Pottery and Porcelain, from early times down to the Philadelphia exhibition of 1876Elliott, Charles Wyllys
History
Pottery and Porcelain, from early times down to the Philadelphia exhibition of 1876
Elliott, Charles Wyllys
Pottery -- History; Pottery -- Marks
The sales of Palissy ware at the Bernal sale were not at the high
figures they afterward reached. The prices ran from seven to one hundred
and sixty-two pounds, the latter price having been paid for a circular
dish twelve and a half inches in diameter, which, having been broken
into pieces and mended, was bought by the Baron Rothschild.
We give, in Fig. 77, another style of work--a very beautiful jug in the
collection of the Louvre. It is there placed among the works of Bernard
Palissy; and there are various other pieces of like work so catalogued
in the public and private collections of Europe. But there are doubts as
to these, which in some minds approach to certainty--doubts whether
Palissy himself worked at all with the human form. It is well known that
he was a naturalist, a geologist, a scientist, but it is not certain
that he was an artist in this direction. Some students assert distinctly
that he was not; and it seems most probable that he was not a modeler of
the human figure.
As work like this, shown in the last illustration, has for so long a
period been attributed to him, it has seemed desirable to give an
example of it in our pages. That it is work of his time, if not made by
him or under his direction, is not questioned.
HENRI-DEUX WARE: FAIENCE D'OIRON.--This unique earthen-ware for years
perplexed the lovers of pottery. It seemed to appear from Touraine and
La Vendée, and only here and there a piece. It was so peculiar, so
different from any and all the known styles, that no one could decide
whence it came or by whom it was made. The impression--and it was only
an impression--seemed to be that it must have come out of Italy, and
that Benvenuto Cellini was as likely as any one to have had to do with
its designs or execution; and this simply because he was known to have
stamped his peculiar taste upon works which might be classed with this
only in expressing the finer forms and decorations of the Italian
Renaissance.
A few pieces only of this ware came to light from time to time, but they
were eagerly seized upon, and they gave rise to much speculation. Why
there should be so few, and why no traces of like ware were found in
other directions, remained for a time a mystery. But it was solved. I
quote here from a paper by Mr. Ritter, which sums up what is now known
upon the subject; he writes with the knowledge and appreciation of a
practical potter:
Public-domain text, read in full here on John Shaqi.
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