A Herend Rothschild large bird teapot, featuring two different bird motifs (there are 12 Rothschild Oiseaux motifs) and scattered butterflies, circa 1915-1930.

The Herend Manufactory (as it call itself) has a long and exalted history in Hungary—its country of origin—with its reputation having spread to other capitals beginning in the early years of its operation. Later, and especially at present, North Americans have become exposed to the extraordinarily beautiful and expertly executed pat- terns and specialty decorative items.

The Herend factory was established in 1826 by a Vince Stingl. He began by producing stoneware, while he experimented with the technicalities of making lighter weight porcelain. Until the 17th century, porcelain had been imported from China to Europe by ship, as many European countries offered only heavy folk pottery for their tableware. The Europeans did not have the expertise or knowledge to produce thin “chinaware.” Finally, Johann Friedrich Bottger (who was actually an alchemist in search of gold), discovered a method of making porcelain around the year 1705, which allowed factories such as Meissen and others to begin the production of properly made china.

In Hungary, experimentation with porcelain manufacturing was ongoing in Herend, a small village near the holiday resort of Lake Balaton, and in Telkibanya in the northern part of the country. Highly placed patrons lent their financial and political support to various factory endeavors. Lajos Kossuth (1802-1894), a nobleman and social reformer of the time, was influential in trying to change the economic system. He believed strongly that the modernization of the country could not occur without the establishment of Hungarian industry, which was still in a medieval and semi-feudal state. His clout with the Herend Company eclipsed that of another historical figure, Istvan Szechenyi, who was the patron of a Telkibanya concern. Eventually, Herend prevailed, and went on to become the preeminent pioneer of Hungarian porcelain, becoming renowned for its hand painted decoration. But Vince Stingl had a difficult time with the upkeep of his small factory, both with quality production and monetarily. He was in considerable debt for the purchase of essential equipment, and finally resorted to selling out to one of his creditors, Moricz Fischer, in 1839.

Mor Fischer, as he was known, gave the factory a real boost. As well as supplying a much needed infusion of capital, he worked hard to achieve an entrepreneurial dose of commercial success. He is generally considered the father of the present Herend factory. His ambition led to the expansion of the workforce, with new and improved kilns for large-scale manufacture.

The Herend backstamp and mold/pattern numbers on bottom of the Rothschild teapot.

The workers began researching and applying new techniques toward the reproduction of high-quality replacements for the classical pieces of Chinese and other origins, which the aristocracy could not find at that time. This led, predictably, to contemporary pattern making in the antique style, as well as to the production of forms and decorations reminiscent of the period pieces by Meissen, Sevres, Vienna and Capo di Monte. Meissen was a distinct influence, with its baroque emphasis on tea and coffee services featuring floral and aviary patterns. Likewise, the woven pattern on several Herend plate edges owes its origins to Meissen. Chinese motifs were incorporated as well, since porcelain originating in China always had a great influence on European factories with their interest in all things oriental. Several royal courts of the time (Italy among them) requested Herend to replace items that were missing from their old Chinese tableware sets. These orders helped to become firmly establish Herend’s reputation. Other Herend products perpetuated the beauty of Chinese porcelain, yet were distinctly Herend in their patterns and purpose. Some oriental patterns of this long-ago period can still be purchased today: Victoria (so named because Queen Victoria ordered this set, which was decorated with butterflies and flowers), Poisson, Ming and Godollo, for example.

While still imitating old, established patterns, the factory also started to incorporate its own personal versions of design. Thus began the theme of using local botanical and natural elements—such as fruits, insects and plants—from the Bokany region of Hungary. So, while still acknowledging the old, something was being created.

This globe Herend box is hand painted and done in pierced style with a floral decoration, circa 1900.

After winning great acclaim in exhibitions at home in Hungary and Vienna, the Herend style was ready for its international debut. This occurred at the first World Exhibition in London, England, in 1851. Herend took home a gold medal from the Crystal Palace, sold all the pieces on view, and received many large orders. It was a definite coup for the factory’s first international exposure. Here began the worldwide reputation that Herend porcelain still enjoys today. Within a few years, Herend displays could be found at the New York World Exhibition in 1853, and the Paris World Exhibition in 1855. Later, there would be gold medals from Amsterdam in 1887, St. Petersburg in 1901, and so on. Many distinguished customers followed from these events, several of whom had patterns named after them. Some important clients were the Rothschild family, Emperor Franz Joseph I, King Victor Emmanuel of Italy, Tsar Alexander II of Russia, the Shah of Persia, Alexander von Humboldt, and the Prince and Princess of Wales.

Fischer clung to the old-fashioned methods of porcelain production throwing the pots by hand, hand-painting the blanks, and reviving historical trends. During the period of 1857-1872, the factory was at its pinnacle. This was also the time in which the Arts and Crafts movement in England, with William Morris at its helm, was preaching a return to medieval craftsmanship, a denial of mass-produced wares, and a renewal of regional and traditional development. The Herend style fit the bill admirably. Fischer was accumulating personal honors, as well. In 1863 the Emperor Franz Joseph I gave him a knighthood, and the next year granted him all rights to patented designs of the now defunct Imperial Porcelain of Vienna factory. He also received a coveted medal from the French Legion of Honor. In 1872, he was dubbed “Purveyor to the Royal Court” (of Austro-Hungary). At the same time, outstanding pieces of Herend porcelain were beginning to appear in private collections, and museums began adding representative items to their exhibits.

In 1874, Europe experienced an economic slump. This, in combination with Mor Fischer’s advancing age and Herend insistence on manual artistic production without mechanization, drove the company toward insolvency. Fischer’s sons took the helm, Mor died soon afterward, and the firm was hard-put to get back into the mainstream. The sons tried mass production and decorative simplification, but were not successful. The factory slid into a decline in both artistic and financial aspects.

At the close of the 19th century, the company became the property of Jeno Farkashazy, a grandson of Mor Fischer, who was a trained ceramist. He reverted back to his grandfather’s values, gave new life to the old models and traditions, while introducing new innovations of his own. Things were looking up! He had great success at exhibitions around the turn of the century in Paris and St. Petersburg.

A porcelain figurine by Herend, called "The Bather," circa 1950, created during the Communist era.

In 1923, a new mixed ownership group took over, introducing modernization of decorative techniques and production methods. New artistic development and attempts to expand foreign market share were achieving success. A demand for ornamental items at affordable prices resulted in the development of small sculptures and cabinet pieces in addition to the tableware. These became very popular and included birds, animals, and figures of persons engaged in sport or dance. Hungarian subjects were favored, and these represented historical figures and those from favorite fairy tales and legends. Famous Hungarian artists of the time were commissioned to design some of these pieces. In the 1930s, commercial success was again on the way, and recognition was accorded by world acclaim at the Brussels Exposition of 1935 and at Paris in 1937. People were impressed by Herend’s products—the place settings with traditional motifs, as well as the newer and innovative sculpture line.

After the intrusion of World War II, the factory was nationalized in 1948. The war had handed a huge blow to the company. Since exports were the backbone in Herend’s financial health, it was negatively affected when it became shut out of the international marketplace. The proper china clay was unavailable, as it had always been imported. Domestic clay had never been the optimal raw material. After 1948, however, the situation improved somewhat with clay coming it from Limoges, and some exports resumed.

Production continued through the communist era, yet the Hungarian economy was isolated from the world scene by the Iron Curtain. However, within Hungary and the Eastern Bloc, there still existed a demand for political gifts and ideological statuary. Herend was in a good position to supply these needs. One can still find small cabinet sized sculptures of Stalin, and workers in socialist-approved occupations and poses.

This situation has changed dramatically in the 1990s. With the end of the communist influence, and with privatization of the company in 1993 with three-quarters of the firm owned by its employees, Herend has expanded and prospered. Herend products are now at the peak of their popularity. The majority of pieces are still hand-shaped and hand-painted, which assures its porcelain a place above similar large factories. Only the kneading and purification are mechanized. Electric kilns are utilized instead of the old wood burning stoves, and research is constantly conducted, with quality control meticulously maintained.

The Herend factory currently employs more than 1,500 crafts people—potters, designers and painters—and continues its traditional elegant style, with an extraordinarily wide selection of time-honored, richly decorated patterns, which are yours to explore and possibly own.

Some Herend patterns are majestic and gracious, some are sophisticated and sumptuous, some charming and delicate. But all are special beauties, which have been, and will be, cherished by many generations.

— by Shira Karpati

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This German-made Jasperware, like this plaque depicting classical scene, are very unappreciated items and often sell in the $80-$200 range at auction.

“Jasperware” was originally developed by Josiah Wedgwood during the mid 1700’s. The Wedgwood company was one of the most innovative companies of its time, and often its popular lines were copied by other potteries based in Staffordshire, England and in Europe. This particular piece, like many late 19th century examples by Wedgwood’s Continental imitators, is unmarked, but is very similar to marked examples produced by Schafer & Vater and the Aelteste Volkstedter Porcelain works during the turn of the 19th century.

The Schafer & Vater Porcelain Factory was located in Volkstedt Rudolstadt, Thuringia, Germany. Gustav Schafer and Gunther Vater wanted to produce high-quality porcelain and founded the Schafer & Vater Porcelain Factory, which, in turn, purchased the List Porcelain Factory at Neuhaus in 1896. In 1910, Sears Roebuck & Company had begun to import and distribute Schafer & Vater pottery into the United States, and S&V produced a series of these high-relief plaques, depicting Greek classical scenes, portraits of 18th Century Aristocracy and even Native Americans, such as Chief “Broken Arm of the Sioux.”

Values for these pieces has not appreciated much in recent years, a result of online auctions and media coverage by “Antique Roadshow” events bringing a great number of Jasperware items out of storage and into the market. In the current market, comparable German-made Jasperware plaques like the one above, depicting classical scenes, are very unappreciated items and often sell in the $80-$200 range at auction.

Mike Wilcox, of Wilcox & Hall Appraisers, is a Worthologist who specializes in Art Nouveau and the Arts and Craft movement.

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– B, Lehigh Valley, PA

ANSWER: Leonard Lumsden Grimwade, a modeler, founded the Elgin Pottery in Hanley, Stoke-on-Trent in 1885. His older brother Sidney joined the firm shortly thereafter, the firm changing its name to Grimwade Brothers. In 1886 Grimwade Brothers added Winton Pottery to its manufacturing facilities. By 1906 Grimwade Brothers had four manufacturing facilities in England’s “Potteries” district. Leonard introduced several innovative techniques, including the enamel climax rotary kiln and a duplex lithographic transfer process.

Grimwade marketed some of its products under the Winton brand. In 1913 Queen Mary purchased a Winton tea set. In 1929 Grimwade adopted Royal Winton as the trade name for all its products.

Marguerite, the first Royal Winton chintz pattern, was introduced in 1928. More than 60 different chintz patterns followed. Royal Winton’s chintz-patterned ceramics were popular exports to the British Commonwealth and the United States. Cheadle was an extremely popular pattern in the U.S. High production costs forced Royal Winton to discontinue its chintz patterns in the early 1960s.

Royal Winton chintz patterns were one of the hot ceramic collectibles of the 1990s. Prices skyrocketed. EBay’s popularity flooded the secondary market. Prices plummeted, albeit not in the field. Specialized ceramic dealers and replacement services wage a continuous fight to prop up market prices. An Internet storefront dealer is asking over $350 for a trio consisting of a Cheadle luncheon plate, cup, and saucer. The same trio sells on eBay for less than $50. EBay prices realized are 25 percent or less of dealer asking prices, one of the greatest price differences I have encountered between field/book and eBay prices. “Buy It Now” prices on eBay reflect field/book prices, rather than reacting to actual auction results, another point worth noting.

I have no doubt you would prefer your teapot be worth the $259 “Buy It Now” price asked by an eBay seller rather than have me inform you that its value is closer to $75. I tell it like it is. If you want to feel good, use a field/book value of $2,000 plus for your set. If you want to be realistic, assume a value between $350 and $400.

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QUESTION: I own Baffle Ball, an early tabletop, coin-operated pinball machine in a wooden case. A nickel provided the player with 10 balls. The machine works and appears to be in excellent condition. What can you tell me about its history and value?

– GC, Janesville, WI

ANSWER: In 1927 David Gottlieb founded D. Gottlieb & Co., Chicago, Ill. The company manufactured arcade games. Gottlieb created Baffle Ball in 1930. Measuring 16 inch wide by 24 inch high, it was designed to rest on any counter or tabletop. It used no electricity and did not have bumpers or flippers. The player pulled a plunger to send the balls into the playing field. The rest was up to gravity. The balls fell through the playing field, striking pins that protruded from the surface. Four circles inside a diamond motif provide the highest point count. In addition, the lower edge had a series of chambers, each assigned a value.

The plunger pressure was the primary way to position balls where the player wanted them in the playing field. Enterprising players also learned to tilt the machine during play, a practice that became a standard part of pinball play.

Early examples provided five balls for a penny. Later machines, such as the one you own, came in two varieties—10 balls for a penny or 10 balls for a nickel.

Baffle Ball sold for $17.50. The game proved so popular that 50,000 units were sold within the first few years. Gottlieb introduced Baffle Ball Sr. in 1932 and an electronic Baffle Ball in 1935. Rock-ola Manufacturing Company, a Gottlieb competitor, also distributed Baffle Ball knock-off. A Rock-ola advertisement from the mid-1930s included a telegram from C. A. Martin of California that read: “Ship at once via Acme Fast Freight 25 Babble Ball machines with stands stop Sample machine took in $64.00 in 8 days stop Wire price lots of fifty.” The metal stand was a later addition.

Baffle Ball pinball games have a high survival rate. Although collectors consider it a classic, its value is relatively modest. Book value for a machine in good condition is between $2,000 and $2,250. It is worth $3,000 in excellent condition. Add another thirty percent if fully restored.

The pictures of the Baffle Ball game that accompany your letter suggest you overestimated the condition of your example. There are signs of wear on the playing field. Portions of the case’s finish are faded and spotted. The condition of your machine is between very good and fine. It value is closer to $2,500.

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QUESTION: Attached to my e-mail is a photo of a large glass vase with a Blenko label that my son recently acquired at a garage sale for a quarter. It is signed on the bottom “Richard Blenko / 2001.” It has a bulbous body, extended neck, and flared rim. I e-mailed the Blenko Collectors Society and received this response: “Your vase is #9604 in tangerine. It was designed by Matt Carter and introduced to the catalog line in 1996. The vase you have was part of a PBS pledge drive. The design was not offered in tangerine in the catalog in 2001, the tangerine #9604 vases were made only for PBS that year…” Appraisers in my area have been of no help in determining the value of my son’s vase. What is your opinion?

– JH, Indiana, via e-mail

ANSWER: Before you can establish a value for something, you have to know what it is. Thanks to the generosity of the Blenko Collectors Society, you know the history of your piece.

William J. Blenko established sheet glass factories in Kokomo (Indiana) in 1893, Point Marion (Pennsylvania) in 1909 and Clarksburg (West Virginia) in 1911, all of which failed. He worked at various glass companies in Ohio and West Virginia until 1921, when he founded the Eureka Glass Company in Milton, West Virginia. The company specialized in producing glass for stained glass windows. Blenko struggled to keep his business alive, adding a tableware line in 1930, the year he changed the company’s name to the Blenko Glass Company.

The company made utilitarian glass focusing on classical and adaptations of classical forms. When American buyers became enamored with Studio Glass in the late 1940s, Blenko hired designer Winslow Anderson. Additional designers, e.g., Wayne Husted and Joe Philip Myers, joined the firm. Matt Carter was the company’s last design director, serving from 1995 to 2002.

In 2000, Bill Agie opened the Blenko Museum (Milton, WV), dedicated to the work of Winslow Anderson, Blenko’s first design director. This led to a renaissance of collector interest in Blenko glass. Richard Blenko, the fourth generation of Blenko family members to head the company, worked with PBS on two television specials: “Blenko: Heart of Glass” and “Retro Blenko: Three Designers of American Glass.” As a result, PBS began offering Blenko pieces as premiums during its pledge drives.

In January 2009, Big Two Mile—Blenko’s gas supplier—seized the company’s assets as a result of Blenko’s failure to pay its bill. The company closed and laid off its employees. Production resumed on a limited basis in early March.

Collectors focus on Blenko glass produced between 1947 and 1974, considered the golden age of Modernist design. Glass made after that date is viewed as more mass-market oriented and lacking in the design qualities that distinguished the glass from the 1947-1974 period.

Your son’s vase is worth at least twenty-five cents, the value he established when he bought it. As you suspect, it is worth more. The question is: How much more? I called Debbie Coe, co-author along with her husband Randy of “Elegant Glass: Early Depression & Beyond,” 3rd Edition (Schiffer Publishing) to discuss the secondary market value for PBS vases. She suggested a secondary retail value between $20 and $25. I concur. Collector demand is limited. Most Blenko collectors who want a PBS example already own one.

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QUESTION: I have three cup and saucer sets that I inherited from my mother. I assume she received them in the 1950s. There was a fourth set but it broke. The cups are pedestal based and have a fancy scroll gold-colored handle. The inside of each cups is pearlized. The outsides of the cups and saucers are painted with beautiful fruit designs, e.g., pineapple, raspberry, strawberry, etc., on a pearlized surface. The saucers are stamped “JAPAN” on the bottom. What can you tell me about them?

– CC, Drumheller, Alberta, Canada, via e-mail

ANSWER: You own Japanese luster ware. While it is possible your cups and saucers date from the 1950s, it is far more probable that they were made in the 1930s.

The cups and saucers were part of a larger luncheon set that included a matching teapot, creamer, and sugar. The set probably had luncheon plates as well.

Although hand painted porcelain, these sets have minimal collector value. A full set sells between $50 and $65. An individual cup and saucer, assuming the pattern matches, is valued between $4 and $6.

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Rinker Enterprises and Harry L. Rinker are on the Internet. Check out his Web site: http://www.harryrinker.com

You can listen and participate in “WHATCHA GOT?,” Harry’s antiques-and-collectibles radio call-in show on Sunday mornings between 8 a.m. and 10 a.m. Eastern Time. It streams live on the Genesis Communications Network.

“SELL, KEEP OR TOSS? HOW TO DOWNSIZE A HOME, SETTLE AN ESTATE, AND APPRAISE PERSONAL PROPERTY” (House of Collectibles, an imprint of the Random House Information Group), Harry’s latest book, is available at your favorite bookstore and via Harry’s Web site.

Harry L. Rinker welcomes questions from readers about collectibles, those mass-produced items from the 20th century. Selected letters will be answered on this site. Harry cannot provide personal answers. Photos and other material submitted cannot be returned. Send your questions to: Rinker on Collectibles, 5093 Vera Cruz Road, Emmaus, PA 18049. You also can e-mail your questions to harrylrinker@aol.com. Only e-mails containing a full name and mailing address will be considered. Please indicate that these are questions for WorthPoint.

Copyright © Rinker Enterprises, Inc. 2009

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Chips on the top rim of this Weller Art Pottery vase were professionally restored by Old World Restorations, Inc., Cincinnati, Ohio.

The repairs are invisible to a cursory glance. Which is why one needs to be on the lookout for repaired porcelain, art pottery and clay pieces.

Antiques and collectibles enthusiasts often find themselves frequenting community charity auctions, local antique shows, neighborhood garage sales and internet web sites searching for their next “Great Find.” But buying from someone you don’t know—and may never be able to find again—is sometimes risky business.

For collectors of different types of ceramic art, including porcelain figurines, art pottery and clay sculpture, one of the issues facing them is the fact that chipped or broken porcelain can be professionally restored so that the damage is no longer visible. But the pieces may not always be marked as such.

So, how can one know if an item has been damaged and restored?

There are different methods and types of equipment used by conservators to detect invisible restoration of ceramic objects. Ultraviolet (UV) light is used to examine the surface of an object and to reveal adhesive residue or any substances that may have been applied over the original surface to mask damage. X-ray can also be used to show fractures that have been invisibly restored. If allowed, a collector can usually have art and antique items inspected by an experienced conservator or museum conservation lab.

But if your are standing in the middle of a flea market, holding a piece you might be interested in buying, knowledge and experience are probably the most valuable tools with which collectors can equip themselves when inspecting and buying ceramic art. It is important to learn as much as possible about the objects’ nature and composition and be able to confirm that it has the proper shape, size, design and glaze. Even when buying from reputable auction houses and dealers, one should still have a basic knowledge of the methods and materials that were used to create the object.

Don’t be afraid to ask the seller questions like: “How and when did you acquire the object?” “Have you thoroughly examined it for damage and repairs?” and “Are you willing to document the condition in writing and provide a money back guarantee if it differs from your representation?” (Answers to these questions are especially important when buying over the Internet).

Pair of early porcelain candlesticks with old discolored repairs, small chips and missing leaves. This damage is difficult to see on a photo posted on an Internet listing.

I recommend a visual inspection of the object in direct sunlight. Look for inconsistencies in the color, decoration and glaze. When a damaged ceramic object is restored, it will usually have some type of clear non-fired coating applied over the repair to mimic the original surface glaze. In some instances, this “simulated glaze” is applied over the entire surface. Unlike original fired glazes, new acrylic coatings often contain lint or dust particles that can be seen with the naked eye under direct sunlight.

Some original ceramic glazes exhibit a network of fine cracks know as “crazing.” These small surface cracks should not be restored and are nearly impossible to replicate when completing a restoration in an area of an object that is crazed. If an object has visible crazing, look for inconsistencies or the absence of crazing in suspicious areas that may indicate a restoration.

Carefully run your finger along the edges to reveal any rough spots or chips that may be hard to see. Some vases and flat objects can be lightly tapped with your finger or a straight pin to check for structural cracks. A cracked object will not “ring” like a bell when tapped.

An Imari porcelain plate with old repairs and rim chips that are easily visible to the naked eye.

I also suggest that you carry a small straight pin with you when shopping for ceramic objects. With the permission of the seller, carefully and lightly “touch” the point of the pin to the surface of the glaze where you suspect a restoration. The pin will easily slide across the glasslike surface of original fired and un-restored glaze; however, it will not slide across, and may even sink into, the simulated materials used to restore the damage. Be careful not to scratch or damage the glaze or the restoration. Some claim that a similar test can be done by touching a suspected area of an object to your teeth to reveal a difference between original and restored glazes.

Before you buy:

• Do your homework and know what it is that you are looking at
• Research basic restoration and conservation techniques
• Ask the seller questions to document an objects history and condition
• Conduct thorough inspections in good light
• Consult an experienced art conservator or museum
• Ask for written money-back guarantee

— by Douglas Eisele
Old World Restoration

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Will Seippel, the founder, CEO and president of WorthPoint, recently discovered a pair of these 18th-century Sevres end pieces at an estate sale after many people passed them over, including a pair of expert appraisers, who tagged them at $125 each. Their true value is much, much more.

Just as the everyday collector hopes to come across a Great Find—an item bypassed by many, purchased for a pittance and worth thousands—experts can miss a valuable item staring them in the face.

Will Seippel, the founder, CEO and president of WorthPoint, recently had such an experience.

Will wanted to attend a private estate sale in the Buckhead neighborhood of Atlanta, but circumstances—in this case a late flight back from Ohio—had delayed his arriving at the sale. By the time he got there, there were only minutes left before it closed for the day at 5 p.m.

“I thought I could get them to apply their second-day 50-percent-off discount early, if I found anything,” Will said.

But after briefly talking with the organizers of the sale, Will had learned that most of the estate’s pieces had been sold ealier in the day, prior to his arrival. Additionally, the sales company had hired two appraisers to help evaluate prices before the sale. So, he thought, finding anything worthwhile was going to be a longshot.

Still, Will decided to look over what was left. His eyes were immediately drawn to a pair of white porcelain pieces—each with four cherubs surrounding a pillar holding up a low bowl. He looked at the tags: $125 each.

He picked one up and turned it over: “I thought I recognized the mark on the bottom and knew immediately I had something.”

The pieces were early porcelain, 18th-century French, Will thought, judging by the irregular salt-glazed finish. They were also made in pieces and then combined into the final piece, as the “technology” did not exist in the early 1700’s to mold such intricate and large pieces in one mold.

A mark and the iron assembly helped to determine the identity of this circa 1740 Sevres end piece.

“They were also sophisticated in the detail and that the floral decoration is usually indicative of Meissen porcelain of the period, but the puttis/cherubs were typically French,” Will said. “The square iron bolts holding them together also dated them.”

What he had found, hiding in plain sight from all the experts and experienced buyers all day long, Will decided, were Sevres porcelain end pieces.

Still, he stood there for a few moments, blinking, because he couldn’t believe what he was holding.

Well, it was time to buy. Since it was 5 p.m. and the end of the first day sale, Will asked the persons conducting the sale to give him second-day pricing to save a trip back the next morning, and possibly waiting in line. He ended up with a very good deal, if not a textbook “Great Find.”

The sophistication in the detail and that the floral decoration is usually indicative of Meissen porcelain of the period, but the puttis/cherubs are typically French.

After getting his buy home, he called Thom Pattie, WorthPoint’s chief Worthologist, who, looking at photos send via e-mail, confirmed that Will had indeed made a good buy: the pieces were marked in an early Sevres mark and were made about 1740.

Wow, a pair of Sevres end pieces in great condition, acquired at a steal at $100, that are easily worth $1,000 to $3,000 each. This story only goes to show that when on the hunt for a Great Find, don’t disregard an item just because an “expert” passed on it.

Gregory Watkins is the editor of WorthPoint.com.

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One of a pair of Clodion vases, made at Manufacture Royale de Porcelaine de France, and given by Louis XVIII of France to Monsieur, his brother, future king Charles X. Hard-paste porcelain and gilt bronze, 1817.

There is a porcelain factory in France that in 1752 was designated as the Manufacture Royale de Porcelaine de France. France, no longer being a monarchy, there is no longer a “Royale” aspect to its name, nevertheless the Sèvres factory continues to produce porcelains fit for a king.

The town of Sèvres (pronounced “sev” with just the hint of an “r” at the end) is located two and a half miles southwest of Paris. However, to explore the history of Sèvres porcelain, one must first look to the town of Vincennes (pronounced “van-sen”), some two miles east of Paris, and further yet, the town of Chantilly (pronounced “Shan-tee-yee”), located 23 miles north-northeast of Paris.

Chantilly was the site of a soft-paste porcelain factory established in 1725. Porcelain is divided into two categories: hard paste, or true porcelain, and soft paste, or artificial porcelain. True porcelain is the result of combining two white clays, petuntze and kaolin. Petuntze is actually the Chinese term for little bricks; the name is derived from their practice of taking fusible feldspar or crystalline granite rocks, pulverizing them at the quarry site, and delivering them to the potter in the form of little bricks. Kaolin, the second ingredient of porcelain, is decomposed granite. It gets its name from Kao-ling, a mountain in Northern China near the town of Ching-te-Chen, where it was first obtained.

Kaolin is found in only a few places on earth. True porcelain is made by combining the kaolin and petuntze and firing the wares at a temperature no lower than 1,400 degrees Celsius or 2,552 degrees Fahrenheit. Fused together in the firing, the ingredients of true porcelain form a piece that is able to hold liquids, is impervious to acid, and is remarkably scratch resistant. Held up to the light, it is magically translucent, and unlike earthenware, it does not have to be glazed in order to be watertight. Artificial porcelain is a porcelain-like material made of substances other than kaolin and petuntze. The distinction stems from the different ingredients. There are various formulas; in England, limestone or animal bone ashes were included, while the glassy quality of French soft -paste porcelain results from its use of frit, an ingredient also found in glass.

The secrets involved in the making of true porcelain eluded the western world for centuries. Time and again, potters from several countries attempted to discover the mystery so that they could replicate the beauty of the pieces that were being imported, at great expense, from the Orient. The wares commonly known as Saint-Porchaire, made from about 1547 to about 1589 in France, are now thought to be the first European attempt that actually produced porcelain. That was soon followed by the wares known as porcelain de Medici made in Florence from about 1575 to 1600. Those formulas were apparently then lost, so from then on, until Johann Bottger’s 1709 success at Dresden, Europeans were not capable of producing true porcelain.

Ego, and the prospect of substantial financial rewards, led two brothers by the name Dubois to leave their management positions at the ceramics factory in Chantilly in the hopes of competing with Dresden. With the help of King Louis XV in 1738, they setup in a former horse-riding school in Vincennes and earnestly began to research. They hoped to be able to take the knowledge they had gained at Chantilly and, combined with the results of their research, bring the capability of making true porcelain to France.

For three years the Dubois brothers experimented. But success eluded them. Eventually, they were fired. One of their workmen, Francois Gravant, had gathered information pertaining to their experiments, and he sold the information to a member of the French Court. By 1745, a new company was organized at Vincennes; one of the principals was Orry de Fulvy, Louis XV’s minister of finance. The factory was still unable to produce true porcelain, but the soft-paste products produced there were well received. It was a particular favorite of Madame de Pompadour, the King’s mistress. She had considerable influence on the Court, and accounts of her life list her patronage and influence on the porcelain factory at Sèvres as her most lasting achievement.

Through Vincennes, she was able to combine her weakness for porcelain with her love of flowers. Beginning in 1748, the factory produced flowers made of soft-paste porcelain. Vases filled with hundreds of these exquisitely realistic “flowers” became the fashion. Madame de Pompadour reportedly once gave the king a surprise birthday party and decorated her home, inside and out, with porcelain flowers that had been scented to match nature. Her influence was great and, consequently, the factory was a success; so much so, that by 1752, the king had taken over its direction and awarded the factory the “Royale” designation.

Louis XV’s Gift to Pompadour

Prosperous, the facilities at Vincennes were deemed to be inadequate and in 1753 the factory moved to Sèvres; the new factory was built on land Louis XV had given Madame de Pompadour. Anxious to please her, in 1760 the King purchased the firm and proceeded to equip the factory with the best of everything.

King Louis XV of France equipped the factory at Sevres with the best of everything.

Jeanne-Antoinette Poisson, duchesse de Pompadour.

The first pieces made in Vincennes, still only capable of producing soft-paste porcelain, were with exception of the “flowers,” made primarily in rococo shapes. Many of the forms seemed to be borrowed by those already being used by French silversmiths. Early wares were decorated rather sparsely; motifs included small floral designs and Chinoiserie patterns. The designs made famous in Germany were adapted to the French taste. Important artists, gilders and sculptors were recruited to work at the Sèvres factory and technical achievements included the wonderful porcelain colors that were individually developed and introduced.

In 1745, the jaune jonquille background color was “invented.” It was a delightful daffodil yellow. In 1749 came bleu-de-roi, or royal blue; in 1752 bleu turquoise was introduced; and the famous pink called rose Pompadour was first used in 1757. It is sometimes incorrectly called rose Dubarry, but was actually developed prior to the beginning of the influence of the Comtesse Dubarry, who did not became the mistress of Louis XV until after 1768. Other early ground colors included bleu celeste, bleu lapis, gros bleu, apple green, and a purple called violet pensee.

Special effects included treating the background in such a manner that the porcelain resembles veined marble or tortoise shell; other patterns painstakingly replicated precious stones and minerals. On the early bleu lapis pieces, the background was painted on with a brush. These pieces are highly prized by collectors, although later examples where the pigment was applied directly onto the clay body, resulting in a more even application, have their own appeal.

Another success at Sèvres was biscuit, the production of unglazed pieces. Molded and then fired once and left without any further decoration or glaze, the early Sèvres biscuit pieces were so fine that they appeared to-be marble sculptures. Biscuit groups of children at play and allegorical figures soon found their way into the homes of the French nobility.

Louis XV served as the Sèvres factory’s most enthusiastic salesman. Once a year, the king’s personal apartments in Versailles were the site of a “sale,” where it was made obvious to the attendees that the level of esteem they would enjoy at Court was going to be directly related to the amount of their purchase. The royal patronage meant that Sèvres was awarded a number of lucrative commissions for official gifts of state, and when financial strains on the French treasury led to a meltdown of silver and gold table services previously used by the wealthy, large dinner services in porcelain were purchased as replacement.

Kaolin Deposits Discovered Near Limoges

The making of true porcelain by Sèvres would have to wait until the discovery of the kaolin deposits near Limoges. While the factory had earlier purchased the secret formula from a member of the Hannong family, famous for their production of faience in the eastern France town of Strasbourg, without kaolin, Sèvres was unable to capitalize on its knowledge of the formula. Initially, after the availability of kaolin was secured, the production of soft-paste porcelain continued to dominate, however, gradually the emphasis switched to true porcelain production.

This Sevres factory portrait plate of a young lady is beautifully hand-painted in intricate detail, was made in 1869.

During the reign of Louis XVI a new process was developed. It involved the application of colored translucent enamel over gold and silver foil; and resulting “jeweled decoration” was designed to simulate gems such as rubies, emeralds, and sapphires. The factory also produced porcelain plaques intended for use as inserts within furniture. The new queen, Marie Antoinette, patronized the factory as her predecessor, Marie Leczinska, had done. By 1779, the factory had essentially ceased to produce soft-paste porcelain and, although the results were different, owing to the harsher characteristics of true porcelain, the quality of the workmanship remained high. According to Sèvres factory records, it required two months’ work to produce just one plate of one of the services ordered by Marie Antoinette.

In the days immediately preceding the outbreak of the French Revolution, the Sèvres factory’s production records could have been used as an indicator of the chaos that was to follow. The nobility—the primary Sèvres customer—was leaving Paris in droves. To survive, the factory was forced to sell blank “seconds”; undecorated forms that for some reason or another did not meet its standards. The factory also sold decorated seconds. These were bought by other factories and independent porcelain painters, not only in France, but from around Europe, as well. If necessary, any existing decoration was removed, and the pieces were than painted. (These practices, by the way, resulted in pieces signed with the Sèvres mark—but actually not decorated by Sèvres artists—making their way onto the market). The factory survived the Revolution, but was on shaky financial ground. Many of the workers had left when the money for their wages was no longer available.

Enter Bonaparte

Enter Napoleon Bonaparte, who was soon to appoint Alexandre Brongniart as director of the Sèvres factory. No longer would pieces bear the royal crossed double “L” mark representing Louis XV and Louis XVI, that being the mark in use since the days when the factory was located in Vincennes. From 1793 and 1804, the initials “RF” representing Republic Franciase, replaced the kings’ monogram. In addition, in 1803-1804, pieces reflected the factory’s new title of Manufacture Nationale with the mark “M Nle.” With Napoleon’s elevation to emperor, the factory became the Manufacture Imperiale, the mark changing to “M Imple de Sèvres.”

Napoleon Bonaparte

Josephine de Beauharnais

The factory, although initially in shambles, prospered anew under the directorship of Brongniart. Some of it was due to the demands created by the chaos of the Revolution. For example, many châteaux had been looted; eventually their owners returned and ordered sets of replacement table services. Those new to being in power also ordered sets, as well, as did each of the newly crowned siblings of Napoleon, who were quick to anoint his or her reign with a proper set of porcelain from Sèvres.

Alexandre Brongniart was director of Sevres for 47 years.

During the days of Napoleon’s empire, the pieces produced at Sèvres were often a reflection of current events. For example, the “Egyptian service” celebrated Napoleon’s expedition to the Nile with a blue ground highlighted with gold hieroglyphics. In addition, each successful war campaign resulted in a commission for suites of large commemorative vases. In general, pieces made during the Empire period had more gold ornamentation on a less ornate, neoclassical form.

Brogniart would go on to head the Sèvres factory for 47 years, until his death in 1847. During his tenure as director, the Sèvres factory was able to regain its financial footings and initiated a program of technical and design innovation that ultimately restored its reputation for excellence. Royal patronage continued through to the final Louis … Louis Philippe, who reigned from 1830 to 1848 and the Second Empire of Napoleon III, 1852 to 1870.

Turn of the Century Artists

In the last quarter of the 19th century and the first decade of the 20 century, a number of innovative ceramic artists came to work at Sèvres. Marc Louis Solon was one. While at Sèvres, he learned the techniques of raised slip decoration called pate. He would later go on to leave France and bring the technique to the Minton factory in England. (Frederick Hurton Rhead’s father, Frederick Albert, was trained by Solon. Frederick Hurton Rhead is well known in the United States for his work at several potteries including Weller, Roseville and Arequipa).

A large antique figurative bronze clock with Sevres Porcelain, circa 1870.

This clock features hand-painted Sevres porcelain inserts.

Theodore Deck worked as an art director at Sèvres as did the sculptor, Albert Carrier de Belleuse. It was a very exciting time to be involved in the ceramic arts. France was the host for several major expositions during this time period and each factory did their utmost to outdo the others. Other famous artists that lent their talents to Sèvres factory include Auguste Rodin, Mathurin Meheut and Taxtile Doat.

The Sèvres porcelain factory has undergone several name changes in its more-than-250 years of existence. Today, as La Manufacture National de Sèvres, the factory continues in operation and remains one of the world’s most prestigious sources for elegant porcelain table services.

A monumental pair of Sevres porcelain urns measuring 29 inches tall, featuring painted scenes depicting muses on a cobalt blue ground, with the monogram of King Louis Philippe (1773-1850) on the reverse.

For ceramics collectors, marks are never the most dependable source of information, but they are particularly unreliable in the case of Sèvres. The various Sèvres marks are considered to be among the most copied marks in the world of antiques. Attributing a piece of porcelain to Sèvres by the marks alone leaves much room for error. More important is the study and knowledge of the chronological order of the factory’s stylistic development and the dates of the use of specific background colors, as well as the names of the painters, the dates they worked, and their individual styles.

The Hillwood Museum—the former home of Post Cereal heiress Marhorie Merriweather Post—near Washington, D.C., has an interesting collection of vintage Sèvres porcelain; some of the pieces dating back to when the factory was in Vincennes. Those interested in learning further about vintage Sèvres porcelain should avail themselves of such collections.

— by Adela Meadows

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The bad news begins in June 2008 when Goebel announces the end of production of Hummel figurines. In the mid-1990s, the “MI Hummel Club” claims to have 270,000 members, 200,000 of whom live in the United States. Goebel has distribution centers in Great Britain, France and Hong Kong plus a production facility in the United States. A decade later, the primary and secondary Hummel market is in collapse. When Goebel declared bankruptcy in 2006, investors jumped in to save the company and Hummel figures. The company was saved. The Hummel figures were not. Today, Goebel manufactures gift and household items. Remaining Hummel inventory was sold. News accounts stood silent concerning the disposition of the Hummel molds.

Pfaltzgraff closed its 39 Pfalzgraff factory stores, eight Farberware outlet stores and six clearance stores in late September 2008. Pfalzgraff’s York County (PA) distribution plant closed ealier this year. Lifetime Brands, Inc. acquired Pfalzgraff from Susquehanna Pfalzgraff in 2005.

During my tenure as executive director of the Historical Society of York County from 1ate 1972 to early 1977, Pfaltzgraff was in its golden age, supplying stoneware dinnerware in a variety of popular patterns to department and big box stores across America. I toured the plant on several occasions. Louis Appell, Jr., president of Susquehanna Pfalzgraff and a person with acute business acumen, is a member of the Society’s Board of Directors. Appell retired in 2002.

Recently I questioned whether or not I am too old to write this column. First, many of the things I used during my youth and early adulthood have become collecting categories in the antiques and collectibles price guides I edit. Some are now in museum collections. Second, many of these objects are no longer in production. The category histories in the price guides are revised to include the frightening sentence: “Ceased production in 19xx (or 20xx).”

The movie stars who appear in the black and white films shown on TMC, the Turner Movie Classic cable channel, are dead. Yet, I recognize almost all of them. My grandfather’s Hudson Hornet is one of the first cars I drove. When you mention “Hudson” to anyone under 40, they think river, if they think at all. Even poor “Henry” is forgotten.

Enough laments. What does all this mean to collectors?

Bankruptcy does not necessarily mean that a company is going out of business. Many companies, especially larger ones, emerge from bankruptcy as healthier corporate entities. The company moves forward, continuing to produce the same products it did prior to the bankruptcy. Plafzgraff is very much in business. While it no longer operates outlet stores, it has a very active online storefront.

Yorktowne, a popular pattern in the 1970s and 1980s, is still among the company’s five best-selling patterns, along with Naturewood, Napoli, Tea Rose, and Winterbury. Folk Art and Village, two other popular 1970s/80s patterns, still are available. The only change is sale location. An Internet sale Web site replaces multiple brick and mortar sale sites.

It is business as usual at Waterford Wedgwood. Deloitte, an international accounting firm serving as receiver, has the option to keep all or parts of the company operating, sell off brands, or shut down some operations. In less than a week, Deloitte announced it has a nonbinding “letter of intent” with KPS Capital Partners LP, a firm specializing in bankruptcies, employee buyouts, restructuring, turnarounds, etc., to acquire several of the brand names. Other potential buyers are likely to emerge.

Jane Kahn, a friend whose Internet savvy far exceeds mine, shares an e-mail she received from Replacements, Ltd., calling customers’ attention to the problems in the ceramics industry and suggesting that now is an excellent time to purchase pieces needed to complete dinnerware patterns before supply is exhausted. The supply, especially for popular patterns, will not run out. Popular patterns will remain in production. There is no need for panic buying.

The 21st century continues to change the how, what, when, where and why of collecting. Many axioms that governed the antiques and collectibles trade for centuries no longer hold true. An object becomes more valuable once it is no longer produced is an example. While subject to question in the 1980s and 1990s, this axiom’s death is attributable to the Beanie Baby retirement debacle at the beginning of the 21st century. Retirement means nothing if the production numbers are high. Supply exceeds demand and always will. Retirement is nothing more than an artificial sales device designed to promote the sale of current objects. Collector edition manufacturers played the mold-retirement and limited-number-of-firing-days cards numerous times in the 1970s and 1980s. Time has proven neither are true value-added factors.

When the British surrender at Yorktown in 1781, a military band is reputed to play a march entitled “The World Turned Upside Down.” Scholars have discovered this story is a myth. Musical historians have yet to discover a song with this title in the late 18th century. This aside, the title appropriately describes developments in the antiques and collectibles field in the 21st century.

Hummel figurines are a case in point. Tens of thousands of collector-speculators entered the Hummel figure market in the late 1970s and early 1980s. Collectors drove the market, a market fueled by a continuous rise in secondary market value, the creation of a collector’s club, the introduction of pseudo-limited edition pieces, and price guides whose authors supported a false view of market worth by increasing values in each edition.

The secondary market collapse of Hummel figurine prices begins in the early 1990s, almost a decade before the death knell occured. Back before I know better or understand the ramifications of what I am doing, I include a “What’s Hot” and “What’s Not” in the introductory material to “Warman’s Antiques and Their Prices.” When I place Hummel figurines in the “What’s Not” list in one edition, I receive an irate letter from a member of the Southern Iowa Hummel Collectors Club demanding I come to Iowa and explain myself.

Goebel still owns the Hummel molds. Will there be an occasional reissue? The odds are high there will be. If sales are successful, there will be others.

Goebel’s cessation of the production of Hummel figures after 74 years marks the end of an era. Not many products can boast a 74-year life span. Barbie turned 50 this year. Will she survive until she is 74? Count me among the doubters.

The cessation of the production of Hummel figures also marks the beginning of the end of remembrance. As each year passes, the number of individuals who collect and/or remember Hummel figurines diminishes. Older collectors will die far faster than new collectors can replace them. Will Hummel figurines still be in price guides, whether electronic or printed, in 25 years? The answer is maybe. Will the same be true 50 years from now? The answer is no. Hummel listings will be gone.

What does all this mean to collectors? It means that there are no guarantees of long-term collectability. Every collecting category has to prove its viability on a daily basis. Each change needs to be evaluated and interpreted. Some interpretations will please while others will disappoint. We need to be prepared to take the bad with the good.

—————————————-

Rinker Enterprises and Harry L. Rinker are on the Internet. Check out his Web site.

You can listen and participate in “WHATCHA GOT?” Harry’s antiques-and-collectibles radio call-in show on Sunday mornings between 8 a.m. and 10 a.m. Eastern Time. It streams live on http://www.gcnlive.com on the Genesis Communications Network.

“SELL, KEEP OR TOSS? HOW TO DOWNSIZE A HOME, SETTLE AN ESTATE, AND APPRAISE PERSONAL PROPERTY” (House of Collectibles, an imprint of the Random House Information Group), Harry’s latest book, is available at your favorite bookstore and via Harry’s Web site: http://www.harryrinker.com

Harry L. Rinker welcomes questions from readers about collectibles, those mass-produced items from the 20th century. Selected letters will be answered on this site. Harry cannot provide personal answers. Photos and other material submitted cannot be returned. Send your questions to: Rinker on Collectibles, 5093 Vera Cruz Road, Emmaus, PA 18049. You also can e-mail your questions to harrylrinker@aol.com. Only e-mails containing a full name and mailing address will be considered. Please indicate that these are questions for WorthPoint.

Copyright © Rinker Enterprises, Inc. 2009

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An example of a Toby character mug, this one a bootmaker from the “D” series.

The back of Royal Doulton the Bootmaker Toby Mug, identified as D6572.

The Royal Doulton hallmarks and production information for the bootmaker mug.

Porcelain and china firms usually take their names from the company’s founder. In 1815, John Doulton became a partner with a widow named Martha Jones—whose late husband had originally founded Lambeth Pottery—and the foreman of the pottery, John Watts. The pottery operation began its new incarnation as Jones, Watts, and Doulton, but would became best known under the Doulton name in 1853, as the business thrived by specializing in stoneware, such as bottles, sewer pipes, water filters and chimney pots.

By the mid-19th century, the company expanded into the production of decorative stoneware that rivaled the finest in the world. It was John’s son Henry Doulton who took the company through its next stage of development, expanding into a line of art pottery in 1871 with the opening of the Lambeth pottery. The Lambeth pottery offered students and designers from the local art school the opportunity to produce designs for the company. The new line was a great success, thanks to the work of artists such as Florence, Arthur and Hannah Barlow, Eliza Simmance, George Tinworth, George Butler, and Mark Marshall.

The company entered into the production of fine porcelain that it is now famous for after purchasing Pinder, Bourne & Co. of Burslem, England, in 1882. Under the direction of John Slater, Doulton moved rapidly into the production fine quality decorative porcelain, winning honors at major international exhibitions for their tremendous variety of figurines, vases, character jugs and other decorative items. This success brought Doulton to the attention of the royal family, the company then being allowed the honor of using the world ” Royal” by King Edward VII in 1901.

It was during this period that the company began production of its famous line of decorative “Series Ware,” such as the “Gibson Girl” plates, circa 1901, “Dickens ware” pottery, plates and figurines in 1911, the “Robin Hood” series in 1914, and the “Shakespeare” series in 1914. The most well-known of these pieces are the “HN” numbered figurines still in production today. The first being designated HN1 “Darling” in 1913. The “HN” stands for Harry Nixon, the head artist in charge of decorating the figurines. Other noted artists who worked on the designs and decoration were Authur Barlow, John Sparkes and George Tinworth. The popularity of Royal Doulton’s figurines brought about other lines, such as the “Nursery Rhyme” series in 1930 and the “Bunnykins” line in 1933. The company continues to issue new lines of collectibles every year and expanding existing line such as the HN figurines and the “D” series Toby Mugs.

Mike Wilcox, of Wilcox & Hall Appraisers, is a Worthologist who specializes in Art Nouveau and the Arts and Craft movement.

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As early as the 1760s, several English companies were making cottages in both porcelain and pottery, to be used as pastille burners, used either to fumigate or deodorize the home.

Over the last few years collecting cottages, especially those made by the company Dept. 56—such as the Original Snow Village and the Dickens Village—as well as the sculptured English homes made by David Winter, have become some of the hottest new collectibles. This collecting of cottages is far from being a new phenomenon, however.

As early as the 1760s, several English companies were making cottages in both porcelain and pottery, to be used as pastille burners. (A pastille is a small pellet of an aromatic paste, used either to fumigate or deodorize.) The small cone of something like charcoal or gum arabic was saturated with the fragrance to be used, placed on a base, lit, and covered with the cottage. The perfume rose up the chimney and helped rid the room of the many odors always present in homes of the day.

By the 1800s, cottages were being used as night lights. These usually had cut-out windows, with a Gothic arch shape being especially popular. The first of these had little open bowls in which a wick floated in oil, often whale oil. Later in the 1800s, when slow-burning, non-guttering candles had been invented, these were used inside the cottage. Most of the cottages were made so that the whole building lifted off the base, but a few just had roofs that lifted off, like the lid off of a box. Occasionally, one of the walls lifted off.

A 19th-century English Staffordshire pastille burner in the shape of a thatched-roof cottage, circa 1850.

An example of a pastille burner that was not made in the shape of a cottage. This one is vase-shaped.

A 19th-century finely molded English Staffordshire cottage pastille burner with shaped roof, circa 1850.

Most of the well known English porcelain and bone china makers produced these cottages. Spode, Rockingham, Coalport, Derby and Worcester all produced a great number of this type of night light during the peak years of 1820 to 1840.

At the same time, cottages were also being made to serve as money boxes, tobacco jars, and even inkstands, as well as night lights.

And just as is true today, the “cottages” weren’t all cottages. There were also castles, watermills, clock towers, farmhouses, toll houses and gatehouses. Many of the pieces had intricate decorations of flowers added to the outside of the structure. Spode’s cottages were almost smothered in tiny little flowers.

At the same time that the elegant bone china cottages were being made, a large number of pottery ones were also being produced. Some delightful ones from the late 1700s were made to resemble half-timbered buildings. This was a popular style than extended well into the 1800s.

These pottery cottages tended to be larger and heavier than those of bone china. They occupied a prominent place on the mantelpiece, where they again served as pastille burners.

Although the earthenware material does not lend itself to the intricate floral arrangements found on the bone china cottages, other interesting effects were created. Some showed every detail incised in the clay, such as the bricks of the chimney.

Pastille burners crafted during from 1810 to 1850 come in a variety of appearances and have a wide range of quality. This ranges from a plain home design with little to no painting to detailed work flowing with color and even some gold trim work.

An interesting variation of the pottery cottage was its use as a watch holder. These could be as much as 12 inches tall, and had a circular hole designed as part of the structure. The pocket watch could be placed in this opening, and the ensemble could then function as a mantel clock or bedside clock. The pottery cottages were often sold as souvenirs, and many of them were made to represent famous buildings. One particular set of two, made by at least three different potteries in 1848, represented Potash Farm, the home of a murderer named James Rush, and Stanfield Hall, the home of his victim, Mr. Jeremy.

Just as ceramic cottages are not a new thing, neither are reproductions. Through the years, there have been reproductions made of these 150-250 year-old pieces, some adding the marks of famous potteries. Of course, by now, many of the reproductions are antiques in their own right. If you’re buying an old cottage, buy it for its own charm and don’t worry too much about who made it.

For a detailed discussion of early ceramic cottages, see “More Small Decorative Antiques,” by Therle Hughes. (This is an old book, published in 1963; check with your library.)

— By Donna Miller

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Sometsuke

Blown in design cranes, 1630-1640

Iron under-glaze decoration, 1640s

Filled in outline with iron highlight, 1640s

Iron and celadon over white, 1750-1770

Blue and white ware is probably second only to colored over-glaze decoration in being recognized as coming from the Arita area. Cobalt, imported from China, was used initially. As the civil wars in China made it increasingly difficult to get supplies, and what was acquired was of unreliable quality, the Japanese turned to their own supplies of cobalt.¹. There are several methods that were used to decorate the pieces in blue and white. The outline of the form was drawn in cobalt and then filled in with brush strokes². Another method was for the outline to be filled in with blowing the cobalt from a type of atomizer³. Another type of decoration seen is to use a resist to leave a negative space image that would be white with the surrounding area blue⁴. This technique started in the 1650s and was used right through the Edo period and into the late 19th century.

The final two of the most common ways to decorate were stencils and stamps. The stencils were made out of a type of paper and were used a couple of times before being discarded. It is easy to tell if a piece is made with a stencil design. Any long lines will be broken up into segments.

The stamps were made from a type of processed plant. They also were used for a limited period before being discarded. Both the stencils and stamps were seen in the middle of the Edo period.

Tetsue

The use of iron as an under-glaze pigment has a long history⁵. The amount and quality of the iron in the pigment, combined with the firing process, will give the piece a color that ranges from brown to black. The higher the iron content, the more tendency to come out of the kiln black.

The use of iron as an under-glaze⁶ pigment was influenced by Korea. Towards the end of the 16th century in the Karatsu and Mino areas, kilns started using it as a pigment. There were a lot of wares produced in the time period of 1590-1610. In the Hizen area from the 1630-1649, there was a large increase in production of ware that used iron as an under-glaze pigment. The ware produced at that time had a very thin application of clear over-glaze.

Shinshayu

Copper in the glaze or in the under-glaze pigment also played a big part in ware from Hizen. The color ranges from green to red depending on the firing method. Very similar to celadon, this type of decoration is seen from the beginning of ceramics being fired in the area, and certainly was on the rise in the 1640s. The usage ranges from the whole piece being covered in the glaze or being used just as a decorative element. The volatility of copper in the kiln made this glaze a difficult one to produce. It had largely faded out by the second half of the 17th. century.

Shiroe

White slip trailed raised design, 1630-1640

White on celadon, 1650-1670

White slip trailed, 1650-1670

White resist and slip trail 1630-1650

The last type of under-glaze type decoration is ware decorated with white. This may mean the whole piece is decorated white or there may be just a portion done in white. White decoration done under the main clear glaze is called shiroe in Japanese.

There are a number of processes to achieve this. Paper stencils⁷ were used, as were a process where a thick slip was trailed over the base form to give a raised design⁸. There is a major difference in application of stencil design elements on white ware and celadons. In white ware, the design is always applied below the glaze. In celadons it is usually applied over the glazes; that is to say on top of the glaze.

Stencil work is seen extensively in work from Hizen from the Edo period, with the majority produced from the middle of the 17th century through to the middle of the 18th century.

_____________________________________

¹ The Japanese word for cobalt is gosu. While I think gosu is different from cobalt, it is for all purposes a type of cobalt.
² The Japanese word for this type of decoration can be broken into two parts, each matching the process. The outline drawing is called rinkaku: rin=line, kaku=draw. The painting in of the image is called dami, a single character that means just that, filling in with color although it is usually associated with gold and silver.
³ Called fukizumi in Japanese: Fuki= blow, zumi = ink.
⁴ This way of decorating has a number of names in Japanese: Kakiotoshi and sumihajiki.
⁵ There are many names for the different pigments. Kurosabi: kuro = black, sabi = rust; oniita: (the translation doesn’t make sense, oni = devil, ita = board); oodo: oo = yellow do = earth; benigara: this word probably comes from a different language so there aren’t any Japanese characters associated with it. These are a few of the pigment names.
⁶ Copper in the over-glaze is called shinshayu in Japanese. In the under-glaze pigment it is called shinsha. The name in Japanese is the same kanji that is used for mercury sulfide, cinnabar.
⁷ Called Shiro tsuchi kata gami zuri in Japanese. The word breaks down as shiro=white tsuchi=clay, kata=design
⁸ This process is called icchin. According to my books this process, while close to some processes used in China, was peculiar to Japan.

David Pike is a Worthologist who specializes in items from Japan.

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