis on aesthetics. But, during its first forty years, following a mission of art and industry, that the MFA played an important role in nurturing and supporting the nascent field of American art pottery.

The first work of American art pottery to enter the MFA collections came from James Robertson & Sons of the Chelsea Keramics Works in East Boston. Some of the earliest examples from this firm (established in 1872) were redware versions of ancient Greek pottery, the inspiration for which most likely came from the MFA as the museum received a gift of ancient Greek ceramics in 1876 from Thomas Gold Appleton. If the Robertsons didn’t see the pieces at the MFA, the y could have seen them previously at the Boston Athenaeum where Appleton had them on loan. Either way, in 1877 the Robertsons donated one of their Greek-inspired vases, along with ten other

Page 3

pieces to the MFA, along with eight pieces showing the construction of a vase on a potter’s wheel, a step-by step demonstration that perfectly illustrates the MFA’s focus on didactic, teaching displays.

By accepting these gifts and displaying them in their galleries, the MFA was not only putting their stamp of approval on the production of the Chelsea Keramics Works, but actively participating in the firm’s marketing efforts as well. It seems that James Robertson and General Charles Loring, director of the MFA, had an extensive correspondence and Loring was actively interested and encouraging of the pottery’s efforts. Despite James’ death in 1879, the relationship between pottery and museum continued with James’ son, Hugh, as a steady flow of Chelsea Keramics’ wares went in and out of the MFA throughout the 1880s and 1890s. In fact there even exists letters mentioning Chelsea’s wares being sent in on loan, but inventoried with specific fixed values, one letter reading: “These prices are fixed and subject to no reduction except such commission as the Museum may always charge on such sales as may be made there” (Editor’s italics). The letter suggest that the MFA was selling pieces directly out of their galleries!

Chelsea Keramic Classical Greek Vase.

Examples of Chelsea’s famous red glaze.

In 1891, two years after Chelsea Keramics Works closed, Hugh Robertson started a new pottery with new financial backers, many of whom were MFA trustees, donors or teachers at the Museum School. It seems that Hugh’s father’s extensive and costly experiments trying to perfect various glazes, especially the Chinese ox blood or, sang-du-boeuf, glaze produced some interesting and beautiful pieces, but not enough to sustain a viable pottery. So, Hugh’s new backers insisted he come up with a salable product line that kept the newly renamed Dedham Pottery in the black.

Page 4

Hugh and his son, William, refined the ancient Chinese crackle glaze and that, along with the addition of repetitive border designs, was the beginning of Dedham Pottery designs we know so well today. Enter, once again the MFA, as some of the earliest border designs for Dedham’s crackled wares were created by MFA affiliated supporters. In 1892, the School of the Museum of Fine Arts even sponsored a contest to create new border designs for Dedham. In 1902, General Loring died and the new museum director and his assistant held different views on how a museum should collect and display its objects. By 1904 the MFA returned all of the pieces from the Robertsons, and of the original 37 pieces given by the Chelsea Keramics Works to the MFA, only two remain in the collection today (donated at a much later date).

The Robertsons were not the only artisans who wanted to take advantage of the publicity, exposure, and stamp of approval of the MFA. In 1882, less than two years after she founded Rookwood Pottery in Cincinnati, Ohio, Maria Longworth Nichols visited the museum and donated twelve pieces of pottery. It is difficult to tell what these original pieces were exactly as Rookwood regularly traded and upgraded their previous gifts. This swapping out of pieces continued throughout the 1890s, as did a cozy relationship between Rookwood management and the MFA. General Loring offered praise and criticism and there was always encouragement from the MFA to send the latest creations from the pottery’s catalog to be put on display. And, the aforementioned Mr. Morse also visited the pottery to personally select pieces for the museum.

Mr. Morse also involved himself on the museum’s behalf with the Newcomb Pottery. Established in the mid-1890s at the Sophie Newcomb Women’s College in New Orleans, Louisiana, Newcomb had a similar relationship as Rookwood’s with the MFA, either loaning or selling examples of their wares to the museum.

Another pottery with close early ties to the MFA was locally founded Grueby Pottery in Boston.

Founded in 1897 by William H. Grueby, the firm regularly hired young female graduates from the School of the Museum of Fine Arts as modelers and decorators. By 1899, Grueby had lent eight examples of their work to the MFA, but oddly, despite the hometown connection, the museum didn’t ever actually own any until the 1960s.

This symbiotic relationship between the MFA and burgeoning American art potteries continued throughout the 1890s and into the new century. But, the MFA’s mission to educate and encourage was being duplicated from 1897 onwards by the newly established Society of Arts and Crafts in Boston. With its goal of educating both artists and patrons, and to further advance high quality art and craft, the society sponsored huge exhibitions of their members’ work, the MFA at several times hosting the society’s annual exhibitions in the museum’s galleries. But, even as these exhibitions were taking place, the MFA was moving steadily away from its mission of ‘art and industry’, and, Page 5

in 1917, the Board of Trustees voted to deaccession a large group of American art pottery with no explanation other than it was “not desirable for the Museum collection”.

It wasn’t until the 1960s that the MFA took an interest in collecting American art pottery again.

ANNUAL BIT ‘N’ PIECES One of the Club’s favorite meetings, our annual Bits ‘n’ Pieces allows members an opportunity to bring an object or two from their own collection for discussion or identification, and showcases the wide range of interests that makes up our organization. This editor, sadly, could not make the meeting and it is with much appreciation that I thank Anne Lanning for recording images and descriptions for this edition. (And our apologies if we missed anyone’s submission!). Here are some of this year’s offerings:

Above, from left to right: A Chinese export porcelain plate, circa 1800, from a service owned by Richard and Sally Franklin Bache, Sally was Benjamin Franklin’s daughter. The sepia landscape decoration is based upon a print of the period. / A drip-glaze, hand-thrown vase with iridescent decoration, inscribed ‘Dedham Pottery’ and HCR for Hugh Robertson. Circa 1898. / Large reticulated white salt glaze stoneware stand, made in Staffordshire, press-molded, unmarked, basket weave pattern with crisp molding, a bit slumped as a result of the high temperature firing. Circa 1750-1760.

Page 6

Above from left to right: A Kutahya Ware cup and saucer from Turkey. Fritware body (10% white clay, ground quartz and frit). Greek inscription translated “In memory of Kutahya”, part of a larger tea set possibly commissioned by a Greek family who had to leave Kutahya. Circa 1920s. / Charger, marked ‘Elma Willers 1901’, an amateur china painter most likely a copy of a real Iznik piece, hand-painted, outlined in black and color filled. / A plate in the Iznik revival tradition with overglaze decoration. Designs such as these were inspired by Owen Jones’ “Grammar of Ornament”. Second half of the 19 th century.

Above from left to right: A teapot made for the English market, bone china body with hand-painted decoration imitating blue Staffordshire printed wares. Two scenes depicting Hampton Court Palace. Circa 1890 -1910? /An English delft pickle dish with typical decoration. Pickle dishes were made by English porcelain factories, and it is unusual to see it in delft and it is unusual that it has even survived. Typically made in sets of four to accompany dinner services. Mid-18th century.

Page 7

Above from left to right: Miniatures created by CSC member Lee-Ann Wessel, recreating English Arts and Crafts pieces designed by William de Morgan based upon his Persian color designs. Worked in 1/12� scale, underglaze painted on unfired clay, fired, then clear glaze applied, some pieces requiring 3-4 firings using a table top kiln. / Two mystery objects recovered in Portsmouth, NH archaeology. Candlesticks? Porcelain? Milk Glass?. They are part of a set as the remains of three have been found. / A rare English delft inkstand, missing its insert to hold the inkpots, but it would have not held up to a lot of regular use. It was probably sold by a bookseller as opposed to a pottery dealer who sold dinner services. Later 18 th century.

Above from left to right: An English salt glaze stoneware bear jug. In England bear-baiting was popular from the mid-1400s to about 1800. The jugs were hawked as souvenirs at bear baitings. Possibly London. 18 th century, along with a miniature bear jug also in English salt glazed stoneware. / A Chinese export porcelain dish decorated in underglaze blue, possibly the Dutch, English or Islamic market. Centered with a Page 8

chrysanthemum in a star. In Chinese decoration this flower is common, it is the symbol for a happy retireme nt or old age as it represents autumn. A single star is unusual, though, as is the basket weave design which is usually applied to borders not the well of the plate. The reverse features a quickly painted flower that is a common feature on pieces of this period. Circa 1700-1710.

A VISIT TO THE MINT MUSEUM COLLECTIONS Our March meeting hosted a speaker from a little farther afield than usual, Mr. Brian Gallagher, Curator of Decorative Arts at the Mint Museum in Charlotte, North Carolina. Brian addresse d our group on the British Ceramic Treasures at the Mint Museum. We were not disappointed.

The Mint Museum has a rather encyclopedic collection of over two thousand pieces of British ceramics, all presented in a newly installed gallery to great effect. Such an impressive treasure got its start in 1965 when the Mint purchased the entire collection of over two thousand British, European and Asian ceramics from Chicago resident M. Mellanay Delhom. Both she and the collection arrived in 1967. The collection resided in a new gallery created to house it, and Mrs. Delhom was made curator and director of the “Institute for Study and research in Historical Pottery and Porcelain”. In addition to Mrs. Delhom’s gift, two other energetic collector/scholars contributed to the Mint’s collections. One was Daisy Wade Bridges, who donated her first object to the museum in 1961, her generous donations and support continuing unabated for the next half century. The third person in this trilogy of generosity has a local connection to Boston. Her name was Constance S. Leggett, from Braintree, Massachusetts, and she donated nearly a thousand pieces of ceramics to the Mint, especially consisting of tin-glazed earthenwares. She was a chair of the First Study Group China Students’ Club of Boston, a member of the Ladies’ Committee of the MFA, as well as the Wedgwood Society of Boston.

Outstanding examples of the Mint’s earthenware collection include a tin-glazed earthenware William and Mary plate and a set of “Merry Men” plates. English tin-glaze copied Dutch delftware and its production centered mainly around London, Bristol, and Liverpool. Another exemplary piece of earthenware is a coffee pot firmly attributed to William Greatbatch (1735-1813). An accomplished potter, Greatbatch had his own factory for twenty years at Lower Lane, Fenton, as well as a long term association with Josiah Wedgwood. A fine slip-marbled sauceboat, circa 17751785, is another standout, as there are only three known examples of this form in slip-marbled decoration which was usually reserved for teawares. There are also many fine examples of cream colored earthenware, first produced in Staffordshire around 1740. It has more in common with white salt-glazed stoneware than red earthenware, as the creamware body includes a white firing ball clay and flint. Fired between 1100-1150 degrees, it forms a light colored ceramic body that, when dipped in a lead glaze and fired at a lower temperature secures a clear, waterproof coat. This ware was perfected by Wedgwood, and was so immensely popular that it lead eventually to the demise of the delftware industry.

Page 9

The Mint holds fine examples of transfer-printed ceramics, a technique that is considered one of Britain’s greatest contributions to the history of ceramic decoration. The technique appears to have been developed in the 1750s by three men working independently of each other: John Brooks, John Sadler and Robert Hancock.

As for stoneware, the Mint, has a mug attributed to John Dwight (1633-1703) a seminal figure in English ceramics credited with being the first to produce salt-glazed stoneware on a commercial scale in England. White salt-glazed stoneware was an important innovation in the Staffordshire potting industry. Around 1720, potters began mixing imported white firing clay from Devon and Dorset with calcined flint to create a ceramic body that could withstand the high temperatures of their salt-glaze kilns. The resulting product was strong, could hold hot liquids, and was appealingly light in color. These wares dominated Staffordshire production for the next forty years. Not only does the Mint have superb examples of these wares, but also molds from which these objects were slip cast. The role of the block cutter was a highly skilled and important one, but their itinerant lifestyle, bringing their molds with them, making slight variations of designs from the previous factories, and even selling their blocks to one another makes it difficult for modern scholars to attribute an unmarked molded object to one specific creator.

No discussion of 18th century English ceramics would be complete without a mention of Josiah Wedgwood, and the Mint Museum certainly has their share of this master’s work. One piece illustrated from the collection was a cream jug and cover in lilac jasperware that had been partially engine turned on a lathe, part of the body’s dipped color cut away to create a fluted pattern. This was a technique Wedgwood developed after seeing a similar machine in operation at the metal work factory of his friend and competitor, Matthew Boulton in 1763. Within a decade many Staffordshire potters were using lathes to decorate their wares.

Wedgwood Blue Jasper Paint Box…was it ever used?!

Page 10

Our Mint Museum sampler continued with a tour of some of their holdings of fine English porcelains. Beginning with William Duesbury (1725-1786) a porcelain decorator who arrived in Derbyshire to take over the management of the Derby factory which had been established in 1750.

Like the Chelsea Factory, Derby pursued an aristocratic market and focused upon orna mental wares and figures. Chelsea, founded around 1745, was the first English factory to commercial quantities of porcelain. Under the direction of Nicholas Sprimont (1710-1771) Chelsea specialized in finely enameled tablewares and vases and, from the 1760s on, these wares were fur ther embellished with ornate gilding. Other London factories represented at the Mint are Bow, in production since 1748, and in 1749 adding bone ash to their formula which strengthened their wares, and Vauxhall, whose porcelain formula contained soapstone. Though a small factory, Vauxhall produced a considerable range of shapes and complex figures. There are also examples from Longton Hall and West Pans. Experimental porcelain-making started at Longton Hall in Staffordshire in 1749, and production began in earnest in 1751 with the arrival of William Littler (1724-1784) who had extensive experience as a salt-glazed stoneware potter. Financial difficulties forced Longton to close nine years later, and Littler moved on and resurfaced in West Pans in Scotland in 1764 where he started a second factory. Some of these wares appear to have surface decoration similar to Longton Hall as some of the molds were brought from the defunct factory.

West Pans continued in business until 1777, also succumbing to financial difficulties.

In concluding Brian spoke of the Bristol area, where a local apothecary named William Cookworthy (1705-1780) had been experimenting with combinations of china stone (feldspar) and local china clays. He received a patent in 1768, producing a porcelain in Plymouth, and later in Bristol. By 1773 one of Cookworthy’s partners assumed control of the company and extended the patent another fourteen years, the patent allowing him the extension for hard paste porcelain only, and allowing the china stone and clay combination to be used by potters in any other body. One of the masterpieces of Cookworthy’s factory is a statue of the figure of Grief. The Mint has one of only three known copies, theirs inscribed to Cookworthy’s daughter, and dated 1779. This is believed to be the last dated work made at Champion’s factory before it closed in 1781.

Cookworthy emigrated to South Carolina in 1784 bringing the sculpture with him. It remained with his descendants for six generations until the Mint acquired it in 1976, a direct and perfect connection between the world of 18th century British ceramics, and this splendid collection telling their story.

Page 11

From the Mint Museum Collections….

William Greatbatch Coffee Pot, West Pans Sweetmeat Stand, Richard Champion’s Figure of Grief

APRIL MEETING FOCUSES ON NATIVE AMERICAN CERAMICS It is always a pleasure to hear from “one of our own” and so it was on April 27 th when the CSC welcomed fellow member Merry Glosband who spoke on Innovation and Tradition in Native American Southwestern Pottery.

Merry focused on the work of eight contemporary artists and their work from different Native American ceramic traditions from the Pueblo region. The artists were just a sam pling, varying in age, gender and style of work, and, the pieces used to illustrate this group’s oeuvre were all taken from the collection of the Peabody Essex Museum.

The history of Pueblo pottery dates back at least two thousand years. Today’s pots evoke ancestral stories, some evident to the observer, others remaining a mystery, known only to the community, or to the individual potter. Whether made for sale, religious or utilitarian use, potters imbue their work with energy, spirit, and love. Each potter begins with a prayer of thanks to Mother Earth for the gift of the clay. Before they start to build their actual artwork, the potter has to gather, dry, grind, sift, soak and temper the clay. Only then can the potter begin the building process as the pieces are built up of smoothed and shaped coils of clay. The piece is then sanded and slipped-the slip added is a liquid form of the clay-and then the piece is polished and decorated (if desired) and then fired.

Page 12

The first artist Merry discussed was Tammy Garcia from the Santa Clara Pueblo. She is descended Sarafina Tafoya, the matriarch of a Santa Clara potting dynasty, and her work has earned her, in 2008, the New Mexico Governor’s Award for Excellence in the Arts. Her work is characterized by meticulously carved designs and details.

Tammy Garcia and her work.

The second talent discussed was Lonnie Vigil from the Nambe Pueblo. He is self-taught and was a Bureau of Indian Affairs bureaucrat before getting his “calling” to return to his village and becoming a potter. He uses a micaceous clay with a high mica content which allows for a lustrous finish. Along with this remarkable surface effect, his forms sometimes are finely pierced with curved cut-outs-amazing that they even survive the firing! He has won the Native Treasures 2010 Living Treasure Award.

Two pieces by Lonnie Vigil.

The third artist was Diego Romero from the Cochiti Pueblo. His work is unique in combining ancestral Pueblo and Mimbres ceramic traditions with his love of comic books, superheroes, mythology and pop culture! His work is featured in major international collections.

Page 13

Pop culture elements in the work of Diego Romero.

Figure by Kathleen Wall.

The fourth potter on Merry’s list was Kathleen Wall from the Jemez Pueblo whose work bears a strong connection to her heritage, fulfilling her grandmother’s legacy by passing on the knowledge of Pueblo pottery. She uses the beauty of Native culture in and around her as inspiration, the result being Native figures with faces exuding great joy.

The fifth potter was William Andrew Pacheco from the Santo Domingo Pueblo whose work is an interesting combinations of traditional techniques with non-traditional designs. His works display a beeswax matte, tar-like finish and a great predilection for dinosaurs.

Pot by William Andrew Pacheco.

Swirl Pot by Hubert Candelario.

Page 14

The sixth talent on this roster is Hubert Candelario from the San Felipe Pueblo. He holds an Associate’s Degree in Architectural Design and Drafting which shows a bit in his work. He is most well-known for carved puzzle pots, swirl pots, and pots with circular or hexagonal holes of great delicacy in them. He employs layers of micaceous slip which is burnished after each layer is added.

The seventh artist discussed was Dorothy Torivio from the Acoma Pueblo who builds upon the traditions of previous Acoma potters. Her mother and her daughter help her with var ious aspects of the process-from firing the pieces to helping chew the fronds of the yucca plant from which the decorating brushes are made.

Traditional hand-painted ware by Dorothy Torvio.

A work by John Q.

And the final artist in this pantheon was Al Q from the Hopi Pueblo who carries a Master’s Degree in engineering and who incorporates “cross-cultural” elements and a “minimalist style” in his work. In 2002 astronaut John Herrington, a member of the Chickasaw Tribe, took one of Al Q’s pots into orbit aboard a Space Shuttle mission.

Merry concluded with a mention of some places to go if one wanted to explore more about Native American southwestern pottery. First and foremost is the annual Santa Fe Indian Mar ket which is a very exclusive and internationally recognized venue where the best Native American artists working in all the traditional art forms are invited to exhibit. If Santa Fe in the middle of August doesn’t appeal, Merry suggested the Denver Art Museum with its stellar collection, and even more closer to home, our own Museum of Fine Arts, Boston.

Page 15

A GREAT YEAR ENDS WITH A GREAT TALK: NEOCLASSICAL CERAMICS Our program year ended with our Annual Meeting and Tea, and as is our custom, a speaker from the membership. This season was wrapped up by CSC member, past president and Curatorial Department Director and Curator of Historic Interiors at Historic Deerfield, Amanda Lange.

Amanda’s talk was entitled, From Pompeii to your Parlor: Neoclassical Ceramics for the American Home.

To understand the Neo-classical style (a termed coined in the 1880s) Amanda explained that one needs to know a bit about the style that preceded it, the Rococo. The Rococo, which was fashionable from about 1730-1770, was characterized by asymmetrical compositions incorporating C-scrolls and naturalistic elements such as rocks, shells, flowers and leaves, and it was incorporated more into the decorative arts rather than architecture. Inspiration for rococo ceramics was found by copying colors and variations of natural substances such as leaves, fruits and vegetables, variegated stones like agate and tortoiseshell. But as with every style, it eventually ran its course, and tastemakers criticized it as “exaggerated, ridiculous, frivolous, flippant, and decadent…with no moral value”. Architects and connoisseurs recommended a return to centuries-old patterns and traditions, resulted in a more spare and rectilinear style based on ancient architectural ornamentation.

Neoclassicism emerged in Britain and France in the 1750s. Artists who promoted the neoclassical style sought to create an eternally valid ‘true style’ that could be expressed across all areas of the visual arts. The style was based on the ornamental designs derived from Classical Greece and Rome. Architects and artists were aided considerably in their quest for historical accuracy by the discovery of two archaeological sites in southern Italy: Herculaneum, where excavations began in 1738, and Pompeii, where they commenced ten years later. As reports and illustrations of the artifacts and architectural interiors from these digs were disseminated, European artists, designers and architects utilized them as important sources of information. Artists were similarly inspired by catalogues of prestigious antiquities collections that were published in the 18 th century, most notably that of Sir William Hamilton, who amassed a large collection of classical vases while serving as British envoy to Naples.

Neoclassical forms and decorations tend to be rectilinear, with an emphasis on geometric forms such as ovals, rectangles, circles and squares. Often Neoclassical furnishings are described as “light” and “delicate” with features such as thin tapering legs. Highly contrasting light and dark surfaces, including wood veneers, pictorial inlays, painted decoration, gilding and shallow carving characterize this style. Neoclassical elements can include urns, swags, columns, volutes, classical figures, acanthus leaves and husks.

Page 16

During the late 18th and early 19th century, the United States was mesmerized by the classical world as well. Almost every aspect of American life was effected by a compulsion to emulate classical cultures-in architecture, politics, fine arts, education, interior design and dress. It was also thought that diligent study of the ancients and ancient cultures (especially the Greeks) would foster virtue, morality and refinement with the emerging American republic. The close identification with the Roman republic helped popularize what in America, we often call the Federal style. The eagle and shield, an American motif that symbolized our new national pride, was often integrated as inlaid or carved ornament or as sprigged or transfer-printed decoration onto jugs.

The return to classicism had taken hold firmly by 1750. For the first time it was clear that the ‘antique manner’ could be incorporated into every element of design; a fashionable family could display its style credentials through its entire domestic environment. Manufacturers in Britain, such as Josiah Wedgwood satisfied the consumer market with wares in the new neo-classical style.

He was quick to realize the commercial potential of embracing the style in his designs and began manufacturing a range of wares created in the ‘antique manner’. His new Eturia factory, inaugurated in 1769, immediately began producing vases emulating classical discoveries.

Probably the most famous piece of Wedgwood Jasperware: The Portland Vase, First Edition, 1790.

The rococo decoration used on Wedgwood’s creamware and the romantic chinoiserie decorations applied to his useful wares in the 1760s were soon supplanted by beading, fluting and applied decoration. Wedgwood worked tirelessly to develop new ceramic bodies such as black basalt, jasper and other stonewares. He created wares to embellish the interiors of neo-classical houses designed by leading architects of the day; plaques and medallions in jasper, vases and urns in a range of bodies and shapes, black basalt portrait busts to adorn libraries. Neoclassicism embodied all of Wedgwood’s ideals: rationality, republican virtue, discipline, sobriety, and capitalism. He regarded first rate, well-designed pottery as part of a cultural crusade…but most importantly, it sold!

Page 17

While these ornamental wares were more popular in England and Continental Europe than in America, they did find their way to the United States. In 1793, Philadelphia merchant John Bringhurst is listed as having imported black basalt statues of Apollo, Jean Jacques Rousseau, and Venus Rising from the Sea, as well as busts of Garrick, Shakespeare, Voltaire, Homer, Pindar and Aristophanes. Black basalt teawares were more commonly seen in the American market, archaeological evidence showing them at Drayton Hall in Charleston, SC; Colonial Williamsburg, VA; Delaware; Connecticut; and Florida. (Wedgwood attributed the unglazed wares’ success to the fact that their black surface provided a nice contrast to the white hands of the ladies serving the tea!).

Jasperware, though, is the product most associated with Wedgwood and was produced in great quantities throughout the Neo-classical period. Jasperware provided a good approximation of classical carved cameos made originally from variegated hard stones such as agate, onyx and sardonyx, or glass, by sprigging clay (attaching shallow clay reliefs) onto the surface. It is well known that America was an important market for Wedgwood’s utilitarian wares in the 18 th century, but the firm’s ornamental wares, namely jasper, black basalt and other ceramic bodies are considered to have had only limited appeal in this country. Their lack of allure has been generally ascribed to a prudish attitude as the scantily clad classical figures could offend people’s “delicacy”.

Jasperware was present in early America in limited quantities as the aforementioned John Bringhurst of Philadelphia did carry jasperware seals, perfume bottles, bell pulls, diced tea sets, vases with snake handles depicting the Muses, and cameos. Thomas Jefferson used blue and white jasperware plaques as part of his dining room fireplace at Monticello.

Inexpensive transfer-printed decoration on English creamware or cream-colored earthenware jugs for the American market focused transforming the young nation’s heroes into classically draped gods of the new republic. Americans (and their English suppliers) adapted the classical past to suit American circumstances. Washington, Franklin, Jefferson, accompanied by Columbia, Justices, Fame and Liberty, assumed the trappings of a classical past.

Page 17

Previous page: Liverpool transfer-printed eagle-decorated creamware mug for the American market, c. 1800.

A new variation on refined earthenware was introduced in England around 1775 under the name of “china glaze” or what we know today as “pearlware”. This slightly bluish tinted ceramic ware more closely approximated the look of Chinese porcelain and accepted a variety of colored embellishments quite readily. The shell-edge pattern (essentially a rococo design) was popular in America between the 1780s and 1830.

Chinese styles never disappeared. Chinese designs and Asian-inspired patterns were still extremely popular in Federal America. By 1784 transfer printing on pottery under the glaze was perfected in Staffordshire. This led to a huge increase in production of transfer printed wares, and especially after the War of 1812, many of those wares being specific to the American market.

Flushed with their newly won independence, Americans readily sought out classically-inspired objects as tangible representations of the Republican ideals upon which the nation was based.

Feldspathic stonewares (the so-called Castleford-type wares) were very popular as they targeted the American market with embellishments of eagles and sprig-molded classical figures and a blue slip to imitate more costly jasperwares.

As for Chinese export porcelain, America was able, after the Revolution, to establish direct trading relations with China, and by the early 19 th century Britain was ceding her dominance in the porcelain trade to American merchants. Neo-classically decorated dinner and tea sets were brought back to America in increasingly large numbers. The enameled decoration most often combines repetitive and delicate geometric borders with fruit and floral sprays, inspired at times, by English porcelains such as those produced at the New Hall Factory in Staffordhire.

Of all the export porcelains from China, the most celebrated were those ordered by the elite group of American Revolutionary war officers who had served under George Washington. This organization takes its name from a Roman military leader, Lucius Quintus Cincinnatus. Like George Washington, he was called upon to leave his private life during a national crisis to lead an army. After victory, instead of becoming a dictator, he went back to his farm and life as a citizen.

Needless to say, the symbolism was not lost on those who received wares which bore the emblem of the Society of the Cincinnati. Historic Deerfield is fortunate enough to have a thirty-eight piece tea set emblazoned with this insignia. However, most Americans during the early national period disdained any associations with elitism and aristocratic trappings such as coats-of-arms, opting instead for Chinese export aimed at a broader American market with American eagles, portraits of wartime heroes and simple script monograms being more typical for neoclassical- style wares.

Page 18

Left: Chinese export porcelain punch bowl featuring a view of the ‘Hongs of Canton’. This was the area to which the representatives of all the nations trading with China were confined. Circa 1790-1800. Right: Paris Porcelain Harlequin Teawares, circa 1800-1810.

And in addition to English and Chinese wares, there soon developed at the end of the 18 th century a taste as well for French porcelains. During the 1770s, laws that had given the Sevres Royal Porcelain manufactory its monopoly were relaxed. As a result, a large number of independent porcelain factories opened in Paris, many developing a lucrative trade with America. Most French porcelains were owned by wealthy Americans with diplomatic connections to France, such as Benjamin Franklin, Thomas Jefferson, John Adams, and John Jay to name a few. And, after our revolution, some Americans continued to buy French wares as an acknowledgement of France’s help in seeking our independence. Washington had both a French tea set from a Paris factory, and a state service in white and gold. The most popular pattern for French tablewares during the late 18th and early 19th centuries consisted of blue cornflowers, known in France as barbeaux bleu.

Produced by many of the Paris factories, it is commonly thought that the charming blue sprigs covered up imperfections in the paste or glaze. In order to impress their guests with the latest fashions, hostesses also acquired another popular French porcelain conceit of the time: harlequin tea sets with each piece decorated in a different pattern.

But, as with the Rococo, Neoclassicism developed its critics. Artists and designers began to question and challenge the notion of classical authority, or any authority, saying that there was no such thing as a true or correct style. By the 1830s the aesthetic of the Picturesque and the Sublime was developed which moved away from classically correct rules of beauty to the appreciation of irregularity and the unexpected. _____________________________________________________

Page 19

AND A FEW OTHER ITEMS OF INTEREST: For those of you in need of a ‘ceramics fix’ before we meet again in September, might we recommend www.potsinaction.com a remarkable website showcasing potters and their work from around the world. This was one feature that “caught my eye”….

For those who simply cannot get enough of blue and white, here’s something that every delftware collector should not be seen without: Delftware Patterned Contact Lenses!

See you in September…don’t forget Membership Dues by July 1st.

Page 20