- The Marks of R.S. Prussia
- R.S. Prussia China
- CORRECT MARKS MEETS AT THE CHINA FROM SCHLEGELMILCH'S FACTORIES:
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- R. S. Prussia and Reinhold Schlegelmilch Porcelain
One has a professional repair to the handle. One cup is in good condition with the tiniest hair line crack inside the base, the other three have hair line cracks and one also has a small chip on the rim. It has pages plus black and white illustrations and 8 coloured plates , it tells the history of the factory and the wares that it made.
Finest floral encrusted decoration and gilded rim. This is a 19th Century porcelain sardine box and cover decorated in overglaze polychrome enamels with a floral design and with a moulded figure of a sardine to the cover.
The Marks of R.S. Prussia
Standing on splayed gilded feet. Length 5 ins 13 cms. No chips, cracks or restoration. The set dates to around This beautiful set is hand-painted with panels of flowers on a light taupe ground and is enhanced with fine gilding. It has a divided handle with moulded leaves. A superb quality porcelain plate, probably French early-mid 19thC. A Romano-Greek gilt rim finishes it off. There are three unusual stilt marks near the centre which may help identify the maker and the incised number "41". This is one of five interesting antique cups I am offering. An elegant 19th century porcelain cup made by the Thomas Bevington pottery in Hanley in the s.
The cup is boldly decorated in an Imari palette, handpainted in deep cobalt blue, iron red and gold, in a complex and detailed pattern similar to Royal Derby. The unusual looped handle is a number 9 shape. The mug is in great antique condition - there is no damage, just some fine grit in the base from the firing process. It is marked with the Thomas Bevington backstamp of a crown in a star, flanked by TB, and decorators' marks. I estimate the final packaged weight will be around gms. No makers marks on base just the pattern number. We are only passing on the costs associated with getting the item to you safely and in one piece.
The background is turquoise, with a ring of flowers around a ribbon. Top quality, but without a mark it is hard to pinpoint the factory. Catalogue of a Collection of Oriental Porcelain and Pottery. Graesse-Jaennicke, Guide de 1'amateur de porcelaines et de poteries. Deutches Steinzeug, Mettlacher Museum. It was the precursor of true maiolica. GRAFFIATO ware is a mezza-maiolica, with a substantial coating of white slip, which was decorated by scratching or cutting out a pattern through this slip-covering, so as to disclose the buff or red body beneath colours, if used at all, were usually added in patches or washes and in any case the ware was finished with a clear, straw-coloured, lead glaze.
This, like the painted mezza- maiolica, was a very early type of product, which, however, has continued in use, in the north of Italy especially, to the present time. MAIOLICA proper was fashioned in a buff ware, more carefully prepared and closer in texture than mezza-maiolica, and is coated with a white, opaque layer of tin-enamel instead of slip , on which the painter laid his colours: Up to the eighteenth century one firing sufficed for the colours and the tin-enamel, and only such pigments could be used as would stand the full heat of the maiolica kiln.
The marks, on wares of this period, are almost always in blue. The body and its tin -enamel coating were baked and finished first, then the decoration was applied to the fired surface in on- the-glaze colours, which were fixed at a comparatively low heat in the enamelling kiln.
From this time marks in various colours on the glaze became common. The most famous period of true maiolica was from about to when the typical decoration consisted of pictorial subjects copied from engravings after the great Italian painters. The marks at this period are often very elaborate, and tell us not only the name of the painter of the piece, but the botega or factory in which he worked, the name of the master under whom he served, and the title of his subject.
Hence the frequent occurrence of such words sometimes in contracted form as botega, maestro, vasaro potter , pictor, fatto made , fecit, pinxit, etc. On the lustred wares of Diruta and Gubbio the mark is usually in lustre. Maestro Giorgio Andreoli of Gubbio q. Such pieces bear Giorgio's mark in lustre, in addition to the mark or signature of the original painter, which is in blue.
It is among the rarest of ceramic treasures, and an authentic specimen is worth many times its weight in gold. Nothing more is heard of Italian porcelain until about the middle of the eighteenth century, when the rage for porcelain manufacture was at its height in Europe. The more famous porcelain made at Doccia onwards was a soft paste during the early years of the factory, but a hard paste was made afterwards, and the same may be said of the royal factory, started at Capo di Monte in , and subsequently transferred to Naples.
At Treviso and Vinovo another kind of porcelain, containing silicate of magnesia, was produced for a few years at the end of the eighteenth century. This ware has a yellowish waxen appearance which is peculiar to certain Italian and Spanish factories. Caffaggiolo Caffaggiolo nIA Caffaggiolo c. Asciani Asciano G ,, F.
Girolamo or Gironimo y Pesaro Early i6th cent.
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Fattori 1 8th cent. A Urbino Urbino j. Rolet us fecit at Borgo San Sepolcro. Quirico Bartolomeo Terchi XT' ,? Probably Giorgio Vasaio fran''". I'rbini i dcruta Battista Antonibon Fabbrica di Rosetti in l. Francisci Antonii Xarerii Grue L. Brandi Del Vecchio Naples ipth cent. Castelli Carl Antonio Grue 1 7th cent.
Rocco di Castelli Capelleti Fuina Luc. Diruta or Viterbo ? Urbino Name of an artist of Citta S. Sepolcro, whose design was copied on a plate? Monograms of the same? Castelli Marks on porcelain made at Florence under the patronage of Grand Duke Francesco Maria, who died The first repre- sents the cupola of the Cathedral of Florence: Venice Marks of the Vezzi factory h. IO present day K. The Cozzi factory p. These marks are after that date.
TIC and other forms of the fleur-de-lys: Schleswig Oldesloe Magdeburg Early igth cent. Krnyk Rotterdam on tiles Copenhagen faience c. The manufacture of tin-glazed faience after the Italian and Dutch styles was common in most parts of Germany in the seventeenth and eighteenth centuries ; and a certain amount of slip-decorated and graffiato earthenware was made in South Germany, at Gennep in Luxembourg, and at Schaffhausen in Switzerland, in the eighteenth century.
In the Rhenish provinces a large stoneware industry developed in the sixteenth century at Siegburg, Raeren, Cologne, Frechen, and elsewhere, and during the two following centuries at Grenz- hausen in Nassau. The typical Rhenish stoneware varies from white to freckled brown, and is ornamented with panels in low relief made in moulds and applied, as well as with stamped and incised decoration: The cutting of moulds for the reliefs was an important branch of this industry, and most of the marks arc those of the mould-cutters, and appear in relief in the panels.
Bottles with a bearded mark on the neck, known as Bellarmines or Greybeards, are the commonest specimens of Rhenish stoneware. The tall, tapering tankards of white Siegburg ware are among the best examples of this class. Another variety, made chiefly at Kreussen, is heavily painted in enamel colours.
Bottger, an alchemist, in the employ of Augustus II. He discovered about the same time the method of making a fine red stoneware, now known as Bottger ware, but called by him red porcelain. This ware was finished by polishing on the lathe, or covering with a black glaze and enriching with gold and silver ornament or engraving. Bottger and his secrets were transferred in to Meissen, where he started the celebrated Meissen porcelain factory under strict surveillance.
The process, however, could not be kept hidden, and escaped workmen carried the secret first to Vienna and afterwards to all parts of Germany. Factories sprung up in one principality after another under the protection of the ruling houses, who vied with each other during the eighteenth century in the production of true porcelain.
All the German porcelain is hard paste, varying in fineness according to the sources of the porcelain clay. The finest material was obtained from Aue in Saxony, and a coarser earth mined near Passau produced the greyer and inferior wares made in the Thuringian factories at the end of the eighteenth century. Each factory had its distinctive mark usually painted in blue under the glaze, though among the minor factories, particularly those of the Thuringian district, there was a tendency to use marks suspiciously similar to the Meissen crossed swords.
The latter mark is sometimes found with one or two cuts across it: K B L Hohr 1 8th cent. Cologne rT 1 7th cent. In the Marx -4ri. Kunersberg in Wiirtemberg J. Hochst CjO 1 8th cent. Nuremberg Dirmstein 9' I7th cent. Gennep en Florsheim C. H He Frankenthal Hannong 1 8th cent. Leihamer fecit W. H Z Bonn t. Hadensee Stralsund Stralsund N.
Kellinglmsen 1 8th cent. Meissen Meissen X o K. Jncht Jucht, a painter, p. Mark of a figure repairer not Melchior Damin see p. F R, cypher of a Frederick I. King of Wiirtemberg Greiner used at Limbach and R Gotha onwards R Rauenstein rffiT gilder's mark Fulda jf 1 by Karlsbad onwards. D onwards imp. Nowotny Elbogeu onwards. Haidinger brothers Budau onwards mostly p.
R.S. Prussia China
Pirkenhammer Carl Fischer c. Neumark Klentsch Budweis The last four from about imp. Since last two numerals of the date are often impressed as well Antonius. Bottengruber who also painted in his own establishment in Breslau. Celebrated for copies of Oriental, Sevres, Capo di Monte, and other porcelains. Pisotti Gniunden J. Fotingcr Auspitz Frain late 1 8th cent Znaim Klammerth igth cent. Copenhagen porcelain Anton Carl Luplau modeller. Ondrup, painter Andreas Hald modeller J. Engelhardt chemist onwards on modern copies of early wares. France Jarry at Aprey p.
Potter late 1 8th cent.
CORRECT MARKS MEETS AT THE CHINA FROM SCHLEGELMILCH'S FACTORIES:
Paris, i gth cent, p. Malaga 1 5th cent. Though the use of tin glaze was understood in the Netherlands at least a century earlier, it was about the year 1 that the manufacture developed in Delft. The processes used at Delft were in most respects similar to those of the Italian maiolica potters see p. The object of the potters of Delft was to make a ware resembling blue and white Oriental porcelain.
Hence the predominance of Oriental forms and of blue painting after the style of the Chinese. Towards the end of the seventeenth century coloured ornament in " Old Japan " style came into fashion, and still later enamel painting on the glaze was adopted. The marks of the earlier wares are usually in blue: The marks are as far as possible grouped in factories each of which had its sign, like an inn, e. The manufacture of tin-glazed wares showing the influence of Delft spread rapidly over the North of Europe ; England, Scandinavia, and the North of Germany numbered many factories, while in France the manufacture became national and developed a character of its own.
A red unglazed ware after the manner of the Chinese " buccaro " was made in Holland by de Milde and de Calve early in the eighteenth century. A few hard-paste porcelain factories were established in Holland and Belgium towards the end of the eighteenth century, and an important manufacture of soft-paste porcelain, after the French fashion, flourished at Tournay from The principal Scandinavian potteries were at Herreboe, Ror- strand a district of Stockholm , and at Marieberg.
Tin-enamelled faience after the fashion of Delft was the chief product, though porcelain also was made at Marieberg for some years.
It had been preceded by the manufacture of soft paste, examples of which are very rare. Russian porcelain was made principally at the Royal factory in St. Petersburg, and by Gardner and Popoff in Moscow: Stove-tiles, slip-wares, and tin-enamelled faience were produced in considerable quantity in Switzerland in the seventeenth and eighteenth centuries, chiefly at Winterthur, Zurich, Schaffhausen ;.
In Alsace-Lorraine the principal factories were those of Strass- burg, Hagenau, and Niderviller where good faience and hard- paste porcelain were made in the eighteenth century. Strassburg faience is noted for its rococo forms and its enamelled decoration resembling the painting on porcelain. Fine earthen- ware and terra-cottas were made at Luneville and at Niderviller, the figures and groups modelled by Cyffle at the former place, and Lemire at the latter being justly celebrated. Its present-day porcelain is worthy. Willem Kool cyy Also AB in monogram TVr c.
Luxemburg Late i8th cent. Painted only at Rotterdam Tournay Porcelain, s. A tower, arms of the town Early mark p. Rue d'Aremberg Porcelain, h. Mombaers Liege 1 8th cent. Faience Malines 1 8th cent, Bruges Briquet from the arms of the town 1 8th cent. The mark represents the Three Belts.
Moscow Winterthur nonoBbi H. KER on stove tiles S.
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Aini 1 8th cent. Formerly it was supposed to have been made at the Castle of Oiron, near Thouars, but it is now more generally assigned to the neighbouring village of Saint-Porchaire. This ware is very rare and remarkable. It is a fine, glazed earthenware of ivory colour, with stamped patterns, like those on contemporary book-bindings, inlaid with darker clays, and occasionally touched with colour. The shapes are carefully and elaborately moulded ; and the occurrence of the royal arms, and the cyphers of Henri II.
Commoner lead-glazed earthenwares were made from early times at Beauvais, and in the neighbourhood of Saintes, but they are rarely marked. Nor has any marked example of undisputed Palissy ware been found. Bernard Palissy, the most renowned of French potters, was born about near Saintes, and by extraordinary patience and all -sacrificing industry succeeded in making the peculiar type of pottery associated forever with his name.
It is a fine dense pottery with rich lead-glaze mottled or splashed with blue, green, purple, and yellow: Palissy is said to have died in the Bastille about i His sons continued the work, and among his other followers were several potters at Avon, near Fontainebleau, including Barthelemy de Blemont, to whom the mark B B p. Palissy ware has been frequently copied, Pull of Paris, about , being particularly successful in this work.
The processes employed were essentially the same as those described on page i in connection with the Italian ware. Indeed the art was introduced into the south of France by Italian potters at the end of the sixteenth century, and the early wares of Lyons and Nevers are purely Italian in style.
Among the many forms of decoration adopted on French faience five distinct schools are observable: About "cream-colour" and other English forms of fine earthenware threatened to oust the national faience, and attempts were made to produce the English types of earthenware, notably at Douai and Creil. The marks on French faience are mostly painted in blue, sometimes in colours. At the end of the seventeenth century this ware was successfully made, first at Rouen, then at St.
Cloud, and a few years later it was made at Lille, Mennecy, and Chantilly. The perfection of soft paste was reached at Vincennes and Sevres between the years The true soft -paste largely consists of a glassy composition or frit mixed with sand and marl or pipe-clay and other ingredients, and is coated with a luscious lead-glaze of creamy tone. The ware is very beautiful, but unsuited for household usage.
About the manufacture of true or hard- paste porcelain from natural clays and rocks was introduced at Sevres, and very soon superseded the soft-paste there and elsewhere in France. It was made in large quantities in Paris from about to the end of the century, but since then the chief centre of production has been Limoges. Figures and groups in " biscuit " or unglazed porcelain were made in both hard and soft paste.
These are usually marked by incising in the raw body, whereas the glazed wares are marked by painting in under-glaze blue, over-glaze red, and other colours or gilding, and on the modern wares by printing chiefly in red. Saint Porchaire i6th century. The ware is commonly called " Henri II. B Beauvais i6th cent. Saintes 1 6th cent. Custode 1 7th cent. Numbers also occur referring to the value of the ware. Bertrand Joseph Bedeau z. Boussemart Lille or St. Dorez Dorez Faience and porcelain? Dorez Early i8th cent. Franyois Viry fecit c. The monogram of O L indicates his work.
His factory lasted till , his partner being Langiers. After he worked as a painter again till Cle"rissy, PF S-P? Js 1 9th cent. Paul 1 8th and igth cent. Copy of de Ligron Palissy ware Moulins n Moulins 1 8th cent. Dumas Paris Levasseur, Clavareau c. Ziegler in a double quartrefoil.
R. S. Prussia and Reinhold Schlegelmilch Porcelain
Remey H Vincennes Hannong: Devers i gth cent. S- F- LL Paris? Saint Cloud late 1 7th cent. Fauquez and Vannier Fauquet and Lamoninary. Bourg-la-Reine Orleans B R s. Hence the anchor and S. Le Brun Bordeaux Verneuille Boisette Alluaud Marseilles J. Haffringue 1 9th cent, h. Amand- les-Eaux 1 9th cent, h. A y Courtille T Locr6. Le Comte de P. Cypher of Queen Marie Antoinette. Outrequin de Montarcv ' a Paris. La Seinie Paris 06 c c.
Jacob Petit onwards, p. Incised on Schoelcher Faubourg St. Delivery times may vary, especially during peak periods and will depend on when your payment clears - opens in a new window or tab. Start of add to list layer.
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