La Cartuja Ceramics

A tour of the Pickman Museum's historic collection

By Andalusian Archives

Archivo Histórico Provincial de Sevilla

Stock Certificate (1966)Andalusian Archives

The documents kept by the La Cartuja-Pickman Ceramics Factory Co. are part of the Pickman Museum's historic collection and were declared a "Bien de Interés Cultural" (Spanish Point of Cultural Interest) in 1998. They entered the Historical Archive of the Province of Seville in 2010.

The collection includes business-and-commercial management documentation from the beginning of the 19th century.

Albums of decals, tiles, and printing tests for the ceramic production stand out for their uniqueness and format.

Tableware drawing. Model: “Vera en brun iluminado” (1885-1890)Andalusian Archives

Crockery

One thing that made the La Cartuja Factory famous was its crockery. The most characteristic decorations were the clearly British-inspired landscapes and views (real and imaginary), floral motifs, oriental compositions, and naturalistic themes. The techniques used were stamp engraving, hand engraving, decals, and screen printing.

Tableware drawing. Model: “Paz iluminado. Composición nº 4” (1885-1890)Andalusian Archives

Bright peace

This crockery design depicts three swallows perched on a branch in the center.

It is the fourth in a set of a dozen very similar naturalistic compositions featuring these and other birds in different poses, and shades of pink, brown, and sky blue.

These designs were used to decorate crockery and porcelain. They are no longer in production.

Tableware drawing. Model: “Vera en brun iluminado” (1885-1890)Andalusian Archives

Bright brown bank

The plate border is made of circular and mixtilinear elements decorated with plant and geometric motifs.

The design is topped off with a central rosette with the same decoration.

This model was used on flint ceramic and opaque china crockery. It is no longer in production.

Tableware drawing. Model: “Camafeo en sepia con bandas” (1885-1890)Andalusian Archives

Banded cameo with sepia background

In this crockery design, the edge of the plate is bordered with blue bands, geometric fretwork, and six medallions, alternating between figures and cups, on a sepia background.

This model was used on flint ceramic and opaque china crockery. It is no longer in production.

Tableware drawing. Model: “Granadas en sepia iluminadas” (1885-1890)Andalusian Archives

Bright-sepia pomegranates

This design has a sepia background and a central naturalistic composition with three pomegranates in bright shades of yellow, pink, and green.

This model was used on flint ceramic and opaque china crockery. It is no longer in production.

Tableware drawing. Model: “Eiffel iluminado” (1885-1890)Andalusian Archives

Bright Eiffel

This crockery design has a central composition with naturalistic floral and wild motifs, decorated with intense pink, green, and honey colors on a sepia background.

This model was used on flint ceramic and opaque china crockery. It is no longer in production.

Tile drawing. Model: “Sevilla” (1875-1876)Andalusian Archives

Tiles

The factory also produced tiles between 1870 and 1930. The decorations most often used were geometrics and florals inspired by the Royal Alcázars of Seville and the Alhambra. Tiles with textured surfaces were most often given edging or trailing decoration, while tiles with smooth surfaces were decorated with stamps or by hand and decals were used on rare occasions.

Tile drawing. Model: “María” (1875-1876)Andalusian Archives

"María" model

This tile design is clearly Mudejar-inspired and has a composition of eight-pointed stars, alternating honey and blue shades, together with other geometric shapes in green tones on a white background with interlaced ribbon motifs.

Tile drawing. Model: “Cartuja” (1875-1876)Andalusian Archives

"Carthusian" model

This design has a star in the center that emanates latticework.

It is inside a circle decorated with little flowers and surrounded by scrolls, greenery, and thistles. The corners are compartmentalized.

Reproduces 15th- and 16th-century compositional schemes.

Tile drawing. Model: “Granada” (1875-1876)Andalusian Archives

"Granada" model

This design is in a square floor tile with borders.

It depicts a set of bamboo branches intertwined with flower stems and pomegranates.

The colors are especially intense: honey, blue, green, and pink.

Tile drawing. Model: “Sevilla” (1875-1876)Andalusian Archives

"Seville" model

This tile design is decorated with interlaced acanthus leaf motifs in the center of each of the two stems.

The background is cream and the overlay colors are green, honey, pink, and blue.

Tile drawing. Model: “Madeja” (1875-1876)Andalusian Archives

"Yarn" model

This design is a square floor tile with edging and has decorative latticework.

The emblem of the city Seville appears in the center with the yarn and inscription "NO-DO."

Tile drawing. Model: “United Kingdom shield” (1875-1876)Andalusian Archives

Coats of arms

As well as crockery and tiles, at the La Cartuja-Pickman Ceramics Factory they made numbers and signs for various Andalusian cities, and coats of arms for noble families and countries like Great Britain, Monaco, and Russia.

Tile drawing. Model: “Russian Empire shield” (1875-1876)Andalusian Archives

Coat of arms of the Russian Empire

This tile model depicts the small shield of the Russian Empire.

A black double-headed eagle appears on a gold background with its wings spread and an imperial crown on each head. It holds the imperial orb and scepter in its claws.

On its chest it bears the Moscow coat of arms surrounded by a chain bearing insignias and the eagle of the Order of St. Andrew Protomartyr.

Tile drawing. Model: “Spain shield” (1875-1876)Andalusian Archives

Coat of arms of Spain

The tile depicts the Spanish coat of arms with the Golden Fleece, as used during the Bourbon Restoration (1874–1931).

It was also used as the King's coat of arms.

It is in four quarters and the Kingdoms of Castile, León, Aragón, and Navarre are represented, as is that of Granada.

The royal hooped crown appears on the crest.

Tile drawing. Model: “Monaco shield” (1875-1876)Andalusian Archives

Coat of arms of Monaco

This tile depicts the coat of arms of Monaco: the Grimaldi family blazon.

It is composed of a royal crown draped with an ermine-lined cape, tied back by golden, tasseled ropes.

Below this it has spiral-shaped 'fusily of argent and gules' surrounded by the chain of the Order of St. Charles held up by two monks.

At the bottom is the motto of the Princes of Monaco: "Deo Juvante" (With God's help).

Tile drawing. Model: “United Kingdom shield” (1875-1876)Andalusian Archives

Coat of arms of the United Kingdom

This tile depicts the coat of arms of the United Kingdom. England, Scotland, and Northern Ireland are represented.

It is surrounded by the insignia of the Order of the Garter, with the motto "Honi soit qui mal y pense" (Shamed be he who thinks evil of it).

At the bottom St. George appears on horseback, as does the phrase "Dieu et mon Droit" (God and my right) in gold on an azure ribbon alongside two red roses surrounded by greenery.

Tile drawing. Model: “Austrian Empire shield” (1875-1876)Andalusian Archives

Coat of arms of the Austrian Empire

This tile depicts the coat of arms of the Austrian Empire.

It features a black double-headed eagle with crowns on its heads and its wings spread. It is holding a sword and an orb.

On its chest are the arms of the Archduke of Austria, the old blazon of the Dynasty (County of Habsburg) and the Duchy of Lorraine.

The chain of the Order of the Golden Fleece is around the shield.

Credits: Story

La Cartuja Ceramics

Organized by:
Ministry of Culture and Heritage of the Regional Government of Andalusia

Curator and texts: Francisco Fernández López y Susana Cano García.
Archivo Histórico Provincial de Sevilla.
Photography: Laura Pérez Vega.
Archivo Histórico Provincial de Sevilla.
The information has been taken from the doctoral thesis written by Beatriz Maestre de León in 1991.
Digital Exhibition: Charo Andreu Abrio.
Directorate General of Cultural Innovation and Museums.

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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