Paris Porcelain
American homes, where the family’s roots took hold over 150 years ago, are likely to have some pieces of Paris porcelain prominently displayed or tucked away in a closet. Often referred to as “Old Paris” or with the French “Vieux Paris”, it was brought here by French immigrants, or imported in huge amounts by U.S. fancy goods merchants in the 19th century. But the history of Paris porcelain is not simply a mercantile tale, but a saga featuring conspiracy, theft and all kinds of skullduggery, involving the bluest bloods in France.
Hard paste porcelain manufacture eventually began in France during the early 1740′s at the Vincennes factory, which was moved to Sevres and taken over by King Louis XV, in a deal reminiscent of modern corporate maneuvering. With the royal ownership came the monopoly to create porcelain objects in France. And with the monopoly came an intense struggle by the hundreds of existing French factories, and in particular the Paris ateliers, to overcome the restrictions against producing porcelain.
The Paris ceramics community was composed not only of potteries, but also decorating studios, gilders and merchants. Their members were so vocal and persistent in their complaints that the King’s Council relaxed the rules and allowed them to produce monochrome pieces without gilding, and without colorful flowers or relief decoration. A number of the private factories used another strategy to avoid these regulations. They attracted noble patrons, which included the King’s brother, the Queen, Marie Antoinette, and their relatives, who offered influence, protection from the authorities and a secure source of business. In fact, the royal factory at Sevres and the King’s coffers suffered from this conflict, as the Paris entrepreneurs hired away its underpaid craftsmen, who quietly stole Sevres molds and materials for their new employers. In one incident related in Plinval deGuillebon’s Porcelain of Paris, Sevres molds of figures meant exclusively for the King were executed and displayed in the Paris factory of Jean-Baptiste Locre, before the sovereign received his copies. What an embarrassment. Little by little the restrictions were relaxed by the authorities and ignored by the private companies, until the Revolution when royal privileges ended at the guillotine.
Besides its colorful history, the appeal of Paris porcelain comes from its form and decoration. The factories of the 18th and 19th centuries were attuned to the fashions of the times, and produced a tremendous variety of tablewares and decorations. Despite the regulations, floral decoration with scattered sprigs and sprays predominated in the early 18th century pieces. Under the reign of Louis XVI in the latter part of that century, more intricate motifs including birds, figures, cupids and Chinese symbols were added to the mix. The cornflower, in bouquets and sprigs was Marie Antoinette’s favorite, and was created originally for her by the factory she patronized in the Rue Thiroux. The Paris porcelains mostly found in American homes, shops and auctions today are the porcelains of the 19th century. The early Napoleonic era pieces were influenced by classical antique shapes and are elegant and opulently decorated with neoclassical ornamentation. As the 1800′s progressed, France prospered, and it was a time of ferment in the decorative arts. Gothic, Rococo and Neoclassical styles all melded together in ceramics encouraging the potteries to craft imaginative creations.
The best part about Paris porcelain is that it is still available. The most desirable examples from the 18th century are pricey, but 19th century pieces are still within reach of the average collector.
Reference note by p4A Contributing Editor Bob Goldberg.