Chats on Royal Copenhagen Porcelain

By Arthur Hayden

Arthur Hayden in the book "Chats on Royal Copenhagen Porcelain" discusses the history and art of the Royal Copenhagen Porcelain Factory. This book also contains illustrations of beautiful ceramic Copenhagen artworks. A historical work for people with a passion for art and ancient beauty.

• Language: English
• Publisher: DigiCat
• Release date: Jun 2, 2022
• ISBN: 8596547041764

Book preview

Arthur Hayden

Chats on Royal Copenhagen Porcelain

EAN 8596547041764

DigiCat, 2022

Contact: [e-mail]

Table of Contents

PREFACE

CHAPTER I THE EARLY HISTORY OF THE COPENHAGEN FACTORY THE FOURNIER PERIOD SOFT-PASTE PORCELAIN (1760-1766)

CHAPTER II FRANTZ HEINRICH MÜLLER (1773-1801) QUEEN JULIANE MARIE PERIOD PART I (1775-1780)

CHRONOLOGY

CHAPTER III FRANTZ HEINRICH MÜLLER (1773-1801) continued QUEEN JULIANE MARIE PERIOD PART II (1780-1796)

CHRONOLOGY

TABLE OF MARKS

LIST OF LEADING PAINTERS AND MODELLERS

CHAPTER IV FIGURE SUBJECTS AND GROUPS (1780-1820)

CHAPTER V THE FLORA DANICA SERVICE (1790-1802) MADE FOR CATHERINE II, EMPRESS OF RUSSIA

CHAPTER VI EARLY BLUE-AND-WHITE UNDERGLAZE PAINTED

TABLE OF MARKS

CHAPTER VII THE SUCCESSORS OF MÜLLER (1820-1880) THE DECADENCE

CHAPTER VIII THE MODERN RENAISSANCE

Underglaze Painted

Overglaze Painted Porcelain

TABLE OF MARKS

CHAPTER IX FIGURE SUBJECTS AND GROUPS RENAISSANCE PERIOD

CHAPTER X CRYSTALLINE GLAZES

CHAPTER XI COPENHAGEN ART FAIENCE

CHAPTER XII THE FACTORY TO-DAY

INDEX

PREFACE

Table of Contents

A good wine needs no bush is an old English proverb, and this is essentially true in regard to the art of the Royal Copenhagen Porcelain Factory. The late M. Louis Solon, in preparing his colossal bibliographic work on Ceramic Literature, called my attention to the curious fact that a small pamphlet (some four and a half by five inches square, of fourteen pages) written by me originally for the Artist magazine in 1902, and reprinted as a guide to the Royal Copenhagen porcelain exhibit at the Wolverhampton Exhibition in 1902, was marked rare and being sold to collectors for five shillings. M. Solon, with his usual perspicacity, added: "It looks as though, in its course from East to West, ceramic painting has deserted its old home to take refuge in the North. C'est du Nord aujourd'hui que nous vient la lumière!"

In 1911, Royal Copenhagen Porcelain: Its History and Development from the Eighteenth Century to the Present Day was issued by my publisher, who in bringing out this sumptuous monograph fell under the spell of the beauty of Copenhagen art. That volume appealed to connoisseurs and collectors and was welcomed both here, on the Continent, and in America.

It has been thought desirable, in view of the limited circulation of that volume, to issue a popular edition, which is here presented in a slightly abridged form with none of the essentials omitted. Many of the illustrations have not found their way into this gallery. But a brave array of pictures is given to convey to the general reader, and to those who have not perused the larger volume, the chief characteristics of Royal Copenhagen porcelain, and indicate reasons why this factory is now regarded as the leading factory in Europe.

How many of the great factories of the world can claim two great epochs in their history? But Copenhagen can do this. The first is the Müller period (overglaze decoration), when the factory assumed its well-known mark, in 1775, of the three blue lines indicating the three waterways of Denmark—the Sound and the Great and Little Belts. The second great period, the Modern Renaissance (underglaze decoration), practically commenced in 1885.

The porcelain of this factory has long been held in high esteem. Admiral Nelson in 1801, when with the British fleet outside Copenhagen, wrote to Lady Hamilton, I was in hopes to have got off some Copenhagen china to have sent you; and later, As I know you have a valuable collection of china, I send you some of the Copenhagen manufacture. The bowl made at the royal factory in memory of the brave Danes who fell in the battle of Copenhagen is herein illustrated.

The Encyclopædia Britannica (11th Edition), 1911 (article on Ceramics), awards a high place to the Royal Copenhagen Factory, the productions of which are not only famous all over the world, but have set a new style in porcelain decoration which is being followed at most of the continental factories.

At the present time museums and private collectors in this country and in various parts of the world are acquiring Royal Copenhagen porcelain on account of its artistic character.

Ordinary collectors of porcelain have always been desirous of selecting a subject which has not been exploited. The Worcester vase which to-day brings two thousand guineas at Christie's was once bought when it was new for as many shillings by some person who recognized its beauty. But in regard to old factories, most of the histories have been written to extol their work when the factory had closed down for ever. The lack of contemporary records of English porcelain is particularly noticeable. It is as though the factories attempted to hide their personalities, as indeed they did disguise their productions by trade signs only decipherable by the indefatigable zeal of later generations. They assumed pseudo-Chinese marks or adopted the crossed L's of Sèvres and the crossed swords of Meissen, to the confusion of collectors a hundred years afterwards. It is therefore with no misgiving that in the present volume modernity receives due consideration. National recognition for the artist potter comes, alas! often too late.

In passing, we may add that there are some wonderful productions being made in England to-day, especially in earthenware, and those who are buying wisely are laying down wine for posterity.

I have to offer my renewed thanks to the various museum authorities, mainly in Scandinavia, and to private collectors and friends who were duly acknowledged in my larger volume as being instrumental in affording me access to data on a new subject.

In that work, although the omission was corrected in the German edition published at Leipsic in 1912, various notes were embodied and remain in the present volume, which were supplied to me by correspondents without any knowledge on my part that they were based on the work of Professor Nyrop of Copenhagen, who has made assiduous research into the history of the old Copenhagen factory, and to whom, therefore, a tribute is in courteous acknowledgment obviously due.

A new chapter has been added to this volume dealing with Copenhagen Art Faience, the character of which ware has claimed recognition from competent critics throughout Europe and in America as having brought a new note into ceramic art.

ARTHUR HAYDEN.

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CHAPTER I

THE EARLY HISTORY OF

THE COPENHAGEN FACTORY

THE FOURNIER PERIOD

SOFT-PASTE PORCELAIN

(1760-1766)

Table of Contents

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CHAPTER I

THE EARLY HISTORY OF THE COPENHAGEN FACTORY

THE FOURNIER PERIOD

(1760-1766)

Establishment of porcelain factories in Europe—The German School and the French School—Hard paste—Soft paste—The new ceramic art—The great secret—The secret divulged—The first porcelain in Denmark.

In order to understand the initial stages in the history of the manufacture of porcelain in Denmark, it is necessary to review the peculiar conditions in which china factories existed in the eighteenth century. At the middle of the century there were two great schools, the German and the French. The former made hard or true porcelain according to the formula of Meissen, and the latter made soft or artificial porcelain in the manner of St. Cloud.

Hard Paste.—The impulse of the Western potter had always been to reproduce exactly and chemically the Oriental porcelain. Until the first decade of the eighteenth century this had not been achieved. The news of the great discovery by Johann Fredrich Böttger, in 1709, of a white translucent porcelain, having all the characteristics of the Chinese ware, ran like a flame throughout Europe. Translucent porcelain may be either what is termed hard paste (pâte dure), containing only natural elements in the composition of the body and the glaze; or soft paste (pâte tendre), where the body is an artificial combination of various materials used as a substitute for the natural earths. All Chinese or true porcelain is of the hard-paste variety. The term pâte tendre really applies to the feeble resistance of this artificial porcelain to the action of a high temperature as compared with that offered by true porcelain, and also to the softness of the glaze, which can be scratched by steel.

The body of the true porcelain is essentially of two elements—the white clay or kaolin, the infusible element which may be said to be the skeleton, and petuntse, the felspathic stone, which is fusible at a high temperature, which may be termed the flesh, and gives transparency to the porcelain. Of the two Chinese names, which have become classical since they were adopted in the dictionary of the French Academy, kaolin is the name of a locality where the best porcelain earth is mined, and petuntse, literally white briquettes, refers to the shape in which the finely pulverized porcelain stone is brought to the Chinese potteries, after it has been submitted to the preliminary processes of pounding and decantation.[1]

[1] Chinese Art, vol. ii. p. 16, 1906, by Stephen W. Bushell, C.M.G. (late Physician to H.M. Legation, Peking).

Soft Paste.—The artificial porcelain, which was difficult of fabrication, was an imitation of the true Chinese porcelain, although its whiteness, its translucency, and its brilliant glaze have all the appearance of true porcelain. Kaolin and petuntse are of little importance in the composition of soft porcelain. Its transparency was obtained by the addition of glass, its plasticity by the use of soapstone, and its glaze by an admixture of silica and lead. Moreover, the composition of artificial porcelain has required researches and combinations much more intricate than those which had led to the discovery of hard porcelain, the latter being produced by two substances already provided by nature.

Imitative porcelain had been made at Florence under the auspices of the Grand Duke of Tuscany as early as from 1568 to 1587, of which fabrique only about thirty pieces are known. France is the most prolific in porcelain factories of the pâte tendre, as it came afterwards to be termed in contradistinction to the pâte dure or true porcelain of Meissen. The factory at St. Cloud lasted from 1695 till 1773. Vincennes was founded in 1740, and was finally transferred to Sèvres in 1756, which factory stands paramount in its porcelain, known to collectors as vieux Sèvres.

At Nove, near Venice, in 1752, Pasqual Antonibon brought from Meissen a potter, Sigismond Fischer, to construct a furnace for making porcelain in the Saxon style. In 1761 there were three furnaces, one for hard paste ad uso Sassonia, and two for soft paste ad uso Francia.[2]

[2] Marks and Monograms on Pottery and Porcelain, by William Chaffers. (Letter from Francesco Antonibon to Lady Charlotte Schreiber.)

It will thus be seen that the two schools had begun to run side by side. The crowning point was in 1768, when the Sèvres factory commenced to make hard paste. Both bodies were simultaneously made until 1804, after which the manufacture of soft porcelain at Sèvres was discontinued by M. Brongniart. In 1847, the old style was revived by his successor, M. Edelman (Report on Pottery at the Paris Exhibition by M. Arnoux, 1867).

In general, it may be said that the manufacture of soft porcelain is beset with difficulties and uncertainties. Its artificial composition renders it capricious in the kiln. In connection therefore with the modern manufacture of Sèvres of the old pâte tendre variety, it is interesting to record that in the late eighties the original formulæ of the early potters were used in an attempt to reproduce the old body, but had, after repeated and costly failures, to be abandoned as hopeless.

SUCRIER AND COVER.

Fournier period (1760-1766). Soft-paste porcelain.

DISH AND COVER AND CUSTARD CUP.

Fournier period (1760-1766). Soft-paste porcelain.

(At Rosenborg Castle, Copenhagen.)

In regard to England, it is interesting to note in passing that the old porcelains so highly prized by collectors are all artificial with the exception of Plymouth (1768-1771), Bristol (1771-1781), followed by the company of Staffordshire potters at New Hall who bought the Bristol factory patents, although Wedgwood in his jasper ware and Staffordshire salt glazed ware are fine stone wares which approximate to true porcelain.

Our soft-paste factories are here set in chronological order: Bow (1745), Chelsea (1745), Derby (1751), Worcester (1751), Lowestoft (1762), Caughley (1772), Pinxton (1795), Coalport (1798), Minton (1798). It should be observed that these, as do all soft-paste porcelains, differ in body in an enormous degree, whereas the true porcelain differs in a minor degree whether it be Canton or Meissen.

It was only for fifty years that the English potters used the capricious body of the glassy soft porcelains then made. Gradually, by experiment, the standard body for artificial porcelain was perfected by the addition of bone-ash, which has been adopted since the late eighteenth century in varying forms by all English potters. It is more related to true porcelain, and is as safe to manufacture as that body, and at a lower heat, but it retains many of the qualities of the soft body. The painted colours melt into the glaze in its final firing and produce that mellow effect so much esteemed by connoisseurs of old porcelain. It is peculiarly English, and stands unique in having technical assets not possessed by any other porcelain. This is something great to record to the honour of the English potter in his mastery of technique.

The New Ceramic Art.—The eighteenth century, in spite of the wars which shook the kingdoms of Europe to their foundations, showed a singular enthusiasm for the art of the potter. A reference to a table of the factory marks of European porcelain of that period will disclose the fact that most of the leading factories were under the auspices of royal or noble patrons whose arms or monograms were incorporated in the mark of the factory.

Kings, princes, electors, grand