Niderviller earthenware factory – Wikipedia

The Niderviller earthenware is one of the oldest earthenwareries in Lorraine and one of the last three still active among the thirty manufactures which were created there in XVIII ^{It is} century. It is also the second factory in France to have made porcelain, but the first to have made porcelain Merchant ^{[ first ]} . It was created in Niderviller (Moselle) in 1735. Taking the best party of its geographic location, close to Germany and its technical know-how (we think in particular of Meissen) and influenced by French artistic movements (notably Antoine Watteau), the finesse of her productions often compare her to the Sèvres factory ^{[ 2 ]} The Geoup argument (value “n”) does not exist in the model called ^{, [ 3 ] , [ n 1 ]} .

Faïencery is today a subsidiary of the group The pretty ceramics without Kaolin ^{[ 4 ] , [ 5 ]} .

The Niderviller earthenware is located in Niderviller, at the time in the Trois-Bishops territory ^{[ 6 ] , [ n 2 ]} , today in the department of Moselle, in Lorraine. The site, in the heart of the Vosges massif ^{[Personal interpretation?]} benefited from a red clay career of the Muschelkalk type, testimony of an old sea.

The Age of Enlightenment and nobility [ modifier | Modifier and code ]

In 1735, Anne-Marie André, widow Déontaine, lady of Niderviller, had the idea of ​​making her careers and forests profitable by launching a earthenware factory. This new job has been developing for a few years, notably in Lorraine (for example Pexonne in 1719 or the earthenware of Lunéville in 1730), due to the resources that abound there. To do this, she calls on a Master Faïencier de Badonviller, Mathias Lesprit ^{[ 7 ]} .

The Vosges red sandstone building intended to welcome earthenware (it still houses this activity to date) is built on land belonging to it in the place of an old stately mill. The first parts were produced with the technique of big fire and was inspired by the decorations of the earthenware of Rouen ^{[ 7 ]} .

However, affairs do not prosper that hoped, forcing its nephews for sale to Jean-Louis Beyerlé, director of money in Strasbourg. He buys earthenware on September 4, 1748 for 90 000 books ^{[ 8 ]} .

Taking advantage of lower taxes linked to its position in the lands of the three -bishoprics (compared to Alsace and the neighboring ducal Lorraine) and wishing to compete with the most prestigious factories, like that of Strasbourg’s earthenware of C.F. Hannong -Dont He imitates floral patterns ^{[ 9 ]} , he hires workers and earthenware from nearby Alsace, including François-Antoine Anstett trained in Meissen. The latter became director of the factory in 1759 after the fire which ravaged the buildings in 1751 and introduced the technique of the technique little fire . The bouquets of naturalistic flowers which were painted at that time was also inspired by Jean-Baptiste Monnoyer, while those said chared have clearly a German origin ^{[ ten ]} . Niderviller is also a specialist in rocky style.

F.-A. ANSTETT is a painter, arcanist and chemist ^{[ 11 ]} Remarkable who arrived in 1763 (from 1759 according to other sources), with Kaolin de Passau (Austria) ^{[ twelfth ]} -It bought his own career a little later in Saint-Yrieix-la-Perche ^{[ 13 ]} and the help of workers from Saxony (LAND) in Germany ^{[ 14 ] , [ 15 ]} , to produce polychrome hard porcelain. Maybe that’s what pushes J.-L. Beyerlé for sale ^{[ 16 ]} Because the royal judgment of February 15, 1766 reserves the privilege of this type of production exclusively at the Manufacture of Sèvres and it is therefore the subject of threats from the royal intendants for this offense. Beyerlé was also worried because her sculptor Philippe Arnold (former Frankenthal) had too well imitated certain statuettes of the Royal Manufacture of Sèvres produced by Jean-Claude Duplessis, while other figurines were inspired by pastoral or gallant models dear to François Butcher ^{[ 17 ]} and even more ( Les Cris de Paris ) engravings by Edmé Bouchardon, Jacques Callot, Hubert-François Gravelot, Abraham Bosse, Charles Monnet etc. ^{[ 18 ]} .

The manufacture is therefore sold in 1770 -years where it provides pots at pharmacy the abbey saint -school of Toul ^{[ 19 ]} – with the seigneury for 400 000 Livrs to Adam Philippe de Cortine, Maréchal D Campers and Disyries Es Dés, Gouverneur de Toulon ^{[ 20 ]} . He continued the work of his predecessor and keeps the same director until 1778 ^{[ 21 ]} , which launched the blowjob or fine earthenware with naturalistic sets of butterflies and insects ^{[ 22 ]} . He then appoints François-Henri Lanfrey (1749-1827) as new director ^{[ 23 ]} . Under his ferrule, Niderviller hires Joseph Seeger as a chemist and develops landscapes in trompe-l’oeil at the corneal corner, often in shades of purple on the background false wood ^{[ 24 ]} , of which many signed J. Deutsch, particularly renowned for his eyelets ^{[ 25 ]} ,-which then went to work at the Manufacture de Sèvres-, certainly related to François-Joseph Deutsch ^{[ 26 ]} .

In 1779, earthenware factory bought part of the molds of Paul-Louis Cyfflé ^{[ 27 ]} And welcomes her best student, Charles Gabriel Sauvage dit Lemire ^{[ 28 ] , [ n 3 ]} (1741-1827) ^{[ 29 ]} . The latter also made many ^{[ n 4 ]} statuettes ^{[ 30 ]} rivaling delicacy with those of Sèvres ^{[ 16 ]} , but also the series known as Cris de Paris of a more popular genre. For his part, Auscher, former chief of the manufacture of the Manufacture de Sèvres, describes the production of Niderviller as “very neat” and his porcelain as “Belle & Bien Complete” ^{[ thirty first ]} While Auguste Friedrich demmin thus describes his earthenware: “beautiful, quite light of dough and a suave and white enamel” ^{[ 32 ]} .

From 1780, Niderviller adopted the decor of matt gold porcelain, in a more classic taste, said Louis XVI. In 1782, a polychrome porcelain service was also offered by Count de Custine to George Washington – the first president of the United States – at Mount Vernon ^{[ 33 ]} . It was also from this era (1784) that the Virgin and Polychrome Child originally offered to the Church of Niderviller dates which today sits at the National Ceramics Museum (Sèvres) ^{[ 34 ]} .
Always under the impetus of this new director, therefore brought to fill the losses, the earthenware is embarked on the English “stony” from 1788. The manufacture then has approximately two hundred workers. It also produced black earthenware objects at that time.

However, De Custine was guillotined in 1793 with her son and earthenware, became a national good. The fifty workers who worked there are hired by the Porcelain Manufacture Dihl and Guerhard in Paris, due to the temporary closure of the Manufacture ^{[ 35 ]} . However, it reopens very quickly and publishes new models – with vases created by Clodion ^{[ 36 ]} .

XIX ^{It is} century: the industrial revolution [ modifier | Modifier and code ]

The manufacture will finally be sold in 1802 to its director, François-Henri Lanfrey on 25 Germinal year X ^{[ 37 ]} . A bouquet of porcelain flowers made at that time -a specialty of Niderviller, as she had been offered to the young wife of Custine Count ^{[ 38 ]} is sold in 2015 for 21,250 € € by Christie’s in Paris ^{[ 39 ]} .

In 1810, a deposit was opened in Paris at 4, rue de la Grange-Batelière ^{[ 37 ]} .

During the first part of XIX ^{It is} , Niderviller therefore continues to produce the statuettes which made its glory, listed in a forms ^{[ 40 ]} . This is how in 1819, his Pâris judgment is distinguished in the exhibition devoted to industry products at the Louvre museum ^{[ 41 ]} . Similarly, all its production (oubquettes, statuettes, dishes …) is deemed to be made “with a master’s hand” ^{[ 42 ]} .

However, when Lanfrey died in 1827, the manufacture was ceded on November 25 to Louis-Guillaume Dryander de Sarrebrück ^{[ 43 ]} , former Boch partner with Mettlach who will soon abandon porcelain ^{[ 44 ]} , due to the too strong competition from Limoges. On the other hand, he will launch a feldspathetic earthenware which made it possible to make quality utility dishes and allowed him to win the silver medal at the Paris exhibition in 1855 ^{[ 25 ]} .

The company, then in German territory, was transformed into a joint -stock company in 1886 ^{[ 28 ]} .

XX ^{It is} century: between expansion & decadence [ modifier | Modifier and code ]

Stand of the Niderviller Faïenceries group at the Lyon Fair in 1948.

A subsidiary was created in 1906 in Möhlin in the Rheinfelden (Switzerland) district under the name, originally, Niederweiler Steingut Fabrik A.G. (Niederweiler being the German spelling of Niderviller ^{[ 45 ]} ) Then Moehlin earthenware . Louis Dryander developed an art workshop from 1937. This factory closed in 1956.

A earthenware is also open in Algeria (the MNAF, North African Fayence Manufacture, in Oran) in 1946, still under the leadership of Louis Dryander, then two other earthenwareries bought: ceramics of Saint-Amand-les-Eaux known in particular for Its brand “Moulin des Loups” and its orchies and earthenware site Sainte-Radegonde-en-Touraine) which will be closed respectively in 1984 and 1986.

During the Second World War, part of the Dryander family took refuge in Pornic. The place having rained, a branch was created there in 1947 under the name Breton manufacture of artistic earthenware Mbfa to whom Niderviller will provide the cookie. The earthenware and its subsidiaries will remain entirely in the Dryander family until 1948. But the group will then gradually be bought by Worms until 1963, then by the company Sitram in 1981 ^{[ forty six ]} , following the nationalization of the bank. Following new difficulties, the group will be taken up in cooperative and participative society (SCOP) in 1987 ^{[ 47 ] , [ 48 ]} who will also be, receiving receivership in 1993.

Today, in auctions, statuettes or a plate of XVIII ^{It is} century, are sold for a few thousand euros ^{[ 49 ]} .

In 1994, Niderviller’s earthenware buildings were registered as a historic monument ^{[ 50 ]}

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  Faïencery, historic monument.

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  Detail of a bottle oven.

In France [ modifier | Modifier and code ]

Many museums exhibit parts made in Niderviller. Among these the Louvre museum, the Paris Decorative Arts Museum, the National Ceramics Museum in Sèvres, the Lorraine Museum in Nancy ^{[ 19 ]} , the Museum of the Golden Court in Metz, the Strasbourg Decorative Arts Museum ^{[ 51 ]} , The Musée de la Folie Marco in Barr, the Museum of Fine Arts and Archeology of Besançon, the Museum of Ursulines of Mâcon, the Palais des Beaux-Arts de Lille, the National Museum Adrien Dubouché in Limoges, the museum of the Château de Pau, the Musée de la Chartreuse de Douai, the Loire Museum in Cosne-Cours-sur-Loire, the Gallé-Juillet Museum in Creil…

In the world [ modifier | Modifier and code ]

Niderviller’s ceramics are exhibited in many museums around the world: Vancouver Museum of Vancouver British Columbia, Canada, but also the Smithsonian Institution in Washington (District of Columbia), the Metropolitan Museum of Art in New York where are Exposed the statues of the 4 continents CA. 1775 ^{[ 52 ]} , Le Museum of Art and Trade à Hambourg, Le Kensington Museum à Londres ^{[ 53 ]} and also museums in Basel, Zurich ^{[ 54 ]} …

• Earthenware and porcelain XVIII ^{It is} century
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  Humber player. Niderviller earthenware, around 1780, Lorraine Museum.

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  Beyerlé ensemble, earthenware forms of 1748, niderviller.

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  Opened baskets in niderviller porcelain, around 1785. Hallwyl museum in Stockholm.

Notes

References

Bibliography [ modifier | Modifier and code ]

Historical sources [ modifier | Modifier and code ]

• [Auscher 1914] Ernest Simon Outer (ex-manufacturing chief in Sèvres 1879-1889), How to recognize porcelain and earthenware according to their marks and their characters , Paris, libr. Garnier Frères, 1914 ( rompr. 1921), 494 p. , on French ( read online ) , p. 134 (see also p. 130-131) . .
• [Chaffers 1912] (in) William Chaffers, Marks and Monograms On Pottery and Porcelain , Londres, Reeves & Turner, 1912 , 1080 p. , on books.google.bj ( read online ) . .
• The forerunner: weekly leaf Paris, Book. Lacombe, 1772 , 832 p. .
• [Chavagnac & Grollier 1906] Xavier-Roger-Marie de Chavagnac and Marquis de Grollier ( pref. Marquis de Vogüé), History of French porcelain factories , Paris, Alphonse Picard & Fils, 1906 , 966 p. , on French ( read online ) , p. 49 . .
• [Demmin 1873] Auguste Demmin, Guide to the lover of earthenware and porcelain: pottery, terracotta, lava paintings, enamels, artificial precious stones, stained glass and glassworks , t. 3 (part 2), Paris, libr. Widow Jules Renouard, 1873 , 4 ^{It is} ed. , (p. 1107 to 1596) 489, on Archive.org ( read online ) , p. 1157 . .
• [The Normand 1820] Louis-Sébastien The Norman , Description of the museum of French industry products exhibited at the Louvre in 1819 , t. 3, second section, Paris, Libr.-éd. Bachelor, coll. “Annals of national and foreign industry, or technological mercury”, 1820 , 360 p. , on books.google.fr ( read online ) . .
• [MARESCHAL 1868] Auguste-Alexandre Mareschal, Ancient & modern earthenware. Their brands & sets , Beauvais, Victor Pineau, 1868 , 91 p. , on Archive.org ( read online ) . .
• [Morey 1871] P. Morey « The so -called Lorraine statuettes with a presentation of life and the works of their main authors: Cyfflé, Sauvage dit Lemire, Guibal and Clodion », Memoirs of the Lorraine Archeology Society , 1871 , p. 5-48 (OCLC  494257307 , read online [on Archive.org ]) . .
• [Tainturier 1868] Alfred Tainturier, Research on the old manufactures of porcelain and faience, Alsace and Lorraine (Total drawing of 225 copies; at the end of the book is the price of groups, figures and vases painted in cookie which are made in the porcelain manufacture and Pipe de Niderwiller), Strasbourg, impr. widow Berger-Levrault, 1868 , Xv pl. + 95, on books.google.fr ( read online ) , p. 38 . .
• [Zimmermann & Graesse 1910] (of) Ernst Zimmermann et Johann Georg Theodor Graze , Guide to collectors of porcelain and faience, stoneware, earthenware, etc. Complete list of brands on older porcelain, faience, stoneware, etc. , Berlin, Richard Carl Schmidt & Co, 1910 , 405 p. .

Technical & didactic works [ modifier | Modifier and code ]

• [Aldridge 1971] Eileen Aldridge, Porcelain , Verona, Larousse Poche Couleurs, 4ème trimester 1971 , 159 p. .
• [BICET & Bourgon 2013] Patrick Bichet et Henry Bourgon ( trad. German), Niderviller’s earthenware factory. Its origins 250 years ago , Drulingen, SHAL, February 2013 , 55 p. (ISBN  978-2-909433-46-2 And 2-909433-46-3 ) . .
• [Dauguet & Guillemé-Brûlon 1990] Claire Dauguet & Dorothée Guillemé-Brûlon, Recognize the origins of French earthenware , Paris, ed. Charles Massin, coll. “Today settle in”, July 1990 , 100 p. (ISBN  2-7072-0085-9 , OCLC  928116498 , Salt B0045C1U4O ) . .
• [DESSAGNE 1986] René Dessagne, History of Limoges porcelain , Limoges, Living Lands, 1986 , 184 p. (ISBN  2-85521-069-0 ) . .
• [DUBUS 1984] Dominique Dubus, The SEEGER family: Overview of the manufactures of Niderviller and rue Pierre Levée in Paris at XVIII ^{It is} And XIX ^{It is} centuries , Évreux, Cauge, 1984 (ISBN  2-904815-01-5 ) .
• [Dugardin 1975] Anne-Marie Mariën Dugardin, fine earthenware , Brussels, royal museums of art and history, January 1975 , 279 p. .
• [FOUCHET 1997] Nelly Fouchet, The argus of ceramic auctions , Langres (52), Dorotheum Éditions, coll.  « Valentine’s auction sales prices », January 1997 , 544 p. (ISBN  2-909876-13-6 ) . .
• [Fourest 1982] Henry-Pierre Fourest, “European ceramics” , Milan, kodansha, 1982 , 399 p. (ISBN  2-09-290536-8 ) . .
• [Guillebon 1985] Régine Plinval de Guillebon, Porcelain in Paris under the Consulate and the Empire: manufacture, trade, topographic study of buildings that have housed porcelain factories , Geneva, Droz, 1985 , 239 p. , on books.google.fr ( Online presentation ) . .
• [Guillemé brush 1999] Dorothée Guillemé-Brulon et al. , History of French earthenware. Strasbourg-Niderviller: Sources and radiation , Paris, C. Massin, 1999 , 167 p. (ISBN  2-7072-0345-9 ) .
• [Hassenforder 1990] Martine Hassenforder, Niderviller’s Fainciers , Saarbourg, Museum of the Pays de Sarrebourg, 1990 , 100 p. (ISBN  2-908789-07-8 ) .
• [Haug & Deflassieux 1973] HANS HAG (MME) It fashioise deflassieux, Eastern earthenware and porcelain. Lunéville, Saint-Clément, Niderviller , Paris, ABC Collection, coll. “ABC Décor specialized”, November 1973 , 140 p. (Salt B0014ML3UY ) .
• [Heckenbenner et al. 1996] Dominique Heckenbenner ( you. ), Niderviller porcelain (Exhibition catalog, Musée du Pays de Sarrebourg, June 29-September 22, 1996), Saarbourg, Museum of the Pays de Sarrebourg, 1996 , 72 p. (ISBN  2-908789-12-4 ) .
• [Humbert 1993] The decorative arts in Lorraine at the end of XVII ^{It is} century in the industrial era , Paris, Les Éditions de l’amateur, 1993 , 207 p. (ISBN  978-2-85917-157-5 ) . .
• [Janin-daviet & la verry 2007] Jean-Louis Janin-Daviet and Hervé de la Verrie, Memory of an ephemeral collection at the Haroué castle , Pressing, imprimination shoes, October 2007 , 187 p. (ISBN  978-2-913162-71-6 And 2-913162-71-1 ) . .
• [Lesur & lesur 1950] Tardy lesur and Adrien lesur, French porcelain. Characteristics, brands , Aubenas, Tardy, 1950 ( rompr. 1987), 836 p. .
• [Christmas 2005] Maurice Christmas « The small Lorraine statuary in ceramic, a reflection of Europe of the Enlightenment », Memoirs of the National Academy of Metz , t. 18, series 7, 186th year, 2005 , p. 259-290 ( read online [on French ]) . .
• [Welded-Lacombe 1984] Chantal welded-lacoms, Niderviller Faïenciers and Porcelainiers XVIII ^{It is} century , SHAL, coll. “The Lorraine country n ° 1”, February 1984 , 76 p. .

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