Although this pair of Nineteenth Century French faience vases are small, they punch-above-their-weight when it comes to hand-painted decoration. They were made in the third quarter of the Nineteenth Century.
Faience uses tin-glazes. The addition of oxide of tin to the paint gave the piece an opaque—usually white—base coat upon which other colors could then be applied. This tin-glaze effectively concealed the (usually red) clay beneath, thus "priming" the ceramic as a blank slate (ready for additional, fanciful decoration). This development was an important milestone in the evolution of ceramics- and tile-making.
It is believed that the first tin-glazed ceramics were produced in Iraq in the 800's. Through Arab trade and Islamic emigration, faience wares (and production techniques) began to spread to other countries. First Persia, Egypt and Spain. In the 1400's, to Italy (just in time for the Renaissance). Later, in the 1500's, faience was being made in England, France and the Netherlands.
The Italian town of Faenza (situated in Eastern Italy, roughly between Ravenna and Bologna) became a center of excellence in the production of such wares in the 1400's. The French name Faience was derived from the Italian city's name, Faenza. It also is sometimes called Delftware (from the Netherlands) or Hispano-Moresque Ware (from Spain). And the name Maiolica (or Majolica) refers to the Mediterranean Spanish island Majorca—which was a transit point for early Spanish goods being shipped to Italy (during the late Middle Ages).
Faience (of all varieties) reflects the cultures and aesthetics of the many different places from which it comes. In some areas, geometric designs prevail. In others, fanciful landscapes, scenes or portraits may be produced. Faience can be produced on a flat surface—like a tile or plate—or it can be applied to a highly-dimensional, sculpted form (like a covered soup tureen or fish platter). Faience (when the term is used generically) does not describe the form of the ceramic vessel or the style of the decoration. Instead, it refers to the tin-oxide glazing—which provides the blank screen upon which the artist may project his or her painted designs.
The little pair of French faience cabinet vases are small (standing only 3.25" tall). The cornucopia vase is supported by a dolphin—and the whole is mounted upon a craggy rock. The variety of the painting leads me to believe that the artist-decorators (frequently women) were allowed a bit of a free hand to create their own designs (if they were good enough). Naturally, some decorators were better than others, however, truly, no two pieces are ever the same. Click on the photo above to learn more about this fanciful pair of French faience vessels.
Though our Greenwich Village store is now permanently closed, LEO Design is still alive and well! Please visit our on-line store where we continue to sell Handsome Gifts (www.LEOdesignNYC.com).
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