European Porcelain of the Eighteenth and Early Nineteenth Centuries

In 1718, Claudius Innocentius Du Paquier established a porcelain
manufactory in Vienna with a small group of partners. Rather than
undertake lengthy and expensive experiments in the production of
porcelain, he acquired the arcanum (the secrets of porcelain
production) and key personnel from Meissen through stealth and bribery.
Although Du Paquier did not have direct royal support and operated on a
commercial basis, which made it inherently risky, the manufactory is
known for its creativity. It survived for twenty-five years and was
taken over by the Empress Maria Theresa in 1744, when it became the
Imperial Manufactory.
The Gardiner Museum’s collection of Du Paquier porcelain was mostly
assembled by George and Helen Gardiner and is among the top two public
collections in North America. There is also a small collection of
porcelain made at the Imperial Manufactory.

Straddling the lid of this wall vase is a dragon-taming Chinese magician, his coat adorned with mystical symbols. He holds a golden leash and the tail of a most beguiling dragon that sports a toothy grin and long eye lashes. Underneath the lid is a pierced container that could be used for potpourri or flowers. Holes in the back of the vessel show that it was intended to be suspended on a wall or in a cabinet.

Whimsical fantasy and creative genius are the hallmarks of Du Paquier porcelain. The Gardiner Museum has one of the most important collections of early Du Paquier in North America, and this unique wall vase is among its greatest treasures. It was also the favourite object of our founder, George Gardiner.

Situated on the border of the Holy Roman Empire, Vienna lived with the constant threat of invasion from the Ottoman Turks. As recently as 1683, the city had been besieged by them. This concern is reflected in the contemporary and historical battles scenes depicted on this lantern.

The turbaned figures in one scene may record the 1716 Battle of Peterwardein in the Balkans, or a later battle in 1717, when the Austrian Imperial forces expelled the Turks from Belgrade and establishing the Danube River as the border between Islam and Christianity.

This dish is considered to be among the most exquisite creations of the manufactory. It is an example of the miniaturist style, involving delicate stippling in enamel colours, a technique that was introduced at Du Paquier in the 1730s. If you look carefully, you can see the head of a lion hidden among the rocks...

... on the right side of the dish.

Despite early experiments, the first commercially successful
production of porcelain in England did not occur until 1745, when the
Chelsea manufactory was established in London. By the 1750s a number of
porcelain manufacturers were operating in London, the Midlands, East
Anglia, and the West of England.  All English porcelain manufacturers
were run as commercial businesses by entrepreneurs without direct royal
or noble patronage.
Early English porcelain was “soft-paste”, low-fired, and made without
kaolin. During the second half of the eighteenth century, manufacturers
tried different formulas to prevent their porcelain from slumping
during firing or from cracking when filled with boiling liquids—an
essential requirement given the British love of tea. Bodies could
include “frit”, a glassy compound made of a variety of different
materials that were ground and added to clay; soapstone, which prevented
cracking; and bone ash, which added strength. Eventually, kaolin was
discovered in England and some hard-paste porcelain was produced.
The Gardiner Museum’s assemblage of English porcelain includes gifts
made by many significant Canadian collectors including George and Helen
Gardiner, Vernon W. Armstrong, Norman B. and Cicely B. Bell, Barry and
Marjorie Pepper, and the Radlett Collection. It is the most
comprehensive in the country.

The porcelain manufactory at Bow, founded by 1748, produced charming ornamental birds and animals for its middle-class market. Between 1750 and 1765 it introduced thirty-three different bird models, derived from Meissen and Chelsea originals or from engravings published in George Edwards’ Natural History of Uncommon Birds (London, 1743–47). Bow was the first manufactory to use the white ash of calcined cattle bones in its porcelain, thereby lessening losses in the kiln.

Just as elsewhere in Europe, Asian porcelain was collected with
passion in France in the late seventeenth and early eighteenth
centuries. It became part of the goût chinois (Chinese taste),
which remained popular until the late eighteenth century. Porcelain was
used by the nobility and the wealthy bourgeoisie for decorating,
dining, the refined drinking of tea, chocolate, and coffee, and for
personal uses in the boudoir.
Soft-paste porcelain was first produced in France in the late
seventeenth century, developing from experiments made by faïence
makers. The first commercially successful porcelain manufactory was
established in Saint-Cloud, outside Paris. Other small manufactories,
such as Chantilly and Villeroy-Mennecy enjoyed the patronage of the
nobility. But it was the manufactory of Vincennes-Sèvres, which
flourished with royal patronage and ownership, that became the arbiter
of porcelain style throughout Europe from the mid-1750s until the
Revolution.  French manufacturers made soft-paste porcelain until kaolin
was discovered at Limoges in the late 1760s, when hard-paste porcelain
was produced by Sèvres, and later in Paris.
George and Helen Gardiner’s collection of French porcelain has been
enhanced with significant gifts from private collectors including Pierre
Karch and Mariel O’Neill-Karch. It is the most comprehensive public
collection in Canada.

Warm, scented water would have been presented in this exquisite ewer and basin to a lady for washing her hands and face. The basin is formed of interspersed water-lily leaves and flowers, while the handle of the ewer reflects its association with liquids. Both have rare pink grounds, derived from gold. The colour was very costly and was used for only a short time.

The enemies of Madame de Pompadour took pleasure in spreading malicious false rumours about the royal mistress. They said that during the winter, to amuse the king, she spent a fortune on porcelain flowers that were “planted” in her garden at the château of Bellevue and watered with perfume.

Only seven fragile Vincennes porcelain watering cans have survived, this one being the earliest example.

Hard-paste porcelain was first produced commercially in Europe at
Meissen, where a manufactory was established in 1710 by Augustus the
Strong, Elector of Saxony and King of Poland. Despite ardent attempts to
prevent the arcanum (the secrets of porcelain production) from
spreading, it proved impossible. Thanks to the poaching of expertise
and personnel, a small private enterprise was established in 1718 in
Vienna by Du Paquier.  However, Meissen flourished and dominated the
production of hard-paste porcelain in Europe until the late 1750s, when
Saxony was defeated during the Seven Years War.
In 1745 the arcanum was stolen from Vienna.  Porcelain manufactories
were consequently established all over the German States and throughout
Europe. Most were patronised by local princes and aristocrats, as it
became highly fashionable to own a porcelain manufactory.  Many of these
failed by the end of the eighteenth century, but a few continue to
flourish today.
The Gardiner Museum has outstanding holdings of Meissen porcelain
given by George and Helen Gardiner. These were substantially expanded
by the collection of Dr. Hans Syz, which includes examples from every
German porcelain manufactory of the second half of the eighteenth
century.

This bowl has the earliest known scenes of Canada on porcelain. They were inspired by engravings of indigenous Canadian costumes published by Carel Allard in 1695. The “Canada Bowl” is a national treasure and one of the museum’s most important objects.

Soft- and hard-paste European porcelain manufactories
which do not appear as separate categories on this site can be found in
this section.
Soft-paste porcelain continued to be made in Europe during the first
three quarters of the eighteenth century.  However, once the components
and technology of the arcanum (the secrets of porcelain
production) became known, and deposits of kaolin were found, hard-paste
porcelain manufactories sprang up all across Europe in the second half
of the eighteenth century. Porcelain manufactories from Belgium, the
Netherlands, Denmark, and Russia are represented in the collection.
Most eighteenth-century European porcelain manufactories are found in
the Gardiner Museum, largely thanks to the gift of the heirs of Dr.
Hans Syz, who donated 430 figures and wares from 56 porcelain
manufactories.

Among the most distinctive areas of the Gardiner
Museum’s collection is its famous group of 150 European porcelain
figures inspired by the Commedia dell’Arte. The Commedia
dell’Arte was a popular form of theatre that emerged in Europe during
the Renaissance and remained popular until well into the eighteenth
century. The collection includes examples from most European porcelain
manufactories showing the characters and costumes of the actors, their
gestures, and comic poses. These figures were usually utilized as
ornaments for the table in the eighteenth century.
The origin of the collection is also of interest. It was initially
assembled by George Gardiner as a memento of his directorship of
Harlequin Enterprises Ltd., publishers of popular novels. It has since
been augmented by gifts from William and Molly Anne Macdonald and the
heirs of Dr. Hans Syz.

Sexual lazzi in the Commedia dell’Arte frequently employed childish humour. In Germany, sausages were often used as suggestive props. Here, Harlequin is teasing Columbine by showing her his “sausage.”

The outstanding porcelain sculptor of the Rococo period was Franz Anton Bustelli (active 1754–1763), who created expressive commedia dell’arte figures at Nymphenburg in about 1760.

Harlequin holds a newborn monkey in his arms, regarding it as his child.

Hausmaler is the term given to freelance
decorators who flourished in central Europe and Holland between about
1650 and 1750.  These independent artists specialized in enamel painting
on glass, faïence, and Chinese, Meissen and Du Paquier porcelain, which
they acquired by fair means or foul. Hausmaler were able to respond
quickly to the demands of their clients, who could order custom
decoration in the latest European styles.
The Gardiner Museum’s collection of Hausmaler-decorated porcelain was
largely assembled by George and Helen Gardiner in the early 1980s. It
is the most comprehensive collection of this type of decoration on
porcelain in North America, with particular strengths in porcelain
decorated in Augsburg, Bayreuth, Bohemia, Dresden and Vienna as well as
in Holland.

The Gardiner Museum holds a unique collection of 107
scent bottles produced across Europe, with a particular focus on
factories located around London where they were a specialty.
At a time when clean water was scarce and used sparingly, perfume was
used to suggest cleanliness. Perfume was a symbol of luxury, a sign of
rank and social distinction. In addition to being worn on the self, it
was added to gloves, items of clothing, bed linens and cosmetics.
The Gardiner’s collection illustrates the range of playful forms that
scent bottles espoused, including animals, flowers and figures of
lovers. Some examples present multiple containers for different
fragrances, small boxes to store beauty patches, mirrors under the base,
and rich gold mounts that enhanced the value of the object. A staple of
elegance, these little luxuries were appreciated by men and women, and
were kept on a dressing table or in a pocket.
Scent bottles were a personal interest of Helen Gardiner who established the collection.

Exotic Bird

Shepherdess with a lamb