Quarterly Is Published in Spring, Summer, Fall and Winter

Fall & Winter 2013 HHaavviillaanndd Volume 22, Nos. 3 & 4 QuA Pubalication of thre Havilandt Collecetors International Floundatiy on Crème Faïence Haviland Collectors International Foundation HCIF is a non-profit organization whose purpose is to study and preserve the products made by the early Haviland china companies in France and America. HCIF is incorporated in the State of Missouri. In this issue Membership Membership in HCIF is open to all interested persons. A single household membership is $50. Membership applications should be A Worthy Experiment: accompanied by one-year dues (July1 –June 30). Checks should be made payable to HCIF and mailed to HCIF, P. O. Box 5163, Buffalo Grove, IL Haviland & Co. Crème Faïence . . . 4 60089. Applications received prior to April 1 will be considered to be for the current year and those applications will be mailed all back newsletters for that year. Applications received April 1 and after will be accepted for Fish Platters, Plates and Sets . . . . . 12 the next membership year, which begins July 1. Membership does not imply endorsement by HCIF. Officers for 2013-14 The Beginning of Porcelain President, Fred Daniels First Vice President, Alice Pricer in Limoges, France ...... 14 Second Vice President, Paul Robertson Treasurer, Perry Haviland Corresponding/Membership Secretary, Arthur Levin The Haviland Figural Recording Secretary, Jackie Doctor Board of Directors Humidors ...... 18 The Board of Directors is elected by the membership. Directors serve without compensation. Board members and terms of office are as follows: HCIF Grand Tour 2013: 2011-2014 2012-2015 2013-2016 Donna Hafer Fred Daniels Jackie Doctor Mary Ann Harrigan Celeste Graham Perry Haviland Paris, Limoges, & Loire Valley . . . 20 Sandra Kramer Bonnie Kline Arthur Levin Alice Pricer Richard Pryor Paul Ohland Paul Robertson William Seward Carolyn Quinlan Butter Pats ...... 28 Directors Emeritus: Grace Graves, Robert Rorex, Wallace J. Tomasini Contact Information And There It Was ...... 30 Fred Daniels, President Arthur Levin, Membership 2741 Diamond Street P. O. Box 5163 San Francisco, CA 94131 Buffalo Grove, IL 60089 On the cover: Monumental crème faïence gourd-shaped vase, unsigned. The base is marked 415-452-9811 847-830-6988 with an incised H&Co/L, as well as the handwritten incised mold number “103.” The piece [email protected] [email protected] is decorated with impressionistic pink flowers, vines, and green leaves (possibly Mandevilla) Perry Haviland, Treasurer Wallace J. Tomasini, Archivist that climb across the vase, done in heavily applied slip. This large vase measures 36,00 cm 27 Embarcadero Cove 610 Beldon Avenue tall by 35,50 cm wide." Oakland, CA 94606 Iowa City, IA 52246 510-532-6996 319-338-1641 [email protected] Robert Rorex, Scholarship Chair 610 Beldon Avenue Iowa City, IA 52246 319-351-0917

By the numbers The HCIF Quarterly is published in Spring, Summer, Fall and Winter. Copyright 2013 by Haviland Collectors International Foundation. All rights reserved. Permission to use any material in the Quarterly must be HCIF Assets obtained in writing from HCIF. Back issues of the Quarterly are available Treasurer’s General Fund $ 31,975.47 from HCIF Publications. Volumes 1 –4, $2.00 each; Volumes 5 –present, Report $4.00 each plus postage. Perry Haviland, Treasurer HCIF Total Equity $ 31,975.47 Editorial Staff Karen Levin, Editor Balances as of HCIEF Assets Arthur Levin, Co-editor November 30, 2013 Archives Fund $ 82.00 Nora Travis, Co-editor Dannielle Stark, Graphic Designer PayPal 303.43 General Fund 13,390.45 HCIF Website: www.havilandcollectors.com / www.hcif.org HCIEF Scholarship Fund 2,241.22 Articles, Quarterly Correspondence, and Distribution Memorial Funds 21,657.85 Questions should be directed to: Karen Levin, Quarterly Editor 42 Cedar Drive HCIEF Cash $ 37,674.95 Wheeling, IL 60090 [email protected] Inventory Address Changes should be addressed to: Publications $ 24,598.86 Arthur Levin P. O. Box 5163 HCIEF Total Equity $ 62,273.81 Buffalo Grove, IL 60089 [email protected]

2 Haviland Quarterly Fall & Winter 2013 From the President

Another year comes to a close and gives patterns. Sharing our enthusiasm always us time to plan dinners on Haviland china, brings many happy returns! recall those great finds from the conference One of the benefits of the Quarterly is or on eBay, and look back at all of the good that we get to join in on Haviland searches things that happened since 2012. And for even though we could not be there in our organization, it was a banner year. Not person. This fall, Arthur and Karen Levin least among the accomplishments, Karen led a spectacular tour including the high- Levin rekindled our Facebook presence and lights of Paris and Limoges, and of the now every day I get a report of new people Haviland factory itself. Taking a trip to the “liking” us, asking questions about their source of Haviland goes a long way towards inherited Haviland, and in some cases, understanding so much about the dishware joining our organization. They come from and artistic creations that we have come to all walks of life, and we all have the love of love and collect. You can imagine what the Haviland in common. I hope we can do city of Limoges was like all those many years more with this in the coming year. ago, with the artists and their apprentices This very issue represents an advance- working at the kilns to create these beautiful ment, in that we are now publishing a patterns. Then, huge fires were lit under more exciting regional meetings and printed copy only once a year. For much of beehive shaped kilns, and the heat was Haviland happenings. I’d like the board to our twenty-five year history, most of our controlled with bellows and adding more explore more social media options, and our budget went towards creating, printing and fuel. So many pieces were lost when the fire board meeting in Chicago will focus on how mailing the newsletter every quarter. did not allow the dishes to fire properly. best to celebrate the 25th anniversary of the Although beautiful and certainly one of the Some colors at the hottest point of the kiln first HCIF conference. nicer collector publications, the board might be spoiled, and some at the bottom All of your ideas on how we can improve thought that the money spent could be not fully realized. But I digress. and grow are welcome, so please contact me better applied elsewhere. It took almost two Today, pieces flow into long linear gas- or any board member and we’ll be sure to years to work out a solution that seemed fired kilns on conveyor belts, and bake or put them on the agenda for our upcoming satisfactory, and now we print one annual a fuse with remarkable consistency, coming March board meetings. year with all of that year’s issues in one out the other end as a result of the perfect It is my pleasure to wish each and every bound magazine published around the refinement of the process. But some one of you a wonderful holiday season and a holidays. In the interim, Quarterly issues are treasured techniques, like hand polishing or healthy, prosperous and Happy New Year. still delivered to the membership in burnishing the gold, remain to be completed — Fred Daniels electronic format, which is excellent in in the age-old tradition, by hand. The tour several ways, including allowing members to visited the kaolin deposits at Marcognac, print the volume at will, search it elec- and spent time with local collectors and tronically, or just read it from their museum representatives, all of which computers. The cost savings will allow us to contributed to a memorable trip that we all increase our activities in several other areas, can now share in as we turn the pages of our including reaching out to new members, 2013 annual edition. Many thanks to Karen sponsoring museum shows, and reworking and Arthur for their perfect organization of our archives to make them more user- the tour, to those that helped entertain and friendly. Research scholarships are being educate our band of travelers in France, to promoted, museums are being contacted to those who took lots of photos for the From the Editors help research or accept Haviland, and new Quarterly, and especially to Anne Morris for The Editorial Committee hopes that venues for Haviland exhibits are eagerly her delightful diary of the trip. everyone enjoys the first printed annual of being sought to continue our successes of Looking back only makes me want to The Haviland Quarterly. the past few years. If you’d like to do your think of the future, and a very fine one we The editors especially want to thank the part, consider writing an article for the have for our organization. We can look committee and members who have Quarterly, suggesting a scholarship for an forward to a wonderful conference in contributed to this year's issues. art or art history student you know, or just Chicago, more scholarly articles in the sending in a few photographs of those Quarterly, more talks at the Palace of the holiday tables displaying your favorite Legion of Honor in San Francisco, and

www. havilandcollectors .com 3 A Worthy Experimen t: Haviland & Co. Crème Faïence by Jess Peirson

To most collectors, Haviland & Company is best known for the fine porcelain dinnerware that it produced, beginning in the middle of the 19th Century. In addition to this dinnerware, however, the company made exceptional decorative objects in hard and soft paste porcelain and also non-porcelain ceramics. The most often-encountered non-porcelain ceramics are its terra cotta and stoneware (grès) pieces. Prior to these wares, Haviland also experimented with the production of several types of soft paste porcelain, namely pâte tendre and crème faïence. The production runs for both of these types of soft paste were short-lived and extant examples are quite scarce. This article presents a brief look at Haviland’s venture into producing its version of crème faïence, beautiful yet ultimately commercially unsuccessful, most likely produced from 1874 to 1879.

4 Haviland Quarterly Fall & Winter 2013 2

To place Haviland’s production of crème produced a fine, cream-colored, earthenware lead and flint in water. The unglazed faïence into the proper context, it is body. Initially the pieces were glazed by creamware body was first fired, then dipped necessary to look back to 18th century dusting the unfired paste body with a in the leaded glaze and fired again. This new England, where this general type of ceramic mixture of ground lead and ground flint and method was safer for the potters and originated. The first examples of English- then firing once, a method that turned out produced a more even and consistent glaze. style creamware were made sometime to be quite toxic to the potters. The glazes Refinement of both the paste body and the between 1720 and 1740 by John Astbury in on these earliest examples of English glazing continued for the next twenty years, Shelton 1. The ware evolved directly from creamware were also somewhat unreliable and the popularity of the ware also traditional earthenware by the addition of and difficult to standardize. Around 1740, continued to grow. Josiah Wedgewood is ground, calcined flint to both the clay body Enoch Booth of Tunstall, Staffordshire, often credited with perfecting and and the leaded glaze. This flint-clay mixture invented a liquid glaze made by grinding the aggressively marketing English creamware,

1. Pair of large crème faïence covered urns, 3 signed by Henri-Lucien Lambert. The bases are marked with an incised H&Co/L as well as the mold number “81” on the bottom. The urns are decorated with impressionistic pink, cream, and blue flowers and green leaves done in heavily applied slip. In addition to the slip decoration, there are small platinum shooting stars and gold flowers and accenting on the surface. The lids and bases are decorated with a blue and gold geometric pattern. The urns measure 35 cm tall to the top of the finial on the lid. 2. Comparison of the backmarks on a crème faïence flask-shaped vase (left) and a vase in the same shape done in porcelain (right). Note the off-white, chalky appearance of the bottom of the crème faïence, as opposed to the white, glazed bottom of the porcelain. To date, shape and size numbers in gold have only been found on porcelain pieces. 3. Pair of large crème faïence vases, signed by Edouard Dammouse. The bases are marked with an incised H&Co/L as well as the mold number “47” on the bottom. The pair was made for the Escalier de Crystal, Paris, which is written in gold on the bottom. The vases are decorated with striking impressionistic pink, cream, and blue flowers and green leaves done in applied slip. The upper portions and bases have additional gold accenting. The vases measure 31,70 cm tall.

www. havilandcollectors .com 5 beginning in the early 1760s. In 1765, crème faïence is not completely known. production of its own crème faïence 4. Wedgewood produced a large tea service in According to letters preserved in the Haute Letters suggest that the company’s crème creamware for Queen Charlotte of England, Vienne archives in Limoges, in October of faïence pieces were molded and initially and thereafter the ware was commonly 1873, Charles E. Haviland traveled to the fired in Limoges and then subsequently referred to as “Queen’s Ware.” Early Vienna World’s Fair, where he observed the transported to the artistic studio in the examples of Wedgewood creamware had a ceramics displays of a number of Europe’s Auteuil district of Paris for decoration 5. The distinctive, deep cream color, but in 1768 most prominent firms 3. From his corre- artist Félix Bracquemond, who had become the company began producing creamware spondence, it is clear that he was particularly director of the Auteuil studio in 1872, was with a light, yellowish-green glaze that is impressed with the displays of turquoise- instrumental in encouraging Haviland & quite similar in appearance to the glaze that and purple-glazed soft paste porcelain by Company to experiment with new designs, Haviland would use a century later. Theodore Deck and Minton, and also with decorating processes, and ceramic wares. English creamware met with enormous the display of Japanese ivory ware by His influence can be readily observed in the success outside of Great Britain as well. Worcester. The products of Deck and crème faïence pieces shown in this article. During the 1770s, Wedgewood and the Minton were certainly the inspiration for He convinced Charles E. Haviland to Leeds Pottery exported vast quantities of Haviland’s attempts to produce pâte tendre, purchase the rights to a new technique of creamware to Europe and to North and most likely Worcester’s cream-colored “painting” ceramics with colored slips in the America, and by the 1780s pottery ivory ware likewise inspired the company’s way an artist would apply paint to canvas. manufacturers throughout Europe were experiments with crème faïence and later He also pushed the company to hire Ernest producing their own versions of cream- colored-glazed porcelain objects as well. Chaplet, the inventor of the technique. In ware 2. The popularity of English creamware Less than a year after attending the Vienna addition, Bracquemond was influential in and creamware-inspired ceramics continued World’s Fair, Charles E. Haviland had made bringing a number of talented artists from well into the 19th century. Whether it was plans to produce English-style creamware. the Sèvres factory to the Auteuil studio. early English creamware or later creamware- In July 1874, Charles E. Haviland Almost all of the crème faïence pieces inspired wares that spurred Haviland to requested “5 to 10 tons of Dieppe flint,” known are decorated with Chaplet’s applied experiment with their own production of indicating that Haviland was about to begin slip technique, and some of the most

5 4

6 Haviland Quarterly Fall & Winter 2013 impressive pieces were decorated by the majority of crème faïence pieces are displayed at least one small crème faïence prominent Sèvres artists including Edouard decorated with Chaplet’s applied slip vase at the Paris Exposition Universelle of Dammouse and Henri-Lucien Lambert. technique. Haviland & Company did not 1878 9. When reviewing the more “remark- The pieces shown in this article have mostly secure the rights to the technique, and able” Haviland pieces at the exhibition, floral decorations, except for the pair of Ernest Chaplet did not come to work at the Jennie Young stated that the company larges vases decorated with scenic images of Auteuil Studio until late in 1875 or early in displayed “a charming little vase of cream roosters and butterflies. There is also a vase 1876. Furthermore, Haviland exhibited faience, with its top and bottom encased in at the Metropolitan Museum of Art in New pieces of crème faïence at the Philadelphia a netting of blue and the body sparingly York with a floral and bird décor 6, and there Centennial Exhibition in 1876. In ornamented with flowers.” From a business were evidently other pieces of crème faïence photographs of the entire Haviland booth perspective it would have been unusual for decorated with birds but whose current (images can be accessed through the website Haviland to continue to display pieces of whereabouts are unknown 7. It is noteworthy of the Free Library of Philadelphia 8), a crème faïence at exhibitions several years that the impressionist florals painted on number of pieces of what look like crème after production and sales had ceased. Haviland’s crème faïence represent some faïence are displayed on the far right. The The factors that led to Haviland’s of the earliest examples of impression- tall, ribbed bottle-shape vase shown in this decision to discontinue production of crème ist artwork on ceramics. The First article is the same shape as one displayed at faïence and shift their decorative objects Impressionist Exhibition was held in April the 1876 Exhibition. It is possible that the production instead to terra cotta, stoneware, of 1874, just before Haviland & Company pieces visible in the Haviland booth were and eventually back solely to porcelain in the began to produce crème faïence. made of porcelain, since Haviland & 1880s is not completely known. Difficulties Haviland’s production of crème faïence Company is known to have produced a in the manufacturing and decorating was short-lived, with production likely number of objects in all three of pâte tendre, processes that led to high failure rates or less lasting for only several years, from its crème faïence, and porcelain. than perfect outcomes are most likely. The inception in 1874 to its cessation sometime The likelihood that the company cream-colored faïence body, the sparing use between 1876 and 1879. The continuation continued crème faïence production past of the applied slip for only the focal décor, of production past 1876 seems likely since 1876 is supported also by the fact that they and the yellowish-green, transparent glaze

4. Crème faïence wall pocket, unsigned, but the decoration is reminiscent of the flowers from the 6 Service Fleurs et Oiseaux Jetés by Félix Bracquemond. The back is marked with an incised H&Co/L as well as the shape number “C1”. The wall pocket is decorated with colorful, stylized flowers and leaves that are outlined in black, a Japonist style that is very different from the approach used on the other pieces of crème faïence shown in this article. The piece measures 14 cm tall. 5. Pair of large crème faïence vases, unsigned. The bases are marked with an incised H&Co/L as well as the mold number “28” on the bottom. The shape of these vases is based on ancient Chinese bronzes, as can be seen in the molded relief around the base and central portion of the vase, as well as the dragon handles. The vases are decorated with a colorful impressionistic landscape scene with roosters and butterflies. The foot, upper rim, and molded band below the handles have heavy gold accenting. The vases measure 34,50 cm tall. 6. Series of footed crème faïence canteen vases, all unsigned. The bases are marked with an incised Haviland & Company over Limoges as well as the mold number “27” on the bottom. These vases are decorated with either impressionistic florals of pink, cream, and blue flowers and green leaves or with berries, grapes and leaves done in applied slip. Depending on the piece, the upper portions and bases are undecorated or variously adorned with fine gold accenting and colored enameling. The larger vases measure 27,20 cm tall and the smaller ones 19,60 cm tall. www. havilandcollectors .com 7 would not have masked imperfections in the to preclude the destruction of the pieces. It discontinue production. Despite these pieces in the way that decorating techniques is also possible that the soft paste porcelain issues and the short production life of did on later terra cotta objects. In addition, body turned out to be too fragile. Images of Haviland crème faïence, the ware remains as can be seen in photographs of several one of the pâte tendre masterpieces today a testament to the experimentation, pieces of crème faïence in this article, there displayed at the 1876 Philadelphia creativity, and abilities of the artists and were serious inconsistencies with the Exposition show that it had already suffered potters who created it. glazing itself. The leaded, flint glaze tended significant damage at the time of the The Haviland and Company crème to show heavy runs that were a darker exhibition (the Psyche, photo at the Free faïence pieces illustrated in this article yellowish-green color and that often had Library of Philadelphia 10 ). Perhaps pieces of represent a range of the shapes and sizes of pronounced crazing. The fact that a number crème faïence suffered the same fate. the pieces produced by the company, but of imperfect pieces with apparent glaze Technical problems with both the firing and they are by no means exhaustive. HCIF problems entered the marketplace suggests glazing of the pieces and low consumer members Grace Graves, Arthur and Karen that these flaws occurred frequently enough demand probably all led to the decision to Levin, Arthur and Audrey Stees, and

8 Haviland Quarterly Fall & Winter 2013 Anjanette Stoltz graciously provided photographs of their crème faïence pieces or allowed me to photograph them. Arthur 10 Levin and Drs. Maso Tomasini and Robert Rorex provided helpful suggestions and comments on earlier versions of this article, but any errors or omissions in content are mine. I

7. Footed crème faïence bean shape vase, unsigned. The base is marked with an incised H&Co/L as well as the mold number “114” on the bottom. The vase is decorated with impressionistic florals of pale pink flowers and green leaves done in heavily applied slip. This vase shows hints of the perhaps telltale, yellowish glaze runs of a number of crème faïence pieces. The vase measures 34 cm wide by 15 cm tall. 8. Series of flask shape vases, two crème faïence and one porcelain. The bases are marked with an incised H&Co/L as well as the mold number “10” on the bottom. The vase with irises is signed with a “B”. The crème faïence pieces are decorated with impressionistic flowers (pink and red wild roses and green leaves and irises and leaves) done in heavily, applied slip. The vase with roses shows a yellowed, crackled glaze run, which is a fairly common occurrence on crème faïence pieces. The porcelain vase has a cream glaze with hand colored transfers from Félix Bracquemond’s Service Fleurs et Oiseaux Jetés (note the similarity in design to the crème faïence wall pocket). Porcelain pieces in this mold always have a colored background glaze of cream, bluish-gray or celadon green, and an impressed, molded band just below the upper rim. The impressed band is present on some crème faïence vases as well but not the two shown here. Both the crème faïence vases and the porcelain vase measure 20 cm tall. 9. Crème faïence cylinder vase with metal insert, unsigned. The base is marked with an incised H&Co/L as well as the mold number “96” on the bottom. The vase is decorated with impressionistic pink poppies, blue cornflowers, and green leaves done in heavily applied slip. The vase measures 17,70 cm tall. 10. Handled crème faïence lamp shape vase, unsigned. The base is marked with an incised H&Co/L as well as the mold number “60” on the bottom. The vase is decorated with impressionistic pale pink and yellow flowers and green leaves done in applied slip. This piece, along with the pair of covered urns, are the only pieces of crème faïence with the cobalt blue accenting that are currently known. The vase measures 27 cm tall by 20 cm wide.

www. havilandcollectors .com 9 12

1Towner, D. 1957. Introduction to English Cream- 7Kirby, T.E. (Auctioneer). 1887. Catalogue of the 11. Crème faïence cylinder vase, artist signed but colored Earthenware . Monographs on Pottery & Bric-a-brac: Rare Oriental Rugs, Oil Paintings, unreadable. The base is marked with an incised Porcelain, edited by A. Lane. Faber and Faber, Furniture, Fine Curtains, Large Collection of Fine Old H&Co/L as well as the mold number “92” on the London. Engravings and Etchings, and the Valuable Library bottom. The vase is decorated with impressionistic pink 2Towner, D. 1957. Pages 59-63 in English Cream- Belonging to the Estate of the Late Rev. Henry Ward peonies and green leaves done in heavily applied slip. The colored Earthenware . Monographs on Pottery & Beecher . American Art Association (Managers), vase measures 34,25 cm tall. Note the glaze run below Porcelain, edited by A. Lane. Faber and Faber, New York. the flowers, a common feature of many crème faïence London. 8http://libwww.freelibrary.org/diglib/SearchItem. pieces. 12. Crème faïence ribbed bottle vase, artist signed P. The 3d’Albis, J. 2006. Page 6, in The Art of Haviland cfm?searchKey=2792896775&ItemID=c021358 9 base is marked with an incised H&Co/L as well as the Pottery . Published by HCIEF. Young, J.J. 1879. Pottery and Porcelain at the Paris mold number “40” on the bottom. The vase is decorated 4d’Albis, J. 2006. Page 7, in The Art of Haviland Exposition. Lippincott’s Magazine of Popular with impressionistic pink flowers and green leaves done Pottery . Published by HCIEF. Literature and Science , Vol. 23, pages 313-324. in heavily applied slip. The vase measures 43 cm tall. 10 5d’Albis, J. 2006. Page 8, in The Art of Haviland http://libwww.freelibrary.org/diglib/SearchItem. Note the dark pooling of glaze around the neck. A vase Pottery. Published by HCIEF. cfm?searchKey=2792896775&ItemID=c021609 in this mold can be seen in the Haviland & Co. booth at 11 the Philadelphia 1876 Exhibition (far right side of the 6Vase, Haviland & Co. (American and French, Jervis, W.P. 1902. Haviland, pages 277-280 in The Encyclopedia of Ceramics . Self-published, New York. booth). A similar vase is also illustrated in The 1864–1931), Accession Number: 23.31.14. Encyclopedia of Ceramics (page 279) 11 .

10 Haviland Quarterly Fall & Winter 2013 HCIF’S 25TH ANNUAL CONFERENCE

June 12 – 15, 2014

Chicago Illinois

Location Preliminary Program Other Points Of Interest Embassy Suites Chicago – On Thursday, tour the Sanfilippo Adler Planetarium & Astronomy O’Hare/Rosemont “Place de la Musique,” known worldwide Museum, Frank Lloyd Wright Home & 5500 North River Road for its magnificent collections of Studio, Harold Washington Cultural Rosemont, IL 60018 beautifully restored antique music Center, Brookfield and Lincoln Park (847) 678-4000 machines, phonographs, arcade and Zoos, Navy Pier, Ravinia Festival, The gambling machines, steam engines, Shedd Aquarium, The Art Institute of Two-room suites, complimentary chandeliers, art glass, the world’s largest Chicago, The Field Museum of Natural breakfast and evening cocktail reception, restored theater pipe organ, and the most History, The Museum of Science and free shuttle service to and from O’Hare spectacular European salon carousel in Industry, The Chicago White Sox. and other nearby modes of existence, all displayed within a transportation servicing the Chicago breathtaking French Second Empire The new Fashion Outlets of Chicago metropolitan area, free WiFi throughout setting. mall and the Rivers Casino accessible via the hotel, including all guest rooms. hotel shuttle. Exhibitions • Works Of Édouard-Marcel Sandoz • Haviland Silver Anniversary (A19) The Conference Committee • Haviland Crème Faïence Chairpersons are Arthur & Karen Levin • Saturday Benefit Auction email: [email protected] • Sunday Show and Sale

We hope that you will attend!

www. havilandcollectors .com 11 Fish Platters, Plates and Sets by Richard Osterberg New technological advancements were bringing huge changes to American life in the period after the Civil War. The development of the refrigerated railroad car made it possible to ship oysters and seafood into the heartland of America and return with fruits and vegetables. All forms of seafood were readily shipped, creating a new market for the coastal products. Previous to this was the introduction of canning and the Mason jar, which made possible a greater variety of foods available to the public. In the 1800s canned sardines were a big item, and being served these indicated your standing with the host, as they were very expensive. Late in the 1800s china developers were busy developing new china styles for the public and serving pieces for the new foods coming onto the market. Silver manufacturers were right behind with the complement of silver articles for serving and eating. They made special fish serving forks and knifes, such as the fish slice, circa 1830, and individual forks and fish knives. Some knives were all silver, and others hollow- handled. Tiffany and some other manufacturers made some of the knife blades out of sterling, which added yet another dimension.

From top: Meadow Visitors fish platter with luncheon plates, Tiffany sterling in the Audubon pattern. Both were introduced in the 1870s and 1880s, and work well together. The grasses on the Meadow Visitors complement the grasses on the sterling. Haviland fish set with Tiffany Marquise sterling. Haviland setting with a Lenox Tuxedo dinner plate used as a service plate.

12 Haviland Quarterly Fall & Winter 2013 Fish sets provided to the Victorian home consisted of a large oblong or elliptical platter, individual plates, and perhaps a sauce/gravy boat. One wonders if bone dishes would not be a necessity when whole fish were served. The beautiful shape of the serving platter with a whole fish makes a truly impressive statement for the guest. Complete fish sets, while not impossible to find, are expensive. Pairing a luncheon plate along with a fish platter can easily create a fish set. Many of the factory-decorated sets were artist signed. In addition, Haviland made oyster tureens, and the silver manufacturers made complementary oyster ladles, oyster plates and, of course, sterling oyster forks. Tiffany also made a lobster fork, while other manufacturers made lobster picks and fried oyster servers. Perhaps the general public does not eat as much seafood today as in the past, but it would be a shame to relegate the beautiful serving pieces to the storage area. I

From top: Fish platter on Blank 3 with unknown rim pattern. Various sterling patterns with a Gorham Decor fish serving knife and a large salad fork being used as the fish server. A set of plates employing transfers from the Rutherford B. Hayes Presidential fish service. A fish platter used as the underplate for a tureen holding seafood chowder to be served in the small bowls. Note the oyster crackers in the dish. All on Blank 3 with unknown rim pattern. The sterling is Tiffany Marquise.

www. havilandcollectors .com 13 The Beginning of Porcelain in Limoges, France: MID 18 TH CENTURY TO 19 TH CENTURY by Nora Travis

managed the factory after Louis XVI took control. He was manager from 1784 to 1788. The marks during this time included the word “royalle.” J. François Alluaud succeeded Grellet as manager of the Royal Limoges Company from 1788 to 1794. The French Fleur de Lis symbol was used as a mark during this period. Around 1794 the company was sold to three workers — Joubert, Cacate and Joly. Under Alluaud’s management the first pieces were white, then white and gold. Multicolored designs of mixed flowers and garlands came later, as did the genre paintings. Pieces with cross-hatching and masses of roses appeared about 1784. He hired an artist to design decorations, as few artists worked in Limoges. Until 1788 there was only one, and by 1790 the number had increased to three. Early sketch of the town of Limoges and the Vienne River. Porcelain factories began to appear everywhere — Caen, Chantilly, Boisettes, Limoges is located two hundred miles the time that kaolin was discovered. The Etiolles, Lorient, Bayeaux, Lande, and most south of Paris in a region called Haute clay was found to have the right importantly Lille, Valenciennes and Vienne. Vienne is the principal river that composition to create perfectly white Orléans. By the end of the 18th century, all runs through the area and Limoges is porcelain, and this discovery caused an Paris hard paste porcelain shared several located at the base of Mont Jovis. upheaval in the French porcelain industry. traits. It had a perfect vitrified paste quality, During the Middle Ages and up to the The first hard paste company in Limoges brilliant whiteness, and completely legible early 1700s the region was famous for is attributed to Massié, Grellet and designs, the forms and modes of which were enameled boxes and pictures. Pottery Fourneira. Massié was an owner of a faience often inspired by Sèvres. The accent was on making, particularly faience, was also carried factory established in 1737. After the utility, and production was more of on in Limoges years before kaolin was discovery of kaolin, Massié, in 1770, became tableware than works of art. Technical found. Therefore, the people with all the partners with the brothers Grellet and perfection began an era of ease of special skills and equipment to make chemist Fourneira. The owners encoun- production and did not favor artistic porcelain were readily available. The area tered many problems, both financial and creation. All of the Paris porcelain works, also had plentiful forests for the necessary technical in the first years of operation and and some of the provincial ones, also had fuel for kilns, and rivers provided easy in 1774 the owners tried to sell the factory their warehouses and retail shops in Paris. transportation for the wood. to the king. In 1777 the company came Some of the factories used marks that were In 1765 a surgeon named Darnet from under the patronage of le Comte d’Artois, very similar, deliberately done to confuse the St.-Yrieix-la-Perche discovered kaolin brother of Louis XVI. In 1784 the king general public. nearby. He was interested in quarrying and finally bought it and merged it into a branch After the French Revolution there were the initial purification of the mineral. The of Sèvres. White ware was then made in no porcelain monopolies. With the advantage of hard paste porcelain was Limoges and shipped to Sèvres for monarchy’s end in 1796 the porcelain already known to Meissen in Germany by decoration. The younger Grellet brother industry made rapid progression. In 1798

14 Haviland Quarterly Fall & Winter 2013 Alluaud trio. Impressed white ware AF mark, 1881 and before. These pieces are important because the Alluaud mark is extremely rare. (photo by Arthur Levin)

Alluaud, former director of Royal Limoges, set up his own company, which became one of the longest running factories in Limoges. In 1814 his two sons created the new company Alluaud Frères (brothers). Eventually the company was taken over in 1876 by Charles Field Haviland when he Vase, 33,20 cm. Guérin white ware mark in green, married the granddaughter of François before 1891. Decorating mark in red, 1891-1932. Alluaud, Sr. (photo by Arthur Levin) By 1819 there were four factories in Limoges that were producing porcelain. The porcelain factories in Limoges were This increased to seven by 1822, and nine primarily French owned. The exceptions by 1824. The shortage of skilled porcelain were the Haviland companies. Prior to the artists forced manufacturers to ship their 1850s most of the Limoges porcelain was wares to Paris for decoration. Only Alluaud sold to the European market. After that owned both a factory for production and a time the companies attempted to export workshop for decoration that operated their products to the United States. Many independently. The porcelain industry in of the companies were very small, and some Limoges employed about 200 workers circa were in business for only a short time. 1807, but by 1830 there were almost 1800 Those that managed to stay in business for workers. The mid-1800s brought the any length of time were eventually merged beginning of the industrial revolution, and into other companies. The Haviland new methods of manufacture and companies are about the only ones that decoration were introduced. There were remained under one management until the about thirty-two companies in Limoges, 1930s. Even then, after the merger with Blue vase. 24,50 cm. Pouyat white ware mark in Théodore Haviland, the company was still green and decorating mark in red, both 1876-1890. and that would increase to forty-eight by (photo by Arthur Levin) 1920. under one family name. Because of the

www. havilandcollectors .com 15 Coffee pot, 23,80 cm. Bawo & Dotter (Elite) decorating mark in red, 1920-1932. (photo by Arthur Levin)

Plate, 23,20 cm. Lanternier white ware mark in green, circa 1890. Klingenberg decorating mark in red, 1891- 1894. (photo by Arthur Levin)

St.-Yrieix and owned several kaolin quarries purchased the William Guérin Company. in the area. He established his company in The name then became Guérin-Pouyat- 1842. Jean Pouyat died in 1849, and his sons Elite, Ltd. The individual marks of each of continued to operate the company. In 1883 the three companies were continued until the company was known as La Céramique. the business closed in 1932. In 1911 it merged with the William Guérin Delinières (D. & Co.)/Bernardaud (B. Company, another well-known porcelain & Co.) The company was founded around manufacturer. 1847, and Remy Delinières manufactured William Guérin (W. G. & Co.) became only white ware until 1881. He then added the owner of the Utzschneider porcelain a decorating department. Léon Bernardaud factory in Limoges in the early 1870s. He and his father had worked for Delinières for created a large export business. A lot of the years before buying the company around items were white ware sold to the American 1900. Mary Gaston, in her book Collector’s china painters. As mentioned above, Pouyat Encyclopedia of Limoges Porcelain , states that and Guérin merged into one company. although they were the successors of D. & Covered urn, 41,00 cm. B & Co mark, 1942-1978. Within two years this company was Co., the year of 1863 is often cited as the (photo by Arthur Levin) purchased by Bawo & Dotter (Elite Works). founding date of Bernadaud & Co. Léon Bawo & Dotter (Elite Works) began in Bernardaud’s company continues to this many consolidations of the other companies the 1860s in New York City for the purpose day, still run by his family. in Limoges, records of the companies were of importing Limoges porcelain. In the early A. Lanternier started exporting often not well kept or became lost through 1870s they set up their own decorating porcelain from Limoges around the 1850s. the years. The following companies that I studio in Limoges, Elite Works. From the The company did not start manufacturing am listing all exported china to America, 1870s through the 1890s Elite Works porcelain until the mid-1880s when and are the names that we most often decorated the white ware manufactured in Frederic Lanternier, Alfred Lanternier’s encounter in addition to Haviland. Limoges by other companies. Bawo & father, decided to make and decorate Jean Pouyat (JPL) is one of the oldest Dotter’s china production was interrupted porcelain as well as export it. In the 1890s French porcelain names. His grandfather by World War I. In the 1920s, they Lanternier bought the Ardant factory, and had a faience factory in the mid-1700s at

16 Haviland Quarterly Fall & Winter 2013 in 1914 Alfred Lanternier formed a partnership with his brother-in-law. The company then became A. Lanternier & Cie. This company was still operational in 2001 according to Keith & Thomas Waterbrook- Clyde. Charles Ahrenfeldt was engaged in the china importing business in New York in the 1830s. He moved to Paris around 1840 and opened a porcelain decorating studio. He died in 1893. His son, Charles J. Ahrenfeldt, opened a factory for the production of porcelain, as well as the decorating, in 1894. The company continued a large exporting trade. Ahrenfeldt china is considered by many to be second only to that of Haviland. Ahrenfeldt continued production until after the 1940s. Tressemanes & Vogt (T & V)/ Cup & saucer. Ahrenfeldt white ware mark in green, 1896 and after. Decorating mark in green, 1940s and after. (photo by Arthur Levin) Porcelain Gustave Vogt/Vogt & Dose/Raynaud (R. & Cie.). Tressemanes and Vogt became partners in the porcelain decorating and exporting business in 1882. The name Vogt had been linked to the porcelain making industry from the 1850s. Tressmanes and Vogt began manufacturing their own china in 1891, and continued until the partnership broke up in 1907. From 1907 until 1919 the company was known as “Porcelain Gustave Vogt.” The company was sold to Martial Raynaud in 1919. A large portion of Limoges porcelain found in the United States carries the T & V mark. From the decoration, it is obvious that a great deal of the white ware was shipped to America for decorating by china painters. The Presidential china for Benjamin Harrison was made and decorated by Tressemanes & Vogt in 1892. Raynaud & Cie. is still in business in Limoges. There are several more companies that were producing porcelain in Limoges, but these are the ones that are most recognizable in the United States. So many people not familiar with Haviland seem to think that all Limoges porcelain is by Haviland. If someone comes up to you with a question Dinner plate from the Benjamin Harrison White House Service. 24,20 cm. T & V, white ware mark in green. about Haviland and they are holding a piece Also, T.V in a bell and FRANCE DÉCORÉ POUR M. W. BEVERIDGE WASHINGTON, D.C. in gold. of Ahrenfeldt or T & V porcelain, you will The mark HARRISON 1892 was also stamped in gold on the reverse as a matter of record to prevent theft. (photo by Arthur Levin) now have a good answer. I References: Official White House China, 1789 to the Present , 2nd The Decorative Art of Limoges Porcelain & Boxes by Edition by Margaret Klapthor, published by The Keith & Thomas Waterbrook-Clyde, published by A Handbook on Haviland China by Allen André Barra Foundation, Inc., in association with Harry N. Schiffer Publishing, Ltd, 1999. Weinheimer, printed by The Sheldon Mail, Sheldon, Abrams, Inc. Publishers. 1998. Iowa, 1941. Distinctive Limoges Porcelain Objets d’Art, Boxes and Collector’s Encyclopedia of Limoges Porcelain, 3rd Edition Dinnerware by Keith & Thomas Waterbrook-Clyde, by Mary Frank Gaston, published by Collector published by Schiffer Publishing, Ltd, 2001. Books, 2000.

www. havilandcollectors .com 17 The Haviland Figural Humidors by Karen Levin The Haviland figural humidors made their initial appearance at the 1855 Paris Exposition Universelle, and were among the first pieces to bear the Haviland name, a tablet-incised Haviland mark. There are three models that are known to exist — referred to here as the Warrior, the Elephant (fig. 1), and the Native- American Child (fig. 2). The Warrior was produced in two sizes and six colors, the larger measuring 19,50 cm in height (figs. 3-7) and the smaller 15,50 cm (fig. 8). Archival documentation exists at the Haviland factory in Limoges that indicates that the Warrior humidors were designed by Paris ceramist Edmé Samson. Very few examples of the humidors are in existence today, the Warrior being the most often encountered. I

(photos by Arthur Levin)

18 Haviland Quarterly Fall & Winter 2013 34

www. havilandcollectors .com 19 HCIF Grand Tour 2013 PARIS, LIMOGES, & LOIRE VALLEY by Anne Morris

Tuesday October 15 luxurious Crowne Plaza Paris République. Then we bravely We arrive at O’Hare Airport in Chicago and board our airplane ventured across streets (the French are terrible drivers!) to select a that accommodates 300 passengers! café for lunch from the many surrounding the hotel. Not to worry. As we enter the plane we can see some beds that rent for $10,000 Parlez-vous anglais? Lucky for us, most French people speak English. per night. But this wasn’t our style. Sally Amlie and I are seated next We are so tired by this time, but we have a few free hours before to each other, glad to be seated by a friend to share our excitement. gathering for our inaugural dinner. Some of us explored the Our plane leaves at 6 pm and after a fitful night of sleep and reading neighborhood and stocked up on wine and snacks. Some of us went we arrived at Charles de Gaulle Airport at 9:25 am. to the Hôtel Drouot, the large Paris auction house, where we viewed items in upcoming auctions and even saw several auctions in action. I think everyone got a bit of rest but me. Drama. With my new adapter, I plugged in my heating pad and fire exploded and blew out all of the circuits in the room. Yes, the French understood “FIRE!” My roommate, Sandy Kramer, slept through it all.

Thursday October 17 After a very delicious breakfast (think French pastries) at the hotel we visited the magnificent Notre-Dame Cathedral, located at the site of the center of Paris 2300 years ago. This 700-year-old structure, with its beautiful stained glass rose windows, famous gargoyles, flying buttresses and the Seine River to the side, is packed with history. Over the cathedral doors one can see carved scenes of The Last Judgment. The façade is studded with ornate statuary and We are on our way to Paris! (photo by Karen Levin) a pair of 200-foot bell towers. The French people broke ground in 1163 and the dedication mass to Our Lady took place two centuries Wednesday October 16 — Bonjour PARIS later in 1345. We pick up our luggage and meet our Globus Tour Director, who is waiting to greet us. Sandrine Vaillant will be with us for every step of our trip, and she is delightful. She immediately fills us with information about the “City Of Light” and its ancient and current history. Our Mercedes Benz Touring Coach takes us along the highway towards Paris, where the boulevards are lined with horse chestnut trees. As we glance up at the “new” 18th and 19th century limestone buildings, we see beautiful wrought iron balconies and window boxes overflowing with ivy and huge red geraniums. On the sidewalks below are many bicycles lined up that are owned and maintained by the government that anyone can use. Just hop on one and pedal to your next destination. Amongst all this beauty are many police Notre-Dame Cathedral on the bank of the Seine (photo by Bill Seward) vehicles surrounding large and small crowds of demonstrators protesting Then we went to Pom’Cannelle, a little restaurant on Île Saint- numerous causes morning, noon, Louis, whose owners were friends of our hosts, Karen and Arthur and night. Levin. I enjoyed the French onion soup and two scoops of their After a brief orientation delicious Berthillon ice cream. Then it was on to the Musée des Arts tour of the city we Décoratifs. We met with a docent who gave us a private tour of the checked in to the porcelain and ceramics of the 16th and 17th centuries that included

20 Haviland Quarterly Fall & Winter 2013 Meissen, Sèvres, Majolica, Delft, Chinese earthenware, and Palissyware (molded fruit, fish etc.). The pieces that we saw were breathtaking.

At the Paris home of Mary and Jacques Fossourier (photo by Karen Levin)

Friday October 18 We had some time to ourselves this morning, so Sandy and I and Lunch at Pom’Cannelle on Île Saint-Louis (photo by Karen Levin) took the opportunity to visit the Fragonard Perfume Museum. Students who were training to be “Noses” were pursuing their love of Back on the motor coach, we passed through the square where fragrance while we viewed the beautiful antique perfume bottles and beheadings were held, which were primarily for the entertainment of wonderful lithographs of powder boxes. We also had time to visit the the wealthy. We then drove to the Eiffel Tower where the lines to Galleries Lafayette, a higher-end department store, where we both reach the top were not too long. In 1889 the fair grounds of the Paris made some jewelry purchases including sterling silver Eiffel Tower Exposition Universelle opened beneath its arch. This World’s Fair charms. As we lunched in their lovely French tearoom we could view celebrated both the centennial of the French Revolution and France’s La Belle Époque stained glass dome at the top of the gallery. position as a super power. At the time most Frenchmen thought the Magnificent! Eiffel Tower was quite ugly, and wanted it torn down after the fair. Back at the hotel, we boarded our touring coach for an excursion But today it stands regally as a symbol of France, and continues to be to Sèvres, where we had a docent-guided tour of the factory. We were maintained with a new coat of paint every seven years. shown how pieces of Sèvres have been made since the 1800s. The artists in the factory are trained for three years in all techniques. At present there are 20 workshops and 120 artists. There is a two-story wood-burning kiln that is used once every two years so that it can continue to be a national monument. Sèvres is a government-run factory. In the museum, items are displayed that date from 4000 B.C. to the present time. One can see items from the International Exposition of 1867 to a vase designed by Félix Bracquemond, who also worked at Haviland.

A view from the top of the Eiffel Tower (photo by Jim Kline)

In the evening we enjoyed a visit to the lovely home of Mary and Jacques Fossourier, relatively new HCIF members, now very dear friends to the people on our tour. Wine and hors d’oeuvres were graciously served as Mary gave us a “crash course” on navigating the Paris Marché aux Puces flea market. She showed wonderful slides of what we might expect while shopping. Their son Joel then walked us to the Métro station, where many of us navigated our first Métro The Sèvres Museum (photo by Jim Kline) ride back to our hotel. What a wonderful day!

www. havilandcollectors .com 21 After a long day, we headed back to the Crowne Plaza, tired but happy.

Saturday October 19 Following breakfast, we went to the Marché aux Puces flea market, which is not really a flea market as we know it in the USA, but a village of antique shops that are only open on weekends. Here are a few tips for shoppers. Upon entering the small shops always say Bonjour Madame or Monsieur. And remember to say au revoir when leaving. Most shopkeepers think that they are doing you a favor by waiting on you. Remember to ask if you can pick up an item, but you don’t have to feel obliged to make a purchase, according to Rich Steve’s Paris 2013 . Prices can be very expensive, but it costs Our guided tour of the Sèvres workshop (photo by Karen Levin) nothing to look at the beauty that surrounds you. You will see Art Deco, Art Nouveau, costume jewelry, fabric, buttons, furniture, silver Although it was not on our itinerary, Arthur arranged a surprise and flowers. And you can eat at a little café called Chéz Louisette and for us with Sandrine and Giuseppe, our driver. We visited the be entertained with music and a cabaret singer. fabulous Haviland boutique on Rue Royale, in the heart of Paris’s most fashionable shopping district. We saw not only Haviland’s current china, but also crystal by Royale de Champagne, silver by Europ Felix, and incredible glass sculptures by Daum.

A shop full of Haviland at the Marché aux Puces Paris antique flea market (photo by Arlene Johnson)

In the evening we took a train to the top of Sacré Cœur in Montmartre. On the way we passed everything from the Moulin Rouge to the “love stores.” Beautiful cemeteries with ornate angels and crypts continued up the hill. Sacré Cœur, the magnificent Basilica of the Sacred Heart of Jesus that was dedicated in the 1870s, Jim and Bonnie Kline at the Haviland Paris store is fabulous to see at night. The bronze statue of King Louis stands (photo by Sandrine Vaillant) on one side, while Joan of Arc stands on the opposite side. The Basilica sits 420 feet above Paris. People have lived in this area since On our way to dinner, we stopped at the church of Saint Germain 1000 B.C. There is an interesting story of Saint Denis, the first des Près, where we saw the fabulous ceramic wall designed by Sèvres bishop of Paris, who was beheaded. The legend says that he did not for the Paris Exposition Universelle of 1900. Dinner at Pizza César, die, but picked up his head and carried it two miles, then rinsed it in another of Arthur and Karen’s favorite restaurants, was terrific. Our the fountain and left it there. It seems that beheadings were popular lively host Frédéric kept the food coming and the wine pouring. for centuries. You can still see Roman columns standing there. After dinner, we took a cruise on the Seine River, where we really got By the end of the 19th century, a community of artists lived in to enjoy the City of Light. We saw a replica of our Statue of Liberty, Montmartre, including Salvador Dali, Pablo Picasso, Henri de which was presented by Americans living in France to celebrate the Toulouse-Lautrec, and Vincent van Gogh. We enjoyed shopping for centennial of the French Revolution. Passing under one of Paris’s souvenirs, and this was the only place that I found French Christmas ancient bridges we could see shiny padlocks that lovers attach to the ornaments to carry home. We couldn’t resist more sorbets in a little railings and then toss the keys into the Seine River. The Eiffel Tower café. ”Two scoops, s’il vous plaît.” was aglow, but surprised us at 8 pm and 9 pm with magical, sparkling lights. Wow!

22 Haviland Quarterly Fall & Winter 2013 Monday October 21 Today we traveled south to Limoges, with a stop at the Relais Saint Jacques in Châteauroux for lunch, dining on a soup of mushrooms, fish and mussels. The entrée included chicken and French whipped potatoes with gravy. Wait, there is more: a choice of raspberry sorbet or an apple tarte for dessert. Everything was delicious. Soon we arrived in Limoges, where Sandrine gave us an orientation tour of the city. This charming city is a reminder of gentler times, with narrow two lane streets and little traffic. We checked into our rooms at the Mercure Limoges Royal Limousine, a beautiful old building that has been well preserved. Our room had a lovely balcony overlooking the square, with a vintage merry go round and many little shops to entice us. Of course, we immediately decided to go shopping.

Sacré Cœur Basilica (photo by Jim Kline)

Sunday October 20 Sunday was a free day to explore Paris on our own, with no planned activities. With many options from which to choose, some of us went to the Louvre and/or other museums, and some went to the Grande Armée antique fair. We chose the Musée d’Orsay, which has Europe’s greatest collection of Impressionist works. It may be less important than the Louvre, but it is more purely enjoyable. Alice, Sallie, Sandy and I spent over three hours there. This magnificent converted train station showcases art from the time that the revolutions swept across Europe in 1848 until the beginning of World War I in 1914. I made a wise choice to rent the audio, and learned much about Manet, Monet, Renoir, Van Gogh The Limoges city hall, with its porcelain fountain (photo by Arlene Johnson) and other artists. The museum contains a French ballroom, the classical lines of which will take your breath away. This ballroom was In the evening we enjoyed another wonderful French dinner. once part of Paris’s most elegant hotel, with raspberry marble and Wine with liver pâté was served first, followed by steak with French leafy garlands of chandeliers. Built in 1900, the museum has several fries … lots of French fries! The dessert presentation was a choice of galleries of curvaceous Art Nouveau furnishings and Tiffany hair pear cake or crèpes. The food was incredible everywhere we dined. combs and jewelry. The main gallery has magnificent statues. I was especially drawn to three African sculptures, my favorite being a Tuesday October 22 beautiful lady with her hair sculpted in cornrows, all in marble. By The weather this French morning was a little gloomy, but we the way, the gift shop was tantalizing! always indulged in a nice breakfast with yummy pastries and jellies, fruits, cheeses, and eggs, with coffee or tea to start our day. And what a day it was! We were greeted at the door of the Haviland Factory by Jacquie Lassene, the Customer Service Manager, and Anne Dalle, the Directrice de site, and treated like royalty for almost four hours.

The Musée d'Orsay (photo by Bill Seward) Haviland collectors at the Haviland factory (photo by Sandrine Vaillant) www. havilandcollectors .com 23 Our tour of the factory was led by Jacky Hyvernaud, the director of whiteware production, and by Philippe Frontier, the Directeur de la Création . We enjoyed seeing every step of production of our beloved Haviland. Depending on the elaborate design of a piece, it can take over twenty different steps to complete one piece of porcelain. Haviland doesn’t let just anyone in their “secret” reserves storeroom, with antique Haviland piled from floor to ceiling, but thanks to Arthur we were allowed in one at a time. And last, but not least, was a reception with coffee, tea and cookies. We were each presented with a silver Haviland gift bag containing a beautifully wrapped Haviland box, inside of which was a Haviland porcelain medallion made to commemorate our visit to the factory and to their enchanting city. And each of us also received a Haviland tee shirt. One more group picture, then we had to say goodbye to our gracious hosts.

The “secret” room of antique Haviland (photo by Jim Kline)

After lunch at a Chinese buffet, we were back in our touring coach and on our way to the Haviland Museum and gift shop. The Haviland factory (photo by Bill Seward)

The Haviland museum and store (photo by Jim Kline)

The decorating workshop at Haviland (photo by Arlene Johnson) We were so excited! Let me tell you a little bit about the museum. Here we were greeted by the handsome “Haviland China Man” in his blue linen suit of the day, decorated with demitasse cups for the bows on his shoes and pedestal cups for his bow tie, his top hat a jaunty upside-down pitcher, a collar of torse blank salad plates and a Sandoz parrot perched on his left shoulder. And standing next to him was artist Roch Popelier, the creative genius who designed him in 1967 for the 125th anniversary of Haviland, and who shared with us the story of his creation.

24 Haviland Quarterly Fall & Winter 2013 Haviland on display at the Lachaniette museum (photo by Karen Levin)

The original engraving of the Haviland Man, by artist Roch Popelier (photo by Arlene Johnson)

As we all know, Haviland created thousands of shapes and tens of thousands of different decorations. Showcased in the museum were pieces by Theodore Davis for the President Hayes service from 1880, Haviland on display at the Lachaniette museum (photo by Karen Levin) flamboyant Art Deco pieces by Sandoz, a sculpture by Antoine Bourdelle, a huge President Carnot beef platter with bull heads for At the Royal Limoges Musée du Four des Casseaux, one of the handles and a Dammouse earthenware rooster vase. The list goes on last kilns in Limoges, we had a very interesting tour and had some and on. Every piece I viewed I declared my favorite. But the early time to shop, where I chose another Limoges box to add to my hand painted plates with their majestic flowers won my heart. collection. Royal Limoges is the present-day successor to GDA. For Most of us left the museum “Haviland struck,” with carefully lunch, Marie Segonds planned a lovely picnic of sandwiches, salads, wrapped packages of treasures of Haviland under our arms and, of course, French pastries in the park. Lucky for us the weather purchased at the gift shop. cooperated, and we had a delightful time. Our next stop was the Musée national Adrian Dubouché, the famous museum of French Wednesday October 23 porcelain. The pieces were breathtaking, as was the newly renovated This morning Giuseppe took us to the Lanchaniette Museum, a museum itself. We were treated to tea and cookies by the curator and stunning private collection begun by Thierry Lachaniette’s director of the museum and new HCIF member, Céline Paul, in a grandfather and carried down through son and grandson. Another lovely atrium, and then had a quick shopping experience in the new HCIF member, he completely reorganized the museum museum shop. This was followed by yet another wonderful French especially for our visit. The fabulous display of Haviland there took dinner, this evening at Café République, where we dined on foie gras, our breath away, and we are so grateful to Mr. Lachaniette for sharing scallops à la Normande, and filet of beef. it with us.

www. havilandcollectors .com 25 We drove on to lunch at Domaine de l’Angelaud, in a pretty picturesque village with its beautiful old church and small homes with lush rose bushes. Next we visited Le Château de Bonneval, crossing a drawbridge over what was once a moat. Dating back to 930, the same family continued its construction into the 1700s. An open gallery surrounds the courtyard. Inside, we went upstairs holding onto railings made from very thick rope with iron attachments. Valuable tapestries from the 16th and 17th centuries adorn the walls. Gothic furniture and ornately carved doors can be seen as one walks past the wall of genealogy archives dating from 1055. Then one comes to a beautiful chapel with an ornate marble baptismal font, a statue of Christ in Haviland terra cotta vases at the Musée national Adrien Dubouchê ivory with carved wooden angels. Awesome hand-stitched religious (photo by Karen Levin) vestments lie over a chair. And a castle wouldn’t be a castle if it didn’t have a room of armor, swords and weaponry, its own dungeon and, Thursday October 24 last but not least, a family portrait gallery. This castle continues to be As we traveled through the scenic countryside we saw grazing a private home with no funding from the French government. sheep and cattle and little villages with moss-covered clay tile roofs and flowers tumbling over window boxes of centuries old limestone buildings. The roads curved as our travel coach took us to Saint- Yriex-La-Perche for visits to Marcognac and La Seynie. Here is where the “Land of Porcelain” began. In the 18th century, attempts were made to find kaolin in France at the request of King Louis XV. A local man, Jean Baptiste Darnet, the King’s surgeon, showed a sample of the white, slimy clay to Mr. Valaris, an apothecary from Bordeaux, who recognized the much sought after mineral. In May of 1769 the King acquired the rights to mine for kaolin, and the Sèvres factory, previously only allowed to work in soft paste porcelain, was given the opportunity to manufacture hard paste. Then in 1786 François Alluaud bought the land at Marcognac, where the mining of kaolin continued for the next 200 years. Our coveted Haviland china had its beginnings here. The grass was covered with dew as we walked through the little Château de Bonneval (photo by Arlene Johnson) village that once held the workers who dug the white clay, and the women and children who carried up to ten kilos of it in wooden From here we traveled to the home of HCIF members Marie and boxes on their heads from the quarry to the drying shed. Today the Jean-Claude Segonds, who invited us to their gorgeous French mines are flooded, but one can still see a glimpse of life in the past. farmhouse. Someone said that it reminded him of a home one might The chestnut trees are dropping their leaves and nuts as we walk see in Architectural Digest. Looking out a window we could see their down the path that so many trod before us. horses grazing in the pasture and their gardens in bloom. Marie is an excellent cook, and served delicious hors d’oeuvres while Jean- Claude filled our raised wine glasses. What a delightful evening!

Friday October 25 The Castle Country and the Loire Valley presented us with a beautiful day of sightseeing, passing dried fields of sunflower stalks and harvested vineyards along the way. The forests had huge mistletoe hanging from the tree limbs, and the landscapes of trees, ponds, and brooks gave us a perspective of the rich French hunting life, as well as the wood used for the cabinetmakers, pastures for the shepherds’ flocks and limestone plateaus for the stonecutters. We were transported back in time as we walked toward our first Loire Valley castle, Château de Chenonceau. Château de Chenonceau, a 13th century castle and fortified mill, was completed in 1435. Thomas Bohier, financier to King Charles Marcognac in Saint-Yriex-La-Perche, where kaolin was discovered VIII, had secretly acquired the neighboring estates and purchased (photo by Arlene Johnson) Chenonceau in 1513. Aided by his wife Katherine Briçonnet, he

26 Haviland Quarterly Fall & Winter 2013 built an entirely new castle on the pilings of the old mill. François I The lure of shopping overtook us once again, and we spent some seized the castle from their son for unpaid debts, and would go there time in the enormous gift shop. Then we boarded our motor coach occasionally to hunt. In 1547, Henry II ascended to the throne and and traveled to our hotel, the Mercure Blois Centre, located right on lived at Chenonceau with his wife Catherine de’ Medici AND his the Loire River. After a short rest we walked to a local restaurant and mistress, Diane de Poitiers. (Can you picture this arrangement in succumbed to another delicious feast. Yes, we were groaning. 2013?) This is the era that one can experience in the furnishings today. Saturday October 26 The castle is filled with many beautiful pieces of art, and a large Rise and shine, luggage outside our doors and off to an early gallery overlooks the Cher River. Chenonceau is famous for its breakfast, then back on the road as we travel to Chartres. We visited flowers, and huge floral arrangements adorn each room. After its 13th century gothic cathedral, a jewel of medieval architecture. climbing many stairs, we went down to the kitchen that had an enormous display of copper utensils, all shining like mirrors.

Chartres Cathedral (photo by Arlene Johnson)

The town is beautiful with many little shops where one can buy Château Chenonceau in the Loire Valley (photo by Arlene Johnson) “I Love Paris” tee shirts and more postcards. But do I really need 25 more? Hunger drew us into a lovely café, where Mary Ann, Ray, After a quick lunch on the grounds of the château, we traveled to Alice, Sandy and I decided to have one more bowl of French onion our next castle, Château Chambord, which was built in the 16th soup and a dessert. My choice was crème brûlée…AGAIN! century as a hunting lodge for François I. Life at Chambord After a short ride, we arrived back at the Crowne Plaza Paris consisted of periods of intense activity followed by periods of total République, our home away from home. The accommodations and abandon. When the king arrived the entire household preceded him, staff were superb and the rooms were very comfortable. We had a bringing trunks, beds, tapestries, works of art, books, tables and little time to organize and repack our luggage and carry-ons. It was chairs, and all that was necessary for the private and public life of the difficult to zip those bulging cases filled with all of our treasures. We king, of the court, and of the government. had our farewell dinner that night at a charming restaurant across The axis of the castle is a splendid staircase whose two the street from Notre-Dame Cathedral. It was another gourmet feast intertwined spiral flights rise independently as far as the lantern beginning with escargot and accompanied by many bottles of wine. tower. One can see the Gothic style as well as the classical Italian style There was lots of toasting to a fabulous trip enjoyed by all. in the architecture. There are thirty-two independent apartments, all with fireplaces. We enjoyed viewing all of this by climbing many, Sunday October 27 many stairs. After putting our luggage outside our doors at 7:00 am, we enjoyed one last French breakfast with warm croissants and pastries, eggs and sausages, and fresh fruits. We greeted our favorite tour guide for the last time. Sandrine was beyond our expectations. She had become a member of our family — charming, bright, funny, helpful, and playful. She was our “mother hen,” looking after all of us. I miss her! It was time to say au revoir to France and to our dear friends as we departed from Paris. We were a very quiet group as we reflected on what we had just experienced, and once again enjoyed the trip of a lifetime. MERCI to our hosts Arthur and Karen Levin. I

Château Chambord (photo by Bill Seward)

www. havilandcollectors .com 27 Butbty Aleice Prricer Pats Butter pats, or chips as they are sometimes called, are small dishes of approximately three inches used to hold a piece of butter as part of an individual place setting. It is normally placed on the left side above the forks. Haviland pats were usually round or square, in a design that matched the pattern of the place setting. However, some Haviland butter pats were made to contrast and add interest to the table, such as triangular or leaf shapes. Most notably, the Hayes Presidential Service had lily leaf shaped butter pats. Butter pats were in fashion and made by Haviland beginning in the 1870s. By the 1920s, their use was on the decline. It is not surprising that butter pats were fashionable in the Victorian era, as they had a dish designed for every purpose. In addition, these pats were practical. The butter was cut into small pieces in the kitchen and placed onto the individual pats. Then the butter serving dish did not have to be passed down the table from diner to diner. Instead of pieces of churned butter, some hostesses served butter made in special molds of flowers or other decorative shapes to enhance their table. Today, if not used for butter, these pats can be repurposed to hold pills, candy pieces, nuts, pickles or olives, a dab of jelly or other condiments. On your desk, they can hold paper clips or post-it notes. You can probably think of other uses, too. Butter pats are fun to collect, as they are easy to find, generally inexpensive and take up little space. I

(photos by Arthur Levin)

28 Haviland Quarterly Fall & Winter 2013 www. havilandcollectors .com 29 And There It Was by Arthur Levin

In May of 2013, a seller lists an item on eBay. The starting bid is $0.99. The auction is titled “Haviland & Co. Limoges Green Piece,” and the piece is described as “possibly a portable ashtray.” It is in perfect condition, like the day it was made. Alice Pricer spots the auction shortly thereafter and recognizes the piece immediately. She begins to prepare an email to send to me alerting me to the listing, but decides that it is too important for email. So she phones. Alice gives me the auction number. And there it was. I also recognize it immediately. Within minutes I email the seller asking for a Buy It Now price and start trying to locate one of our HCIF members — first at home, then on his cell, then at work, then on his cell again — knowing that he would be interested. I leave detailed messages everywhere. I get a reply from the seller, who tells me that he has already received an offer of $175. I reply that I will double the offer, and indicate that I might not be at my limit yet. Within a few minutes the seller ends the eBay auction. Panic ensues. Could it be gone? Could someone else have pried it loose? I email the seller again and ask what happened, stating that I am not close to my limit in the offers department, and that I would be in the $2000+ area if pushed. The seller emails me back stating that he now has an offer of $3450 for it, and that I will get “last look” after all of the other offers come in. The HCIF member finally calls me back, and I give him the auction number and explain what has transpired up until that point. Unbeknownst to me, he emails the now-ended eBay auction to Bob Doares asking for his opinion, to which Bob replies, “Yes, absolutely it is the real deal! Did you get it for under $10? Amazing.” It is a butter pat from the original 1879 Hayes White House service, the only one currently known to exist. The only other ones known are from the Canadian commemorative service. The butter pats were not part of the 1880 reissues in the United States. In June of 2012, Robert Doares and Barbara Wood educated HCIF Phoenix conference attendees about the Hayes service and, specifically, the Canadian service and the Hayes butter pats. Their teachings were shared with the rest of our membership in the Haviland Quarterly, Volume 21 Number 2, Summer 2012. Dick Burnham, the HCIF member I was pursuing and our resident Hayes collector, calls me back and I fill him in on the latest details, and we decide how to proceed. Dick steps up and makes the right decision, but only after a lengthy discussion. What might have driven him to make the right decision is when I ask him how much he would pay for a Hayes turkey platter. He gives me a BIG number. I ask him why he will pay so much for the turkey platter but is reluctant to pay one-fourth of that amount for the butter pat. I mention that I already know where three (1880-version) Hayes turkey platters are, but nobody, not even Bob Doares, knows of any

30 Haviland Quarterly Fall & Winter 2013 butter pats outside of the Canadian set, and ask him if size is a more On the day before we leave for San Francisco conference, it finally reasonable criterion on which to judge value than rarity. That nails it. arrives and Karen and I go to the local UPS warehouse to pick it up I make the deal with the seller and the seller relists the Hayes rather than wait for it to be delivered to our house, so they could not butter pat on eBay using the same title and description, but with the mess this up any worse than they already had. It arrived at the local hefty Buy It Now price on which we agreed. By this time the seller warehouse, not far from us but not around the corner, at 3:38 am that and I have spoken on the phone, the result of my doing a little day. We had already directed UPS to hold it at the warehouse for detective work on the Internet to find his phone number from clues pickup, so when I get the email at 7:42 am saying that it was ready in our emails. He calls me and gives me the new auction number and for pickup Karen and I head to the warehouse to pick it up. It only I click the Buy It Now button while we are still on the phone. He takes UPS an hour-and-a-half to locate it in the warehouse, as we stays on the phone with me while I PayPal him, and the deal is done. stand impatiently, and nervously, waiting. We open the parcel while I give him specific packing and shipping instructions and only then there and are relieved to find that it has survived its long journey tell him what the piece is. I specify that I want it wrapped in intact. bubblewrap inside a plastic box, then the plastic box wrapped again Although I did have to show it to Dick a couple of days earlier, the in bubblewrap and put into the center of a larger carton full of only White House Hayes butter pat known to exist is presented to Styrofoam packing peanuts, and to ship it via UPS. him at the first session of Show and Tell at the San Francisco The wait begins. We have almost two weeks before we have to conference. leave for the San Francisco conference. Without Bob Doares and Barbara Wood we would not know UPS loses the parcel for a week. After daily phone calls from me, what a Hayes butter pat looks like. Without HCIF's contribution to they find it in Los Angeles. It had been shipped by truck from their research grant, and the Phoenix conference, we would never Pennsylvania to Wheeling, Illinois, by way of California, a bit out of have heard about or seen what a Hayes butter pat looks like. the way. Then when it is found in Los Angeles, UPS cannot ship it Without Alice Pricer recognizing its importance and urgency and to me Next Day Air because it is buried in a truck and Next Day Air phoning me we would have been too late. And without sending in was not the original classification of service. And, to make it worse, the closer it would not have happened. they cannot ship it directly to me at the San Francisco conference, Great teamwork all the way around. where I am to give it to Dick Burnham in exchange for his check in a few days. UPS tells me that the parcel has to come back to Illinois, As a result of this acquisition, Dick Burnham now has 60 of the and by truck. Time is running out before Karen and I have to leave 73 documented Hayes Service pieces in his collection. Please help for the San Francisco conference, and we need to bring the butter pat him to fill in the open spaces. And to make it more rewarding and with us. fun, you will be spending his money, and not your own. I

Bits & Pieces Membership Notice of Next Board of New Members 2013 Directors Meeting Nicholas Boehme Andrea Golloher William F. Sprott The Board of Directors of HCIF/HCIEF will hold Phoenix, AZ San Jose, CA Memphis, TN their 2014 spring board meetings on March 7 beginning at 7:00 pm Central time and continuing at 9:00 am the next Jacqueline Byrne Thierry Lachaniette Barbara Stevenson morning at the Four Points by Sheraton Chicago O’Hare Fredericksburg, VA Limoges, France Erie, PA Airport hotel, located at 10429 Irving Park Road, Schiller Shawn Cox Jacquie Lassene Marjorie Wilbur Park, IL. Contact the hotel at 847-671-6000 during Vienna, VA Limoges, France Palo Alto, CA business hours for room reservations. All members are invited to attend these open meetings. Please send all Antoine d’Albis J. F. Manières Ann Willaman agenda item suggestions to [email protected] Paris, France Paris, France Cranston, RI Nancy Del Bon Céline Paul Nikki Winters 2015 Conference Location Reno, NV Limoges, France Oklahoma City, OK The 26th annual HCIF Conference will be held at the Jane Eldridge Lynne Paulson Embassy Suites in St. Charles, MO, from June 11-14, 2015. Towson, MD San Jose, CA More information will be provided in upcoming issues and on the website. Elena Fedoriv Gail Skinner Moscow, Russia Saginaw, MI www. havilandcollectors .com 31 Haviland Publications Quantity Total NEW ITEMS I 1927 Haviland Catalog . 96-page copy of the 1927 catalog, in French. The patterns Derby, Ranson, Argent and others are shown in this black-and-white catalog. Spiral-bound hard copy...... $10.00 ______On CD...... $10.00 ______RECENT ITEMS I 1879 Haviland Catalog . Newly reformatted copy, easy to read and use. A classic! 58 pages. Spiral-bound hard copy...... $10.00 ______On CD...... $10.00 ______I The Art of Haviland Pottery. A 32-page color exhibition catalog w/ over 160 images. Excellent text and artist identification ...... $15.00 ______I The French Connection, Impressionism in French and America Pottery, 1872-1900. A 32-page color exhibition catalog showing the connection between Haviland and American Art Pottery...... $15.00 ______I The Ranson Blank. An Identification Guide, Revised Edition, 2005. B/W photos; 32 pages; now 164 pieces shown; history of Ranson Blank...... $12.00 ______I 1891 Haviland Catalog. A new and greatly improved copy of this important Haviland & Co. catalog. 95 pages. Not for pattern identification...... $10.00 ______I 1891 Haviland Catalog. Same as above on CD-ROM...... $10.00 ______I 1970 Haviland Catalog. CD-ROM over 90 pages in color of china from this era. Interesting pictures of manufacturing process. History of company...... $10.00 ______I 1924 and 1926 Pilgrim Blank Catalog plus 1912 photos and history of the Theodore Haviland factory and workers. 50 pages on CD-ROM ...... $10.00 ______I The Marseille Blank. An Identification Guide. 32 pages, over 244 photos, 47 in color, identifies over 200 items...... $15.00 ______I Haviland Pottery. B/W catalog, copy and photos of 221 pottery items, 58 terra cotta, 163 Chaplet. 32 pages...... $10.00 ______BASIC HAVILAND PUBLICATIONS I Celebrating 150 Years of Haviland, 1842-1992. The basic Haviland book. Beautiful photos, history, backmarks, artists, 84 pages...... $19.95 ______I Dining with Flowers: Haviland 1860-1910. A celebration of the flowers used in Haviland patterns. Color photos. 47 pages...... $15.00 ______I Charles Field Haviland Identification Guide by Margaret Head. B/W photos of 175 CFH patterns. 129 pages...... $10.00 ______SPECIALTY ITEMS I Haviland Patents 1875-1938. B/W copies of photos and drawings of 212 patents from the U. S. Patent Office. Soft cover...... $15.00 ______I Haviland Patents 1875-1938 on CD-ROM. Some in color...... $10.00 ______I Haviland Patent Specifications. Copies of the descriptions of the original patents above...... $10.00 ______I Haviland Patent Specifications on CD-ROM...... $10.00 ______I CD-ROM Collection of Catalogs. Contains 1891, 1905, 1927 catalogs, Burley catalog 1907, store brochures, history, backmarks...... $20.00 ______I 1860 Haviland Catalog. Photocopy of original, 46 pages. This catalog is not for pattern identification. Blanks only...... $5.00 ______I Haviland China Inventory Software. Keep a record of your Haviland and other collectibles. Manual included. Not Mac compatible...... $20.00 ______I Haviland Note Cards. 10 lovely cards, 5 different designs...... $6.00 ______

Shipping charges: 1 item $3.50; 2-3 items $4.60; 4 or more $6.70 ...... Shipping: ______...... Total: ______Checks payable to HCIF. These items can also be ordered online at Name ______www.havilandcollectors.com and paid via PayPal to [email protected] Address ______Mail form with remittance to: Haviland Publications City ______State ______ZIP ______c/o Arthur R. Stees 1803 W. Church St. Phone ______E-mail ______Freeport, IL 61032