EXAMPLES OF CART WORKMANSHIP. OF OARIOUS CAGES CAND COUNTRIES. HEN KT DEUX WARE PHOTOGRAPHS OF TWENTY EXAMPLES OF THIS WARE CHIEFLY «IN ENGUISH : COLEECTIONS;:;. WITH AN INTRODUCTORY NOTICE, Under the Sanction of the Science and Art Department, for the Use of Schools of Art and Amateurs. LON DON: PUBLISHED BY THE ARUNDEL SOCIETY FOR PROMOTING THE KNOWLEDGE OF ART, 24, OLD BOND STREET SOLD BY BELL AND DALDY, YORK ST, COVENT .GARDEN 1868. SOPLEY AMOR EXAMPLES OF CART WORKMANSHIP OF UARIOUS CAGES cAND COUNTRIES. be Neale DoE ee) eae PHOTOGRAPHS OF TWENTY EXAMPLES OF THIS WARE ChibFiLYe IN) ENGLISH (€@OVLECDIONS, Wait AN INTRODUCTORY NOTICE. Under the Sanction of the Science and Art Department, for the Use of Schools of Art and Amateurs. LON DONe DUPE INS IER IBY IE TPIBD IS, VU IDIB IL, “QOME IIB ANY IPO TPIRGSME OME ISG THE KNOWLEDGE OF ART, 24, OLD BOND STREET. SOLD BY BELL AND DALDY, YORK ST. COVENT GARDEN. 1868. #4 40 INS KLMVdag NOW4 G3uuaISNVEL ——— fap INeR Ss Bex WeruiKet. ¥N the Special Loan Collection of Works of Ar 7 Museum in the year 1862, one of the most the so-called Henri Deux ware. rarity of the specimens, and the apparently ex public, and even those who were unprepared to recognize the , exhibited at the South Kensington attractive cases was that assigned to The mystery which then shrouded its origin, the ravagant prices which were stated to have been given by wealthy collectors, combined to interest and impress the general beauty of many of the pieces, or the technical skill displayed in their production, crowded to see the twenty-five specimens there shown, valued at between twenty and thirty thousand pounds, and not country, but believed to surpass in value, while they almost equa only including every example in this Vi co) I led in number, the known examples of every other country. Although single specimens of this ware had not previously failed to attract the notice of con- noisseurs both in France and England, it was not till 1839 that any decided attempt was made to determine their origin. In that year M. André Pottier of Rouen, in a description of an ewer engraved in Willemin’s “ Monuments inédits pour servir 4 |’Histoire des Arts,” plate 289, points out the peculiarities of its manufacture, refers to other known pieces obviously of identical origin, and gives it as his opinion that these pieces were fabricated by Florentine artists working in France. He states that of the twenty- four pieces or thereabouts then known, about one half came originally from Touraine, where he is induced to fix the place of their origin. of photographs, No. 4, and even in 1839 it had recently commanded the price of 2300 francs or £92. In 1842, another example (No. 20) was purchased at the Strawberry Hill sale of Horace Walpole’s collection for £19 9s., described in the catalogue as “ A fine ewer with handle, of curious old Faenza The ewer, of which M. Pottier is writing, is included in this volume ware, from a In the same year, the remarkable ewer (No. 2), was bought in Paris for 2400 francs, or £96. In 1844 M. Brongniart, director of the manufactory at Sévres, in his “Traité des Arts Céramiques,” entered fully into the technical process of fabrication of this ware, and gave an analysis of a fragment of the paste taken from a broken cover of a tazza in his custody. He states that thirty-seven pieces were confirms the assertion of M. Pottier, that they had chiefly been found in Touraine. esign by Giulio Romano, extremely rare and curious.” then known, anc During the next eighteen years, French collectors sought for additional examples with great avidity, Meanwhile, various theories were advanced and the prices of specimens increased to an amazing extent. ascribing the authorship to Girolamo della Robbia; to Ascanio, a pupil of Benvenuto Cellini; to Godefroy Tory, a celebrated French printer, engraver, and illuminator of the sixteenth century; or to some other artist originally a goldsmith or jeweller. n 1861 \ chromolithographic representations of all the known specimens, then amounting to fifty-two in number, essrs. Henri and Carle Delange of Paris published an illustrated work, containing and at the same time reprinted all the notices of previous writers. Next followed the 1862 Loan Exhibition at the South Kensington Museum, and the Catalogue, to which Mr. J.C. Ro in the Exhibition. the publication of inson contributed a notice of the Henri Deux ware, with a de- scription of each of the pieces included Scarcely had this unexampled collection been dispersed, than the world of collectors and amateurs of pottery was startled by the appearance of a pamphlet in the form of a letter, dated 8th December, 1862, to M. Riocreux, Keeper of the Ceramic Museum at Sévres, by M. Benjamin Fillon, an addressed antiquary of La Vendée, announcing that he had succeeded in tracing the manufacture of this mysterious ware to Oiron, near Thouars, in the Department of Deux Sévres, a part of the old Province of Poitou; and that two artists were concerned in its production, Frangois Cherpentier, a potter, and Jean Bernart or Bernard, secretary and librarian to Heléne de Hangest Génlis, widow of Artus Gouffier; and that, after the death of Heléne in 1537, the two artists had passed into the service of Claude Gouffier, her son, “ Grand Ecuyer de France,’ who was a celebrated amateur and patron of the arts. In 1864, 6 Flenri Deux Ware. M. Fillon published his “ Art de la Terre chez les Poitevins,” in which he gives in full detail the results of his investigations, and the proofs on which he rests his assumptions. In the autumn of 1862, he states that he was shown, in Paris, by a dealer, a leaf of an illuminated book of hours, containing a part of the calendar for the month of July, representing a harvest-scene, with a husbandman drinking from an earthenware “ pilgrim’s bottle.” On the side of this bottle were repre- sented the arms of the original possessor of the book, and M. Fillon was at once struck with its resem- blance, in colour and style of decoration, to the specimens of Henri Deux ware known to him, among which was a bottle of nearly similar form. He found that the book had been executed in the middle of the sixteenth century for Claude Gouffier, Grand Ecuyer de France, and a personal friend of Henri II. He at once determined to follow up the track suggested by this discovery, and, after some preliminary investigations, he, in December, 1862, reached Oiron, where still exists a magnificent chateau, erected in the sixteenth and seventeenth centuries by members of the Gouffier family, and now the property of the Marquis @Oiron.* In his own words—“ La se termina le pélerinage; le sphynx avait enfin laissé “ pénetrer un profane dans son sanctuaire.” The Gouffier family occupied a prominent position in France for several generations during the fifteenth, sixteenth, and seventeenth centuries. Guillaume Gouffier, who died in 1499, was high in the favour of Louis XI. and Charles VIII., and received from the crown several grants of land, including the estate of Oiron. His son, Artus Gouffier, acted as governor of the Duc d’Artois, afterwards Francis I. of France, with whom he subsequently had great influence. He died in 1519, and to his widow, Heléne de Hangest, was entrusted the care of Henri II. as an infant. Their son Claude was attached to the service of the king, Francis I., as page. He fought with him at Pavia, and shared his captivity. In 1546 he received the dignity of Grand Ecuyer of France. He continued high in the favour of Henri II. and of Charles IX., and died, in 1572, possessed of great wealth, notwithstanding heavy losses arising from the religious wars which devastated Poitou and the neighbouring provinces. One of his titles, Marquis de Caravas, is said to be the original of the famous Marquis of Carabas in the old Tourainean nursery tale of Puss in Boots. In the following century the estate passed from this family, and has since changed owners several times. Among the archives of the Gouffier family, M. Benjamin Fillon finds the chief proofs on which he rests his assumption that the so-called Henri Deux ware proceeded from their chateau of Oiron. The documents are :— 1. An undated letter of Claude Gouffier, referring to transactions of the year 1529, but evidently written after the death of his mother in 1537, in which he speaks of Frangois Cherpentier, a potter in the service of his late mother, coupling his name with that of Jean Bernart, her secretary and librarian, He also refers to a furnace in the orchard of the chateau. 2. A letter addressed to Heléne by her steward, in which Cherpentier is spoken of as working in the chapel. 3. A household memorandum of the year 1538, in which provisions are assigned to Bernart for two painters. M. Fillon argues that the various pieces of the so-called Henri Deux ware still in existence show hat they were executed under the influence of a distinguished person, probably a lady, connected with the court of France, and of a scholar learned in the special decorations of typography and ookbinding, He points out that the details of the architectural decorations of the earlier portions of the chateau and of the collegiate church of Oiron, founded by Artus Gouffier in 1518, have been taken advantage of in he ornaments of some of these pieces, and that the arms depicted on them include those of branches or connections of the Gouffier family. He deduces from these and other minor arguments, taken in con- nection with the documents already referred to, that this ware was first made by Cherpentier and Bernart at Oiron, under the direction and personal supervision of Heléne de Hangest Génlis, and after her death in 1537, the work was still carried on under the patronage of her son Claude Gouffier, and that it is possible to discover in several examples the absence of her influence. These conclusions have been generally, though not universally, accepted in France, and the term “ Fabrique d’Oiron,” was used in the Catalogue of the History of Labour in the Paris Exhibition of 1867, where nine pieces were shown, together with two pieces believed to belong to the extreme deca- co ct * A view of this chateau is given in Petit’s “ Chateaux de la Vallée de la Loire,” plate 77. Flenrit Deux Weare. 7 dence of the manufacture, and two specimens of sixteenth century tiles from the chateau of Oiron. Some connoisseurs, however, chief among whom is M. Jules Labarte the eminent French antiquary, are still unconvinced. In a recent work, M. Labarte points out the defects in M. Fillon’s chain of argument, holding that he fails to connect the seat of manufacture with Oiron, though it was, doubtless, in that neighbourhood, as had been supposed for more than a quarter of a century before the appearance of M. Fillon’s pamphlet. Allusion has already been made to the prices paid for specimens of this ware at the time when it first attracted public notice. These prices were then considered high, and indeed were so when compared with the sums paid for fine specimens of other varieties of earthenware. But it is not too much to say that in the year 1862 the market value of pieces of Henri Deux ware had risen to ten or twenty times, and even in some cases to sixty times the sums paid for them twenty or twenty-five years before. This market value probably reached its maximum after the Loan Exhibition of 1862, but it has not yet shown any indication of abatement. In 1865 the Biberon No. 10 commanded the sum of £1100 at the sale of the Pourtales Collection. The paste of which this ware is formed consists almost entirely of silica and alumina, resembling the so-called terre de pipe of Flemish and German potteries. It is nearly white, and hence it was not neces- sary to conceal the substance with an opaque enamel, as in Italian maiolica, or with a highly coloured glaze, as in Palissy ware. The vessels are merely covered with a thin and perfectly transparent varnish-like glaze, of a slightly yellow or buff tint. The decorations of the surface, which specially characterize this ware, are inlaid in a manner some- what analogous to niello work on metal, the devices being first engraved or impressed in the white paste, and the cavities filled in with coloured paste, usually of a dark chocolate brown or a red, after which the glaze was applied. The process by which this inlaying was effected has been the subject of many con- jectures and experiments, and more or less successful imitations have been made by practical potters both in France and England, especially by Messrs. Minton. Although some few connoisseurs have even lately expressed doubts as to this process, suggesting that the effect is really due merely to colour applied to the surface of the paste after a first firing, but before glazing, there seems no valid reason for doubting the decision of practised potters, at the head of whom is the late M. Brongniart, in favour of the inlaying process, strengthened by the successful experiments already made. These inlaid surface decorations consist of arabesques, interlaced strapwork, conventionalized flowers and foliage, and bands of intricate fretwork, tastefully arranged, and recalling the designs employed by the bookbinders of the sixteenth century for the tooling of their bindings. Besides these decorations, various coats of arms, devices, and ciphers or monograms occur on several of the pieces, especially the double D, or H interlaced with two C’s, frequently interpreted as the monogram of Henri II. and his mistress, Diana of Poitiers—but also used by the king as the union of his own initial with that of his queen Catherine de Medicis, and with this signification carved on the facade of the Louvre. Another favourite device of this king, three interlaced crescents, also interpreted as an allusion to Diana, also appears on several of the pieces. It was from the recurrence of these devices that the name “ Faience de Henri Deux,” or Henri Deux ware, was early applied to this peculiar manufacture, and whatever further discoveries may hereafter be made respecting its origin, there is little probability that this name will ever be abandoned. Besides the inlaid decoration, most of the pieces bear numerous decorations in high relief, as busts, masks, statuettes, terminal figures, sirens, brackets or consoles, shells and garlands chosen from the orna- mental details of the Renaissance, and often more appropriate to architecture or to metal-work than to fictile productions; some of the pieces, indeed, especially the candlesticks, are almost entirely built up of these details. Of the great variety of outline thus obtained, the photographs in this volume afford ample evidence. Although many of the existing pieces have features in common, no actual duplicates are known, and it seems that each specimen made was unique of its kind. On careful comparison of the various specimens it is not difficult to determine which are the earliest, and which the latest in date. M. M. Delange classify the illustrations in their great work under three periods. Those of the latest period, which bear raised figures of frogs, lizards, snakes, 8 flenri Deux Ware. tortoises, etc., would appear to have been made under the influence of Palissy’s rustic pieces, unless indeed, these decorations were suggested to both potters alike by a popular French romance of the period, a theory which has recently been advanced by a French writer. PX (Cy UNE JOE SHie ez HE following list of all the pieces of Henri Deux ware now known to be extant is taken, with some alterations, rendered necessary by change of ownership, from the lists given in the Catalogue of the Loan Exhibition of 1862, by Mr. J. C. Robinson, and in the illustrated work of M. M. Delange. IN ENGLAND. | IN FRANCE. 1. Salver. | 28. Salt-cellar. 2. Candlestick (in 1862 belonging to M. Norzy). | 29. Tazza. Museum of the Louvre. 3. Salt-cellar (in 1862 in the Collection of R. Napier, Esq., ceded by him to the South Kensington Museum). 30. Salt-cellar. 4. Tazza with cover (in 1862 belonging to J. Webb, Esq). | 31. Salt-cellar. 5. za (in 1862 belonging to H. Durlacher, Esq., pre- | 32. Tazza with cover. viously to M. Delange). South Kensington Museum. 33. Tazza. 34. “ Biberon.” Sauvageot Collection, now in the Museum of the Louvre. 6. Large ewer or aiguitre. Magniac Collection. | 35. Tazza, 7. Ewer or aiguiére. 36. Cover of a tazza. Ceramic Museum at Sevres. 8. Similar ewer or aiguiére. g. Candlestick. : A 10, “ Hanap,” or funnel-shaped ewer. 37. Tazza with cover. Museum of the Hotel de Cluny. : anap, -sha : tr, Tazza or cup. 12. Cover of a tazza. 38. Candlestick. 13 and 14. Bouquetitre or flower holder (in two portions). 39. Hanap. The Baron Gustave de Rothschild. Sir Anthony de Rothschild, Bart. 15. Candlestick. 40. Jeg or “ canette. 16. “ Biberon” or ewer. ik SEMROE Ee, Fi Mt eee Fe S euier he ¢ 4 ¢ de Rothse i 17. Large salt-cellar. Andrew Fountaine, Esq. 42. Small aiguitre. he Baron Alphons othschila 18. Globular “biberon.” 43. Tazza. The Baron James de Rothschild. 1g. Triangular salt-cellar. Baron Lionel de Rothschild, M.P. 44. Salt-cellar. M. ad’ Yoon. 20, Tazza. | 21, Salt-cellar. The Duke of Hamilton. 45. Tazza with cover. Viscount Hutteau d’ Origny. | 46. “Gourde de chasse,” or pilgrim’s bottle. 22. Salt-cellar. George Field, Esq. fe, TEA | 48. Cover of a tazza. The Duke d’ Uses. 23. Salt-cellar (in 1862 belonging to S. Addington, Esq.). } T. M. Whitehead, Esq. 49. Cover of a tazza. M. Benjamin Delessert. . The lower portion of a large aiguiére. ! so. Salt-cellar. 25. Small aiguitre. Mrs. Henry T. Hope. 51. Salt-cellar. 2. Salt-cellar. Viscount de Tussau, 26. Aiguitre. Martin T. Smith, Esq. MP. IN RUSSIA. . Biberon (formerly in the Pourtales Collection). ) 3 4 ‘i J. Malcolm, of Poltalloch, Esg. | 53- “ Biberon. Prine Galitzin. 8 a) N 9. 17. eI IR IL AS) SALVER OR PLATEAU EWER OR AIGUIERE HANAP EWER OR AIGUIE (c CANDLESTICK IDe COS WW RII OF BOUQUETIERE OR FLOWER HOLDER BIBERON OR WATER Por BIBERON OR WATER PoT BIBERON OR WATER POT TAZZA TAZZA WITH COVER TAZZA EWER EWER (a fragment) EWER SALT-CELLAR 17a. SALT-CELLAR 18. 19. 20. SALT-CELLAR “ Mortier a cire. SALT-CELLAR EWER OR AIGUIERE PHOTOGRAPHS OWNER. South Kensington Museum. Hollingworth Magniac, Esq Sir Anthony de Rothschild, Bart. Sir Anthony de Rothschild, Bart. Andrew Fountaine, Esq. South Kensington Museum. Sir Anthony de Rothschild, Bart. Baron Lionel de Rothschild, Bart. Andrew Fountaine, Esq. Fohn Malcolm of Poltalloch, Esq. Sir Anthony de Rothschild, Bart. South Kensington Museum. South Kensington Museum. Mrs. Henry T. Hope. Mrs. Henry T. Hope. Martin T. Smith, Esq., M. P. The Duke of Hamilton. South Kensington Museum. Andrew Fountaine, Esq. T. M. Whitehead, Esq. Sir Anthony de Rothschild, Bart. wo » N& ve ae i 1. SALVER OR PLATEAT Pag mw te I 19. Re Thee oe My A e454 WAIT IeAL: We oon] ny Ran g. YEIRS vg R Bok E Henrt Deux Wat E. eZ SUIEE wworth Magniac, Esq, hate AIC Holt R OR EWEE 2S ROO ORRIN !] ! EWER OR AIGUIERE. Henri Dreux Wari | i | ! a bitte Be) s WNECCOCRCOCRODOCOCCOSGEEG SONY (4 j BIBERON OR WATER POT Henri Deux Wart ew Fountaine, E OSE) em 2D.Sh0 a son, /io I] ! 14. EWER. Henri Devx Mrs. Henry T. Hope. WARE ! 5. EWER (a Fragment) Henri Deux WaRE Mrs. Henry T. Hope. !] ! !] ! j 1] i ze aR fa a RRMA TEAAAAARAT ARNO EO NRI Dreux Wart mc A SiverBron ial Henri Dreux Ware. 2 R. sLAE MM. Wh a1 SALT-CI 19 i, Esq. ttehed os ——— os SS i] ! if By OY ean : AIGUIE EWER as - $ ay Ste nn 312 oFeressveletedelgiesetsls SesessbEsEstsess sapere sero EH