704:
728:
507:
475:
546:
965:
853:
869:
459:
977:
989:
744:
764:
282:("End of the World" factory) was founded in 1648, and followed the general pattern of the Nevers factories. By 1875, its fortunes had reached a low ebb and it was bought by Antoine Montagnon who had ambitious plans to relaunch it to supply the market for revivalist wares imitating 17th-century pieces, often large and complex pieces. By 1881, it was the only factory left in Nevers. The Montagnon factory (faĂŻencerie) was successful for over a century, with 50 employees around 1900, and its wares exhibited at international exhibitions, but the factory, by then the oldest in France, finally closed in 2015. In 2020, two factories remained in production, both mainly making traditional styles.
39:
656:
491:
949:
1047:
901:
353:
1071:
644:
931:
444:
256:
1083:
628:
913:
885:
668:
792:
1059:
31:
831:, published between 1607 and 1627, and possibly the single most influential work of 17th century French literature. The main characters, Astrée and Celadon, spend time disguised as a shepherd and shepherdess, and this is the most popular depiction; very wide hats tend to indicate the pastoral life. These scenes do not seem to take their compositions from prints, even approximately, nor relate to any specific moment in the story. They seem to begin around 1640.
1030:
90:
776:
703:
198:
1804:
727:
105:
was transplanted in the 16th century, and flourished for rather longer than in Italy itself. In the 17th century, Nevers became a pioneer in imitating Asian ceramic styles in Europe, within some decades, followed by all producers of fine wares. The second half of the 17th century was Nevers' finest
1046:
224:
The success of the wares led to several other factories opening in the early 18th century and in 1743, the government limited the number to eleven to prevent flooding the market. In 1760, a twelfth was permitted. By this period Nevers wares had been largely replaced at the top end of the market by
1010:
of the
Revolutionary period typically have one or two figures in the central section, rather crudely painted in a few colours, with a pro-revolutionary slogan or comment below in black cursive script. The earliest examples included pro-monarchist pieces. The same style had been in use before the
216:
The French faience industry received a huge boost when, late in his reign in 1709, Louis XIV pressured the wealthy to donate their silver plate, previously what they normally used to dine, to his treasury to help pay for his wars. There was an "overnight frenzy" as the elite rushed to get faience
597:
figures contemplating nature in a lush garden or landscape is a common subject in both countries, though the French treatments have some differences. Nevers wares often have
Chinese-style painting on purely Western shapes of vessel, and also the opposite, Western-style painting on very Chinese
569:
and better quality blue and white wares, whereas others have decoration based on
Turkish, Persian or other Islamic Middle Eastern styles. These often have the blue background, which is unusual on Chinese export porcelain, where blue figures on a white ground are the norm in blue and white wares.
85:
then gradually died down to a single factory, before a revival in the 1880s. In 2017, there were still two potteries making it in the city, after a third had closed. However the quality and prestige of the wares has gradually declined, from a fashionable luxury product for the court, to a
799:
Wares were also produced in a wide variety of styles drawing on
European sources, and these came to dominate production in the 18th century, as the quality of Nevers wares declined. By around 1730, a "decline of inventiveness at Nevers" becomes apparent, and later Nevers wares mostly copy
820:
Painted scenes, rather than floral or ornamental decoration, are usually in a single colour, most often blue and white, but also the "Persian" white on blue, or other colours. In the 17th century a favourite source for scenes with figures was the immensely long pastoral novel or romance
458:
474:
964:
852:
290:
The list of stylistic periods devised by the French authority du Broc de
Segange in his 1863 book on Nevers faience is still often repeated, though perhaps needing some adjustment. It shows several styles in use at particular dates, which is certainly the case:
343:
Françoise
Estienne, in the 1980s, divided Nevers production in the 17th century (extended slightly at both ends) into eleven "families" based on the decoration of a study group of 1874 pieces, mainly in French museums, looking at both subjects and styles.
212:
The
Conrade monopoly was not effective for long, with a second factory starting in 1632, and by 1652 there were four different potteries in Nevers, including one founded by Pierre Custode, whose family became the other main Nevers dynasty of potters.
421:
in London), then painted as a matching pair of that. A curious aspect of Nevers faience is that it never succeeded in producing a good red colour, unlike Rouen and other centres, the absence of which often enables Nevers pieces to be distinguished.
697:, which were also painted in many colours. Both types of source were available to the potters as prints. The pieces were often extremely large and ornate, and apart from garden vases and wine-coolers, no doubt decorative rather than practical.
506:
868:
237:. All twelve Nevers factories (still including the Conrade and Custode ateliers) were still in operation in 1790, but a commercial treaty with Great Britain in 1786 led to the French market being flooded by cheaper and better English
846:, his Spanish counterpart. Many pieces, and many more borders, mix a range of elements: figures, birds and animals, flowers, and ornamental motifs, typically all at roughly the same size, for example a flower, rabbit, bird and man.
743:
948:
573:
Within
Estienne's study group of 1874 pieces, the "Persian" family were the most numerous, with 547, then the Chinese with 374, so 921 pieces in Asian styles in total, almost half. Nevers made the first Chinese-style
1082:
490:
643:
392:
The early pieces did not generally use distinctive marks or inscriptions, though sometimes painting "Nevers" on the base of important pieces, perhaps with a date – the earliest of these is 1589, on a dish in the
416:
illustrated below, a well-known piece, had been assumed to be
Italian, and 16th century, until recently. Though there are still uncertainties, it is now thought to be moulded from an Italian dish (now in the
804:
or the new factories of the south. After about 1750, the
European porcelain factories largely replaced Asian exports as the dominant wares at the top of the market, but by this time most Nevers faience was
160:
Nevers already had a local unglazed pottery industry, and was a very suitable location for making faience. The city was near deposits of excellent pottery clay, an exceptionally good type of sand for making
374:
technique of a single firing for the clay, glaze and painting, which required a firing temperature that only a few pigments could tolerate. As was usual in Italy by 1580, designs were mostly adapted from
976:
1387:
545:
763:
655:
988:
2067:
360:; Conrade workshop? "Inscribed on back in blue: LES FRERE' DE JIOSEPH / VENUS A LUY EN EGIPTE / AU GENESE XLII (trans.: The brothers of Joseph came to him in Egypt in Genesis 42)".
526:
a century later). This was then painted in white or other colours, using various styles, but rarely with more than two colours. This style is traditionally known as "Persian" or
1117:
collected Nevers wares, and had bought the collection of Gaston Le Breton (1845–1920), a leading art historian of the subject. Morgan left most of his "vast collections" to the
912:
1052:
A priest swears "with all my power" to maintain the Constitution; the clergy were made to so swear ("je jure de maintenir de tout mon pouvoir la constitution") in November 1790
930:
1070:
775:
1023:, showed the patron saint of the recipient, and were common as christening or birthday gifts. These types were made in other centres, but Nevers was the leading producer.
412:
There is a good deal of uncertainty in the attribution of pieces between the Nevers workshops, and between Nevers pieces and those of other centres. The large dish with
510:
Large dish (1660-80, 49.5 cm) with Chinese-style musicians in a landscape, unusually using two colours, flanked by two "Persian style" bowls with European-style painting
1165:
514:
A technique unique to Nevers in French faience, used on some pieces from about 1650 for a few decades, was to stain all the clay from which the body was made either in
117:
wares commenting on political events have great interest and charm. A late 19th-century revival concentrated on high-quality revivalist wares recreating past glories.
248:
was becoming cheaper and more reliable, and making life difficult for producers of high-quality earthenware across Europe. The Nevers response was to produce topical
443:
627:
689:, to faience, the extravagant shapes borrowing from metalwork and other decorative arts, and painted scenes after the new generation of court painters such as
241:, leading to crisis for all French manufacturers of faience, and by 1797 six had ceased operations, with the other six having reduced their workforce by half.
1436:
Estienne, 45 and throughout. The locations of the group are described in note 6 on p. 47 – examples outside France appear to have been ignored completely.
1102:
834:
Other scenes show hunting and fishing, often drawing on Flemish prints, and a few specific historical moments. There is a dish with the signing of the
2052:
1754:
252:
with which the English were unlikely to compete (although they had done excellent business supplying the new American republic with patriotic wares).
153:, and encouraged some Italian potters to move to the city. Giulio Gambin was already in Lyons and the Conrade brothers (Corrado in Italy) came from
900:
1533:
225:
other makers, but were producing large quantities of less expensive wares for a broader market. They did not attempt to compete with the elegant
2057:
534:
of the period. However, the bird and flower painted decoration seen in most examples of the "Persian" style in fact derives more from Turkish
621:(around the 12th or 13th century), though Estienne is unable to explain how awareness of these could have reached France in the 17th century.
1252:
1121:
in New York (accessioned in 1917), including a number illustrated here. Most other major ceramic collections have examples, for example the
38:
884:
613:, with white imitating splashes of candle-wax on a blue ground (see below), as of Chinese inspiration. They compare with some much earlier
267:
In 1838, 700 workers were reported to be employed, but by 1846, only six factories remained, and by 1850, only five factories remained. A
1058:
667:
437:. In Nevers, they might surround central decoration in all styles except the Chinese, and gradually acquire their own local character.
1134:
795:
Fisherman on the Loire near Nevers, painted by Claude Guillaume Bigourat (1735–1794), a matching dish has a hunting scene, dated 1758.
93:
17th-century plate with genteel party in a European-style landscape. The border has birds, flowers and a rabbit, all at the same size.
1903:
370:(narrative) style that was already in decline in Italy, until at least 1660. This used as many colours as were available using the
352:
401:
of the previous century, with which Nevers decoration has some similarities, a high proportion of religious subjects illustrate
1019:("talking faience"). These were more comic or satirical than political. Another type of pieces in this popular style, called
1991:
1977:
1963:
1928:
1874:
1896:
Histoire de la céramique, poteries, faïences et porcelaines chez tous les peuples depuis les temps anciens jusqu'à nos jours
229:
style of the French porcelain factories, which was attempted rather successfully by some makers of faience, for example the
255:
126:
51:
180:, whether painted polychrome or with white grounds, and a generation later Antoine Conrade, son of Dominique, was made
578:
in France, with production running between about 1650 and 1700. Chinese styles would then be taken up by factories in
429:
motifs, usually on the raised border of plates or dishes, but also sometimes in the central space. These were used in
538:, which was reaching Europe through Italy. The white-on-blue Persian style was copied elsewhere, sometimes even in
217:
replacements of the best quality. Nevers garden vases in blue and white were prominently used in the gardens of the
2072:
1945:
1122:
1118:
418:
134:
67:
1029:
817:
and many pieces have painted images of the local style of river boats, and the long arched bridge over the river.
602:
583:
1240:
575:
562:
1938:
1556:
McNab, 18–20, 30 no 12; Estienne, 57; Some sources, for example Lane, 12 say that only the glaze was coloured.
1846:
1835:
649:
Garden vase, 1660–80; Chinese-style garden scene in white on a blue ground; the shape is entirely European.
601:
Unlike other French potteries, especially the porcelain factories of the early 18th century, influence from
323:
1669:
1091:, a complex comic subject, 1803; the men are trying to hide from the women, a popular 18th century subject
891:
835:
590:
319:
828:
1036:
791:
218:
106:
period, with several styles being made at the same time, including a grandiose Italianate Court style.
1883:
Estienne, Françoise, "À propos d'une étude sur un centre de production de faïence en France: Nevers",
1106:
750:
718:
272:
406:
187:
129:(1539–1595), a half-French and half Italian politician and courtier who married the heiress of the
2036:
970:
Astrological plate, 44 cm, perhaps with birthchart for "Moderata Durant", late 17th century.
1655:
1198:
810:
173:
78:
1347:
1987:
1973:
1959:
1924:
1907:
1899:
1870:
1860:
1372:
1248:
539:
333:
308:
205:
113:, Nevers wares had ceased to be fashionable and expensive, but the relatively crudely painted
110:
70:
30:
1932:
1878:
1825:
1595:
1888:
1852:
1842:
839:
594:
468:
and extensive grotesques, 1620–45, probably made as a pair to an Italian dish of the 1560s.
376:
190:
in 1644. This was repeated in the next generation for another Dominique Conrade, given his
102:
405:
subjects. As with Italian pieces, the subjects, especially those from the Old Testament or
2062:
875:
859:
685:
531:
357:
1793:
1545:
1484:
1445:
1154:
589:
Much of the painting on pieces with a white ground copies that of Chinese blue and white
1944:
Moon, Iris, "French Faience", in Heilbrunn Timeline of Art History, 2016, New York: The
1388:"Vingt-cinq dirigeants se sont succédé à la tête de la faïencerie Montagnon en 367 ans"
938:
920:
823:
694:
434:
398:
389:, pushing charcoal dust through pin-pricks in a paper drawing or tracing from a print.
130:
2046:
1783:
Estienne, 47 note 6. At least today, many pieces at Nevers are loans from the Louvre.
801:
535:
402:
260:
162:
146:
1949:
1412:
1173:
34:
Mustard and blue solid-body wares, 1650–80, with Turkish-inspired birds and flowers.
1114:
843:
614:
230:
89:
1101:
Estienne's group of 17th-century pieces included 227 in the Nevers museum, 179 at
496:
Plate with two lovers and grotesque border, dated 1644, "perhaps" Antoine Conrade.
17:
2015:
1995:
557:
Nevers adopted Chinese vase shapes early in the 17th century, earlier than Dutch
2007:
1831:
690:
409:, tended to be named on the base, sometimes even with the bible chapter noted.
1658:
1201:
683:
After about 1650, Nevers adapted the new French Court style, today called the
634:
566:
523:
234:
157:, who would found the dynasty that dominated Nevers production for a century.
618:
558:
426:
268:
245:
238:
2039:, 5ème Conférence Paysages et jardins, 4 June 2016 (in French, many images)
63:
1807:
returns 80 results, but some are imitations, old attributions, photos etc.
1312:
Chaffers, 148–149, who lists all 12; Badillet, 4; Osborne, 133; Britannica
606:
579:
519:
154:
142:
1984:
Maiolica: Italian Renaissance Ceramics in the Metropolitan Museum of Art
425:
As well as the scenes covering a whole surface, many Nevers pieces use
386:
81:
pottery, between around 1580 and the early 19th century. Production of
74:
1344:
Guide pittoresque du voyageur en France: contenant la statistique ...
1110:
430:
394:
226:
177:
138:
59:
1011:
Revolution, and continued after it, the wider grouping being called
86:
traditional regional speciality using styles derived from the past.
197:
1972:(Fitzwilliam Museum Handbooks), 1995, Cambridge University Press,
814:
790:
544:
505:
481:
351:
254:
196:
166:
150:
88:
37:
29:
484:
in the desert, attributed to Antoine Conrade or Nicolas Estienne
714:
530:, as decoration in white on a rich blue ground is often seen in
2037:"Aperçu des activités humaines dans les paysages de la faïence"
169:
river. The earliest dated piece by the Italians is from 1587.
809:, usually cruder, cheaper, and more "popular" in taste. Some
1753:
Chaffers, 149–150 gives a number of examples; Britannica, F;
208:. An aristocrat and bishop: "Unhappiness re-unites us", 1791.
356:
Dish with Joseph and His Brothers, 1630–45, after print by
1597:
The Grove encyclopedia of materials and techniques in art
1487:
for the "Joseph and his brothers" plate illustrated here.
1867:
The Art of Ceramics: European Ceramic Design, 1500–1830
1496:
Chaffers, 149, 151–153 has an illustrated list of marks
1245:
Birmingham Museum of Art : guide to the collection
1221:
Though not to Garnier, 275, who is very rude about them
1166:"DĂ©sormais, Nevers ne compte plus que deux faĂŻenceries"
593:(roughly 1625–90), a good deal of which was exported.
565:
in terms of their painted decoration, both the cheaper
165:, forests for wood for the kilns, and was on the major
1794:
including the mustard ewer at the start of the article
958:), imitating splashes of candle wax, late 17th century
709:
Central dish is 58 cm across, the main scene the
2012:
Histoire des faïences patriotiques sous la révolution
1534:
Another Urbino dish from the mould, in blue and white
1672:, musée des Arts décoratifs et du Design de Bordeaux
271:
manufactury in Nevers was also mentioned in 1844 by
2010:(pseudonym of Jules François Felix Fleury-Husson),
769:
Large ewer with dancing bacchantes and satyrs, 1685
1636:Estienne's long account makes no mention of Japan.
73:in central France, was a centre for manufacturing
1184:
1182:
1076:The Loire, with boats and the Nevers bridge, 1800
661:Chinese style, 1680–1700, blue on a white ground.
609:is not found in Nevers wares. Estienne sees the
1423:
1421:
858:Rare Nevers "Rustic ware" dish, in the style of
133:, which then still gave him great powers in the
781:Three Montagnon pieces in the style, after 1900
364:The Italian immigrants continued at Nevers the
172:In 1603, the brothers received a monopoly from
1359:
1357:
1355:
617:wares, in particular the "oil-spot" glazes of
1329:
1327:
1176:, faiencedenevers.fr – still the case in 2020
749:Pair of wine jugs, c. 1685, 56 cm high.
582:, especially following the foundation of the
380:
365:
181:
8:
1857:Marks and Monograms on Pottery and Porcelain
1374:Pottery and Porcelain: A Guide to Collectors
1113:had 49 pieces, but of the highest quality.
1956:The Oxford Companion to the Decorative Arts
1805:a search on "Nevers Tin-glazed earthenware"
1247:. : Birmingham Museum of Art. p. 173.
433:maiolica in the 1580s, and also in painted
2068:Companies based in Bourgogne-Franche-Comté
379:, and the outline set out on the pot by a
27:Pottery made in Nevers, France, since 1580
1898:, 1882 reprinted 2012, Editorial MAXTOR,
633:Conrade plate, 1630s, imitating Chinese
518:or (much more rarely) a mustard yellow (
176:for the making of wares in the style of
97:Nevers was one of the centres where the
1591:
1589:
1230:Coutts, 28; Moon; McNab, 12; Britannica
1146:
1025:
924:in the "Persian" white on blue, c. 1675
848:
699:
623:
439:
1921:Seventeenth-Century French Ceramic Art
1822:FaĂŻences de Nevers et Marine de Loire
1197:McNab, 12, 18, 20–21; Chaffers, 150;
298:1650–1750: Chinese and Japanese style
7:
1986:, 2016, Metropolitan Museum of Art,
1923:, 1987, Metropolitan Museum of Art,
1670:"Nouvelles acquisitions 2013 – 2014"
1483:Wilson, 202 for an Italian example;
936:Armorial dish, with characters from
2014:, 1875 (3rd edn), E. Dentu, Paris,
982:decorative pilgrim flask, 1700-1725
561:. Some Nevers pieces clearly copy
141:, near several centres for Italian
1135:Orientalism in early modern France
25:
2021:Reginster-Le Clanche, Françoise,
1654:McNab, 20–21; Moon; Lane, 11–13;
813:were produced. Nevers is on the
304:1640–1789: Franco-Nivernais style
125:The tradition owes its origin to
2053:Ceramics manufacturers of France
1891:(in French, abstract in English)
1885:Histoire, économie & société
1155:Ewer page at Metropolitan Museum
1081:
1069:
1057:
1045:
1028:
987:
975:
963:
947:
929:
911:
899:
883:
867:
851:
774:
762:
742:
726:
702:
666:
654:
642:
626:
489:
473:
457:
442:
275:, but little is known about it.
1869:, 2001, Yale University Press,
878:, about half life-size, c. 1630
1735:McNab, 38 no. 12; Estienne, 60
145:, which had already spread to
1:
2058:1588 establishments in France
1765:Britannica, N, F; Lane, 13–14
1583:McNab, 18–20; Estienne, 57–59
1376:by Frederick Litchfield p.219
127:Louis Gonzaga, Duke of Nevers
2030:Faience de Nevers, 1585–1900
1168:, Lara Payet, 1 April 2017,
673:Chinese-style vases, c. 1700
452:, 1580–1610, Nevers or Lyons
280:manufacture du Bout du monde
1887:, 1989 8-1 pp. 45–60,
1699:Badillet, Chapter 4 onwards
1342:de Saint-Fargeau, Girault,
1294:Garnier, 270; Chaffers, 148
862:, 1599, by Agostino Conrade
838:in 1659, with portraits of
713:, after an illustration of
318:, imitating the faience of
2089:
1946:Metropolitan Museum of Art
1123:Victoria and Albert Museum
1119:Metropolitan Museum of Art
735:The Drunkenness of Bacchus
419:Victoria and Albert Museum
135:County and Duchy of Nevers
2035:Compain-Murez, Brigitte,
1916:, 1948, Faber & Faber
603:Japanese export porcelain
584:French East India Company
339:1789 on : Decadence.
2032:, 4 volumes, (in French)
1824:(in French), Chapter 3,
1546:Metropolitan Museum page
1485:Metropolitan Museum page
1456:Coutts, 27–28; McNab, 12
1446:Metropolitan Museum page
1413:"les faienciers actuels"
1241:Birmingham Museum of Art
1174:"les faienciers actuels"
563:Chinese export porcelain
301:1630–1700: Persian style
295:1600–1660: Italian style
48:Triumph of Julius Caesar
1847:Encyclopedia Britannica
1836:Encyclopedia Britannica
1755:Monarchist jug, c. 1789
1125:in London has over 60.
1064:"Rights of Man", c 1790
522:did the same for their
324:Alpes-de-Haute-Provence
244:By this time, European
137:. He had been born in
68:Bourgogne-Franche-Comté
1954:Osborne, Harold (ed),
1939:"Faiencerie Montagnon"
1681:Lane, 13–14, 13 quoted
1599:Gerald W. R. Ward p.38
1514:Garnier, 275; Lane, 11
1346:, Volume 2, 11, 1838,
956:decoration Ă la bougie
836:Treaty of the Pyrenees
796:
611:decoration Ă la bougie
591:Transitional porcelain
554:
511:
466:The Gathering of Manna
414:The Gathering of Manna
381:
366:
361:
320:Moustiers-Sainte-Marie
316:Tradition de Moustiers
264:
209:
182:
94:
79:tin-glazed earthenware
55:
35:
1690:McNab, 16; Lane 13–14
1037:Storming the Bastille
1008:faiences patriotiques
794:
757:is again used (left).
679:Louis XIV Court style
549:"Persian"-style with
548:
509:
355:
258:
250:faiences patriotiques
219:Chateau de Versailles
200:
115:faiences patriotiques
92:
41:
33:
1941:, faiencedenevers.fr
1415:, faiencedenevers.fr
1392:Le Journal du Centre
1170:Le Journal du Centre
1021:faience patronymique
721:, published in 1674
576:blue and white wares
273:Alexandre Brongniart
259:Montagon plate with
2025:, 2003, (in French)
1792:McNab, "Foreward";
1386:Dominique Romeyer,
464:Basin or dish with
407:classical mythology
397:. As with painted
202:faience patriotique
183:faiencier ordinaire
109:By the time of the
42:Nevers dish in the
2023:FaĂŻences de Nevers
1894:Garnier, Édouard,
1843:"Faience parlante"
1574:McNab, 18; Lane 11
1321:Osborne, 133; Moon
1017:faiences parlantes
1001:Faiences parlantes
797:
555:
512:
362:
265:
210:
95:
56:
36:
18:Nevers manufactory
2073:Faience of France
1994:, 9781588395610,
1982:Wilson, Timothy,
1931:, 9780870994906,
1877:, 9780300083873,
1853:Chaffers, William
1532:Wilson, 334-337;
1254:978-1-904832-77-5
1107:Château de Saumur
1105:, and 116 in the
1013:faience populaire
807:faience populaire
751:François Chauveau
733:Wine-cooler with
719:François Chauveau
540:English delftware
450:Sacrifice of Noah
309:Rouen manufactory
206:French Revolution
111:French Revolution
16:(Redirected from
2080:
1865:Coutts, Howard,
1841:"Britannica F",
1832:"Nevers faience"
1830:"Britannica N",
1808:
1802:
1796:
1790:
1784:
1781:
1775:
1772:
1766:
1763:
1757:
1751:
1745:
1742:
1736:
1733:
1727:
1724:
1718:
1717:Estienne, 50, 55
1715:
1709:
1706:
1700:
1697:
1691:
1688:
1682:
1679:
1673:
1667:
1661:
1652:
1646:
1643:
1637:
1634:
1628:
1625:
1619:
1616:
1610:
1607:
1601:
1593:
1584:
1581:
1575:
1572:
1566:
1563:
1557:
1554:
1548:
1542:
1536:
1530:
1524:
1521:
1515:
1512:
1506:
1503:
1497:
1494:
1488:
1481:
1475:
1472:
1466:
1463:
1457:
1454:
1448:
1443:
1437:
1434:
1428:
1425:
1416:
1410:
1404:
1401:
1395:
1384:
1378:
1370:
1364:
1361:
1350:
1340:
1334:
1331:
1322:
1319:
1313:
1310:
1304:
1301:
1295:
1292:
1286:
1283:
1277:
1274:
1268:
1265:
1259:
1258:
1237:
1231:
1228:
1222:
1219:
1213:
1212:Garnier, 274–275
1210:
1204:
1195:
1189:
1186:
1177:
1163:
1157:
1151:
1085:
1073:
1061:
1049:
1032:
991:
979:
967:
954:"Candle" style (
951:
933:
918:Characters from
915:
903:
887:
871:
855:
840:Cardinal Mazarin
778:
766:
746:
730:
706:
670:
658:
646:
630:
595:Chinese literati
493:
477:
461:
446:
384:
369:
185:
103:Italian maiolica
46:style, with the
21:
2088:
2087:
2083:
2082:
2081:
2079:
2078:
2077:
2043:
2042:
2004:
2002:Further reading
1970:English Pottery
1919:McNab, Jessie,
1820:Badillet, Guy,
1817:
1812:
1811:
1803:
1799:
1791:
1787:
1782:
1778:
1773:
1769:
1764:
1760:
1752:
1748:
1743:
1739:
1734:
1730:
1726:Estienne, 55–56
1725:
1721:
1716:
1712:
1708:Estienne, 54–55
1707:
1703:
1698:
1694:
1689:
1685:
1680:
1676:
1668:
1664:
1656:V&A, Nevers
1653:
1649:
1644:
1640:
1635:
1631:
1626:
1622:
1618:Estienne, 58–59
1617:
1613:
1609:Estienne, 57–58
1608:
1604:
1594:
1587:
1582:
1578:
1573:
1569:
1564:
1560:
1555:
1551:
1543:
1539:
1531:
1527:
1522:
1518:
1513:
1509:
1505:Wilson, 334–337
1504:
1500:
1495:
1491:
1482:
1478:
1473:
1469:
1464:
1460:
1455:
1451:
1444:
1440:
1435:
1431:
1426:
1419:
1411:
1407:
1402:
1398:
1385:
1381:
1371:
1367:
1362:
1353:
1341:
1337:
1332:
1325:
1320:
1316:
1311:
1307:
1303:Moon; McNab, 30
1302:
1298:
1293:
1289:
1284:
1280:
1275:
1271:
1266:
1262:
1255:
1239:
1238:
1234:
1229:
1225:
1220:
1216:
1211:
1207:
1199:V&A, Nevers
1196:
1192:
1188:Estienne, 52–54
1187:
1180:
1164:
1160:
1152:
1148:
1143:
1131:
1099:
1092:
1086:
1077:
1074:
1065:
1062:
1053:
1050:
1041:
1033:
1004:
995:
994:Bottle, c. 1809
992:
983:
980:
971:
968:
959:
952:
943:
934:
925:
916:
907:
906:Vase, 1650-1700
904:
895:
888:
879:
876:Saint Sebastian
874:Rare statue of
872:
863:
860:Bernard Palissy
856:
789:
787:European styles
782:
779:
770:
767:
758:
747:
738:
731:
722:
707:
686:style Louis XIV
681:
674:
671:
662:
659:
650:
647:
638:
631:
605:styles such as
532:Persian pottery
504:
497:
494:
485:
478:
469:
462:
453:
447:
358:Bernard Salomon
350:
288:
131:Duchy of Nevers
123:
50:, very loosely
28:
23:
22:
15:
12:
11:
5:
2086:
2084:
2076:
2075:
2070:
2065:
2060:
2055:
2045:
2044:
2041:
2040:
2033:
2026:
2019:
2003:
2000:
1999:
1998:
1980:
1968:Poole, Julia,
1966:
1952:
1942:
1935:
1917:
1914:French FaĂŻence
1912:Lane, Arthur,
1910:
1892:
1881:
1863:
1850:
1839:
1828:
1816:
1813:
1810:
1809:
1797:
1785:
1776:
1767:
1758:
1746:
1737:
1728:
1719:
1710:
1701:
1692:
1683:
1674:
1662:
1647:
1638:
1629:
1620:
1611:
1602:
1585:
1576:
1567:
1558:
1549:
1537:
1525:
1516:
1507:
1498:
1489:
1476:
1467:
1458:
1449:
1438:
1429:
1417:
1405:
1396:
1379:
1365:
1351:
1335:
1323:
1314:
1305:
1296:
1287:
1278:
1269:
1260:
1253:
1232:
1223:
1214:
1205:
1190:
1178:
1158:
1153:McNab, 18–20;
1145:
1144:
1142:
1139:
1138:
1137:
1130:
1127:
1098:
1095:
1094:
1093:
1087:
1080:
1078:
1075:
1068:
1066:
1063:
1056:
1054:
1051:
1044:
1042:
1034:
1027:
1003:
998:
997:
996:
993:
986:
984:
981:
974:
972:
969:
962:
960:
953:
946:
944:
935:
928:
926:
917:
910:
908:
905:
898:
896:
894:(candleholder)
889:
882:
880:
873:
866:
864:
857:
850:
811:armorial wares
788:
785:
784:
783:
780:
773:
771:
768:
761:
759:
755:Rape of Europa
748:
741:
739:
732:
725:
723:
711:Rape of Europa
708:
701:
695:Charles Lebrun
680:
677:
676:
675:
672:
665:
663:
660:
653:
651:
648:
641:
639:
632:
625:
551:bleu de Nevers
516:bleu de Nevers
503:
500:
499:
498:
495:
488:
486:
479:
472:
470:
463:
456:
454:
448:
441:
435:Limoges enamel
399:Limoges enamel
349:
346:
341:
340:
337:
326:
312:
305:
302:
299:
296:
287:
284:
122:
119:
83:Nevers faience
52:after Mantegna
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
2085:
2074:
2071:
2069:
2066:
2064:
2061:
2059:
2056:
2054:
2051:
2050:
2048:
2038:
2034:
2031:
2028:Rosen, Jean,
2027:
2024:
2020:
2017:
2013:
2009:
2006:
2005:
2001:
1997:
1993:
1989:
1985:
1981:
1979:
1975:
1971:
1967:
1965:
1961:
1958:, 1975, OUP,
1957:
1953:
1951:
1947:
1943:
1940:
1936:
1934:
1930:
1926:
1922:
1918:
1915:
1911:
1909:
1905:
1904:9791020800183
1901:
1897:
1893:
1890:
1886:
1882:
1880:
1876:
1872:
1868:
1864:
1862:
1858:
1854:
1851:
1848:
1844:
1840:
1837:
1833:
1829:
1827:
1823:
1819:
1818:
1814:
1806:
1801:
1798:
1795:
1789:
1786:
1780:
1777:
1774:Britannica, F
1771:
1768:
1762:
1759:
1756:
1750:
1747:
1741:
1738:
1732:
1729:
1723:
1720:
1714:
1711:
1705:
1702:
1696:
1693:
1687:
1684:
1678:
1675:
1671:
1666:
1663:
1660:
1657:
1651:
1648:
1642:
1639:
1633:
1630:
1624:
1621:
1615:
1612:
1606:
1603:
1600:
1598:
1592:
1590:
1586:
1580:
1577:
1571:
1568:
1562:
1559:
1553:
1550:
1547:
1544:Wilson, 338;
1541:
1538:
1535:
1529:
1526:
1520:
1517:
1511:
1508:
1502:
1499:
1493:
1490:
1486:
1480:
1477:
1471:
1468:
1462:
1459:
1453:
1450:
1447:
1442:
1439:
1433:
1430:
1427:Chaffers, 150
1424:
1422:
1418:
1414:
1409:
1406:
1400:
1397:
1393:
1389:
1383:
1380:
1377:
1375:
1369:
1366:
1360:
1358:
1356:
1352:
1349:
1345:
1339:
1336:
1330:
1328:
1324:
1318:
1315:
1309:
1306:
1300:
1297:
1291:
1288:
1282:
1279:
1276:Coutts, 27–28
1273:
1270:
1264:
1261:
1256:
1250:
1246:
1242:
1236:
1233:
1227:
1224:
1218:
1215:
1209:
1206:
1203:
1200:
1194:
1191:
1185:
1183:
1179:
1175:
1172:(in French);
1171:
1167:
1162:
1159:
1156:
1150:
1147:
1140:
1136:
1133:
1132:
1128:
1126:
1124:
1120:
1116:
1112:
1108:
1104:
1096:
1090:
1084:
1079:
1072:
1067:
1060:
1055:
1048:
1043:
1039:
1038:
1031:
1026:
1024:
1022:
1018:
1014:
1009:
1002:
999:
990:
985:
978:
973:
966:
961:
957:
950:
945:
941:
940:
932:
927:
923:
922:
914:
909:
902:
897:
893:
886:
881:
877:
870:
865:
861:
854:
849:
847:
845:
841:
837:
832:
830:
829:Honoré d'Urfé
826:
825:
818:
816:
812:
808:
803:
802:Rouen faience
793:
786:
777:
772:
765:
760:
756:
752:
745:
740:
736:
729:
724:
720:
716:
712:
705:
700:
698:
696:
692:
688:
687:
678:
669:
664:
657:
652:
645:
640:
636:
629:
624:
622:
620:
616:
612:
608:
604:
599:
596:
592:
587:
585:
581:
577:
571:
568:
564:
560:
553:ground, 1670s
552:
547:
543:
541:
537:
536:Iznik pottery
533:
529:
525:
521:
517:
508:
501:
492:
487:
483:
476:
471:
467:
460:
455:
451:
445:
440:
438:
436:
432:
428:
423:
420:
415:
410:
408:
404:
403:Old Testament
400:
396:
390:
388:
383:
378:
373:
368:
359:
354:
348:Italian style
347:
345:
338:
335:
331:
327:
325:
321:
317:
313:
310:
306:
303:
300:
297:
294:
293:
292:
285:
283:
281:
276:
274:
270:
262:
261:Saint Cecilia
257:
253:
251:
247:
242:
240:
236:
232:
228:
222:
220:
214:
207:
203:
199:
195:
193:
189:
186:to the young
184:
179:
175:
170:
168:
164:
163:ceramic glaze
158:
156:
152:
148:
144:
140:
136:
132:
128:
120:
118:
116:
112:
107:
104:
100:
91:
87:
84:
80:
76:
72:
69:
66:, now in the
65:
61:
53:
49:
45:
40:
32:
19:
2029:
2022:
2016:fully online
2011:
1996:google books
1983:
1969:
1955:
1933:google books
1920:
1913:
1908:google books
1895:
1884:
1879:google books
1866:
1861:google books
1856:
1826:google books
1821:
1800:
1788:
1779:
1770:
1761:
1749:
1744:Estienne, 56
1740:
1731:
1722:
1713:
1704:
1695:
1686:
1677:
1665:
1650:
1645:Estienne, 60
1641:
1632:
1623:
1614:
1605:
1596:
1579:
1570:
1561:
1552:
1540:
1528:
1523:Estienne, 51
1519:
1510:
1501:
1492:
1479:
1470:
1461:
1452:
1441:
1432:
1408:
1399:
1391:
1382:
1373:
1368:
1348:google books
1343:
1338:
1317:
1308:
1299:
1290:
1285:Garnier, 270
1281:
1272:
1267:Estienne, 46
1263:
1244:
1235:
1226:
1217:
1208:
1193:
1169:
1161:
1149:
1115:J. P. Morgan
1100:
1089:Tree of Love
1088:
1035:
1020:
1016:
1012:
1007:
1005:
1000:
955:
937:
919:
844:Luis de Haro
833:
822:
819:
806:
798:
754:
734:
710:
684:
682:
615:Song dynasty
610:
600:
588:
572:
556:
550:
527:
515:
513:
502:Asian styles
465:
449:
424:
413:
411:
391:
371:
363:
342:
330:Gout de Saxe
329:
315:
289:
279:
277:
266:
249:
243:
231:Veuve Perrin
223:
215:
211:
201:
191:
171:
159:
124:
114:
108:
98:
96:
82:
58:The city of
57:
47:
43:
2018:(in French)
2008:Champfleury
1394:19 May 2015
1363:Badillet, 4
1097:Collections
691:Simon Vouet
528:bleu persan
328:1770–1789:
314:1730–1789:
307:1700–1789:
233:factory in
54:, 1600–1630
2047:Categories
1992:1588395618
1978:0521475201
1964:0198661134
1929:0870994905
1875:0300083874
1815:References
1659:Jardiniere
1474:Coutts, 28
1333:Britannica
1202:Jardiniere
942:, 1650–75
635:Kraak ware
567:Kraak ware
524:jasperware
239:creamwares
235:Marseilles
1565:Poole, 34
1465:McNab, 12
737:, c. 1680
619:Jian ware
586:in 1664.
559:Delftware
427:grotesque
372:grand feu
367:istoriato
269:porcelain
246:porcelain
194:in 1672.
188:Louis XIV
101:style of
99:istoriato
44:istoriato
1937:"Mont":
1859:, 1863,
1627:Lane, 11
1243:(2010).
1129:See also
1040:, c 1789
939:L'Astrée
921:L'Astrée
824:L'Astrée
607:Kakiemon
598:shapes.
580:Normandy
520:Wedgwood
174:Henri IV
155:Albisola
143:maiolica
890:Figure
387:stencil
334:Meissen
332:(i.e.,
322:in the
204:of the
121:History
75:faience
2063:Nevers
1990:
1976:
1962:
1950:online
1927:
1902:
1889:online
1873:
1849:online
1838:online
1251:
1111:Louvre
1109:. The
1103:Sèvres
892:sconce
431:Urbino
395:Louvre
377:prints
336:style)
286:Styles
263:, 1888
227:Rococo
192:brevet
178:Faenza
139:Mantua
71:region
64:Nièvre
60:Nevers
1141:Notes
815:Loire
482:manna
382:ponci
311:style
167:Loire
151:Lyons
147:Rouen
77:, or
1988:ISBN
1974:ISBN
1960:ISBN
1925:ISBN
1900:ISBN
1871:ISBN
1403:Mont
1249:ISBN
1006:The
842:and
715:Ovid
693:and
480:The
278:The
149:and
1015:or
827:by
753:'s
717:by
385:or
2049::
1948:,
1906:,
1855:,
1845:,
1834:,
1588:^
1420:^
1390:,
1354:^
1326:^
1181:^
637:.
542:.
221:.
62:,
1257:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
