Fan of The French Porcelain Society

Fan of The French Porcelain Society Please do not send photos. This is a fan page for the French Porcelain Society page.

This is a fan page for the French Porcelain Society, established in 1984, an international non-profit group focused on the study of Sèvres porcelain and other European ceramics, it is not officially affiliated with the Society. It is a forum for those who are interested in European ceramics, but especially French porcelain, and has no official affiliation with the FPS. For their official website see https://www.thefrenchporcelainsociety.com/

This is the first object in the exhibition, « Sèvres, une Passion Rothschild », at the Mobilier National, Paris, on unti...
29/05/2026

This is the first object in the exhibition, « Sèvres, une Passion Rothschild », at the Mobilier National, Paris, on until 26 July 2026. The inlaid doors were designed for the Rothschild bank in Paris in 1830, and are now at Ephrussi, the public villa and gardens in the Riviera. The vase is actually Vincennes, c. 1755, known as Vase 'urne antique', and probably painted by Charles Nicolas Dodin, a highlight of the collection at Villa Ephrussi de Rothschild in Saint-Jean-Cap-Ferrat (EDR.4765). It was owned by Madame de Pompadour, having been purchased from the marchand-mercier Lazare Duvaux in 1755. It has the most exquisite gilding with peacocks and other birds, typical of the inventive, delicate gilding of this early period of the factory’s production. The vase was later acquired by Beatrice de Rothschild (1864-1934), who in 1883 married Maurice Ephrussi. Elsewhere in the exhibition, the plaster model is on display, lent by Sèvres, musée national de Céramiques, service des archives et des collections documentaires, 1740-1780 § 4.114.

"Der edle Akt. Porzellan und Er**ik"Special Exhibition, Museum Schloss Fürstenberg Curated by Dr. Christian Lechelt23 Ma...
24/05/2026

"Der edle Akt. Porzellan und Er**ik"
Special Exhibition, Museum Schloss Fürstenberg
Curated by Dr. Christian Lechelt
23 May – 20 December 2026

N**e bodies, tender embraces, provocative poses: European porcelain art is full of erotic motifs and messages—and sometimes the material itself seems to flirt. Our exhibition invites visitors to take a closer look: since the eighteenth century, eroticism, s*xuality, and gender have played a surprisingly explicit role in delicate, gleaming figures and vessels.

Between Rococo frivolity and contemporary body politics unfold stories of desire and longing, of social rules, taboos—and their pleasurable transgression. Experience how porcelain not only depicts erotic motifs, but itself becomes charged: as an object of desire, a surface for projection, an art form that reveals more than it conceals.

The subject is explored in four exhibition sections:

Images of the Body in the Old Chapel

Here visitors can trace how the human body has been represented from the eighteenth century to the present day. The beauty ideals of each era become visible, as do concepts of gender identity and the associated role expectations. Up until the late twentieth century, representations of idealized white bodies from a binary, heteronormative perspective predominated. This section of the exhibition invites visitors to question contemporary—and even their own—images of the body.

Facets of Desire and Love in the Gerverot Hall

Tender infatuation, passionate love, wild ecstasy, raging desire, heartbreaking longing—the experience of desire encompasses a multitude of emotions. Between the joys and sorrows of love swings the pendulum of lust as a profoundly human trait. In the past, art production was largely shaped by a heteronormative and predominantly male gaze. Works from the contemporary period and recent decades celebrate the diversity of desire.

Material Eroticism in the Foyer before the Visitor Workshop

The word “porcelain” evokes many associations—including erotic ones: “porcelain skin” describes an ideal of beauty, while a “porcelain doll” evokes a particular type of woman. And why is porcelain so often regarded as a “feminine” material? This section also addresses practical erotic uses, such as the production of s*x toys from porcelain.

The Pleasure of Collecting in the Visitor Workshop

Collecting can be interpreted as highly erotic: the pleasurable hunt for an object of desire, the feelings of happiness upon successful acquisition… For Sigmund Freud, collecting was ultimately only a compensation for unfulfilled s*xual desires. This exhibition section presents three historical collectors—Augustus II the Strong, Madame de Pompadour, and Rudolf Just—for whom the possession of porcelain held very different, but always pleasurable, meanings. In addition, through the staging of an entire private collection, visitors are offered a look “inside the head of a collector,” based on recent American research in neuropsychology.

For events:https://www.fuerstenberg-schloss.com/wp-content/uploads/2026/01/Flyer-Der-edle-Akt.pdf

For Museum:
https://www.fuerstenberg-schloss.com/

FYI - an interesting article by Edwina Mendes on Collecting Flower Bricks in Homes & Antiques, July 2026, I can only pos...
23/05/2026

FYI - an interesting article by Edwina Mendes on Collecting Flower Bricks in Homes & Antiques, July 2026, I can only post one page because of copyright. I have added a detail from the V&A chimney board cited with the depiction of a flower brick, albeit, an unknown form, depicted on the delft tile, surrounding the hearth, for the entire view:
https://collections.vam.ac.uk/item/O136339/vase-with-flowers-chimney-board-unknown/

Edwina recently graduated with an MA Decorative Arts from the University of Buckingham. For more on their programme:
https://www.buckingham.ac.uk/courses/postgraduate/ma-decorative-arts-and-historic-interiors/

A contemporary example in use by Cara Bauermeister:
https://carabauermeisterceramics.com/products/the-floral-folly-flower-brick

New Exhibition: Creatures of Myth and Imagination: Europe and the Americas at The Cloisters, Metropolitan Museum of Art,...
17/05/2026

New Exhibition: Creatures of Myth and Imagination: Europe and the Americas at The Cloisters, Metropolitan Museum of Art, on until 18 October 2026.

Dish, Spanish, 1425–50,
MMA, acc. no. 56.171.110.

Dragons and other fantastic beasts appear frequently on Valencian lusterware dishes, as on this dish at the Metropolitan Museum of Art (see also acc. no. 56.171.159). It is one of the more modern objects in the exhibition, and a rare ceramic inclusion. The blue fire-breathing dragon is surrounded by an ‘Ave Maria’ inscription. The circle in the dragon’s chest acts as a frame around an ochre cross that bears the coat of arms of the noble Valencian Argent family. Terrifying and magnificent in the public sphere, the hybrid beings of Europe and the Americas were equally at home in more intimate settings, where they sometimes took on new meanings. Representations decorating utilitarian objects could signal an individual’s religious beliefs, political persuasions, and social status.

The inscription reads ‘Ave Maria, gra[tia] plena’ (Hail Mary, full of grace). These are the opening words spoken to Mary by the Archangel Gabriel at the Annunciation (Luke 1:28). Here, a combination of Gothic lettering and stylized flowers reminiscent of a motif often seen on lusterware from the Islamic world, surround a dragon to create a unique pattern that reflects the multiple stylistic languages available to luster potters.

Lusterware is the term used to describe a glazed earthenware ceramic decorated with an iridescent finish. The technique for creating this finish was developed in the ninth century under the rule of the Abbasid Caliphate in present-day Iraq. The medium involves a technique that is difficult to master, but if completed successfully, the surfaces of the ceramic objects display an iridescent sheen which is achieved through multiple firings and the application of a metal-based pigment (including silver, copper, tin, or a combination of these). Lusterware manufacture is still difficult to understand from a technical perspective because for generations, production was kept secret to protect workshop practices from being replicated by competitors. Therefore, pigment formulas and trade techniques were passed down from master to pupil and rarely recorded.

Knowledge of the technique for creating lusterware made its way to the Iberian Peninsula by the twelfth century, when most of the region was still under Islamic rule. By the 1400s, the Iberian center of lusterware production was in Manises, near the city of Valencia. Previously a Muslim taifa, or principality, the Kingdom of Valencia was conquered in the thirteenth century by James I for the Crown of Aragon, and it was here that Christians and Muslim potters worked, sometimes together, for a diverse clientele with a voracious appetite for high-quality lustred wares.

For more about the exhibition, 500-1500:
https://www.metmuseum.org/exhibitions/creatures-of-myth-and-imagination-europe-and-the-americas

For the text panels:
https://www.metmuseum.org/exhibitions/creatures-of-myth-and-imagination-europe-and-the-americas/inside-the-galleries

A flock of French pigeons, modelled by J. G. Lanz, tin-glazed earthenware, Paul-Antoine Hannong factory, Strasbourg, c. ...
16/05/2026

A flock of French pigeons, modelled by J. G. Lanz, tin-glazed earthenware, Paul-Antoine Hannong factory, Strasbourg, c. 1751. Its all in the painted detail!

Sold at Christie's in 2017
https://www.christies.com/lot/lot-6102307

Are these the most exquisite labels you have ever seen on French porcelain? They are on the base of Pot à moutarde with ...
14/05/2026

Are these the most exquisite labels you have ever seen on French porcelain? They are on the base of Pot à moutarde with the coat of arms of a member of the Asselin de Villequier family of Normandy, perhaps Jacques Asselin de Villequier (1669-1728), counselor to the parliament of Normandy in 1695. It was made at the workshop of Louis Poterat, in Rouen, around 1680, in soft-paste porcelain, one of less than a dozen pieces known.
It is at the Sèvres, Manufacture et musée nationaux, the only other example in a major public collection is the pot pourri at the Metropolitan Museum in New York.

For a list and more information, as well as a bibliography, follow the link:

https://www.rare-ceramics.com/past-sales/a-rouen-porcelain-potpourri/

If you think the French Porcelain Society is for the birds, you are absolutely correct! Here is the proof, images from a...
12/05/2026

If you think the French Porcelain Society is for the birds, you are absolutely correct! Here is the proof, images from a session looking at pots in Paris at Sèvres - Manufacture et Musée nationaux, which is otherwise closed to the public until 2030.


Merci, Sophie et Mia!

In case you missed the conference in Warsaw in 2021, the publication of the papers is available, The Materiality of Terr...
11/05/2026

In case you missed the conference in Warsaw in 2021, the publication of the papers is available, The Materiality of Terracotta Sculpture in Early Modern Europe, from Routledge, 2023.

Terracotta has long suffered from the view that it is merely an auxiliary medium, to be analyzed primarily in relation to its role as a building material or its preparatory use in the design of more prestigious bronze or marble sculptures. Yet in recent decades scholars have shown that terracotta sculpture revolutionized the Italian fifteenth-century art scene and during the sixteenth century its artistic significance resonated in other parts of Europe. The success of terracotta sculpture at that time should be credited to the technical ingenuity, including glazing its surface, believed in the Renaissance to have been unknown in antiquity and therefore artistically and intellectually innovative.

The growing field of studies of terracotta sculpture contributed to the re-evaluation of the material but at the same time it divided small-scale terracotta figurines from large-scale sculptures. The arbitrary distinctions into the fine art and the applied arts, with the latter category often dismissed as purely decorative, obscured the image of the artistic production and neglected the technical similarities between the two products. However, in the fifteenth and sixteenth centuries all terracotta sculptures solicited a complementary range of interactions through the agency of their material and form.

Modern conservation research assists art historians in thinking about the practice, artistic technique and production of terracotta sculpture. Various teams of conservators use similar methods to analyse small- and large-scale artefacts. This provides a scientific justification for the inclusive examination of terracotta sculpture from that period.

https://www.routledge.com/The-Materiality-of-Terracotta-Sculpture-in-Early-Modern-Europe/Sarnecka-Dziki/p/book/9781032355757

As the exhibition FANMANIA closes at the Metropolitan in New York, just a reminder that many of the porcelain painters w...
10/05/2026

As the exhibition FANMANIA closes at the Metropolitan in New York, just a reminder that many of the porcelain painters were initially trained as fan painters, though it is exceedingly rare that their work on fans has been identified. The work is typically anonymous. One example at Sèvres, where painters uniquely signed their work to get paid, was Jean-Baptiste Tandart aîné (the elder; 1729–1816, active 1754–1800 or –1803), who was originally a fan painter before he began working at Vincennes in 1754. He specialised in flowers, especially bouquets, wreaths, garlands, border patterns, and garden landscapes. He also painted arabesques and birds. Reportedly, he had “a sweet physiognomy” (Savill 1988, 3:1070).

Tandart's bouquet on a seau à bouteille, 1783, Met Museum.
Tandart’s mark (three dots), on a plate, 1782, Seattle Art Museum
For other examples at the Louvre:
https://collections.louvre.fr/en/recherche?page=1&q=Tandart

For more about the exhibition, including an illustrated object list:

https://www.metmuseum.org/exhibitions/fanmania

FPS LIVING ROOM LECTURESSunday, 10th May 2026, 6PM (BST) / 1PM (EDT)Saint-Porchaire Ceramics: Rediscovered Treasures of ...
09/05/2026

FPS LIVING ROOM LECTURES
Sunday, 10th May 2026, 6PM (BST) / 1PM (EDT)

Saint-Porchaire Ceramics: Rediscovered Treasures of the French Renaissance

Christopher Maxwell and Mairead Horton, Art Institute of Chicago

Join the Art Institute of Chicago’s Christopher Maxwell and Mairead Horton for a conversation exploring the history, craftsmanship and enduring allure of the exquisite 16th-century French ceramics known as Saint-Porchaire wares.

Created between about 1520 and 1570 and closely associated with the royal courts of François I and Henri II, these extraordinarily rare works — only about 70 survive — still puzzle scholars, who have yet to determine who made them or how their intricate designs were achieved. Fashioned from lead-glazed earthenware, their sculptural forms echo precious metalwork, while their ornamental patterns draw inspiration from textiles, bookbinding and other luxury arts.

The Art Institute is presenting an exceptional group of Saint-Porchaire ceramics from a private collection — most on public view for the first time since the late 1800s — this March 28–November 15 in Saint-Porchaire Ceramics: Rediscovered Treasures of the French Renaissance.

If you want to join, please contact [email protected].

You don’t see this everyday, even if you work at the Louvre! Merci Viviane Mesqui! You can see it from the front in the ...
04/05/2026

You don’t see this everyday, even if you work at the Louvre! Merci Viviane Mesqui! You can see it from the front in the exhibition "Sèvres, a Rothschild Passion. From Paris to the Villa Ephrussi", from April 17 to July 26, 2026, in Paris.

Otherwise checkout the link:

https://collections.louvre.fr/en/ark:/53355/cl010101093

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