International Exposition of Paris 1867

Agriculture, Industry and Fine Arts

April 1, 1867 - November 3, 1867

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Class 91 - Cheap pottery

Class 91 - Cheap pottery at the Exhibition Expo Paris 1867

We have seen, in class 17, ceramics, sumptuous and ornate, received in palaces, served by numerous and remarkable artists. We find it again, but more modestly, in class 91, which includes furniture, clothing and foodstuffs of all kinds, distinguished by useful qualities, combined with cheapness. The aim is to furnish the kitchen and dining room in the best possible conditions.

Here, there is no need for description; clay is shaped into tableware, sinks, bowls, pots, pans; but it does not take on ambitious forms. It does not know the distinctions of glaze painting and post-firing painting. The beauty of Class 91 ceramics consists mainly in their solidity. They are to their Class 17 counterparts what a sturdy common man is to a son of a good house.

Some of them, however, are not free of research. Our pottery makers, without raising their prices, endeavour to propagate good taste, to develop a sense of elegance and comfort.

Mr. Utzschneider takes as much care in the manufacture of his common earthenware as he does in the manufacture of the artistic stoneware, planters, plates and planters that are admired in class 17. His factory, located in Sarreguemines (Moselle), is the most important in eastern France.

M. Moreau, from Paris, has found ingenious and economical processes for applying gold and silver to stoneware. Messrs Duréault, Motte et Cie, of Grigny (Rhône), have opaque porcelains of great whiteness, and whose translucent glaze is distinguished by its hardness.

One problem that has not yet been completely solved is that of producing fireproof porcelain and earthenware, especially at low cost. Few housewives have not bought dishes that were advertised as being as fireproof as crucibles, and which, from the very first experience, let the eggs escape into the crate when they cracked. We could only judge by the test the porcelain and earthenware that go in the fire, of Messrs Gosse, of Bayeux; Fermont, father and son, of Saint-Vallier (Drôme).

A gentleman from Touraine, Count de Boissimon, does not believe he is derogating from the rule by successfully operating a factory of pottery, ceramic stoneware and household stoneware in Langeais (Indre-et-Loire), a town whose refractory bricks, mosaic tiles and ornamental vases have long been highly regarded.

Let us also mention the earthenware of M. Faure and Mme. Faure, and Mrs. Brunet's widow, in Pou-sas; of Mr. Chaunivert, in La Montagne, (Nièvre); of Messrs. Perrigault, Charpentier et fils, in Saint-Aignan (Loir-et-Cher).

Mr. Cher-et, modeller at Vitry-le-Français (Marne), has undertaken to popularise the art by executing terracotta statuettes, for which he is satisfied with a modest remuneration. We must do justice to the patriotic feeling which inspired him to defend the flag, abolish the treaties of 1815, allegorical figurine; after the battle, etc.; this is true popular sculpture.

Three foreign nations, Austria, Italy and Egypt, are successful in their efforts to manufacture household utensils and common pottery at very low prices. Those of M. Simon Marth, in Vienna, and those of Egypt are to be commended without reservation. Simon Marth, in Vienna, and of Mr. Franz Knittl, of Essegg, in Esclavonia, may be praised without reservation. Excellent and solid pots, bowls, pans, jugs and tureens come from Pistoia, Lodi, Arezzo, Albisola Marina, and mainly from the province of Macerata, where the factories of Messrs Gaoni, Mentonelli, Santeolini, Nardi, Bianchedi and Venanzuoli are grouped. As for the pottery sent to us by the inhabitants of Aswan and Keneh, on the right bank of the Nile, they are distinguished by their original colours and shapes.

We shall return to class 91, which includes fabrics, clothes, furniture, glassware, Parisian articles, ice-creams, heating appliances, irons, combs, and other objects of primary use. This is certainly one of the most interesting classes of the Exhibition, since it has in view the improvement of the welfare of the workers.

©L'Exposition Universelle de 1867 Illustrée