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273:, in 1827. Porcelain production had resumed in the Napoleonic period, but ceased in 1830. The company enjoyed a renaissance in the mid-nineteenth century, when the business included a German factory making industrial ceramics. In 1871 the area became part of Germany; by then the factory was trading as "S.A. Faïencerie de Niderviller" in French or "Steingutfabriek Niederweiler A.G." in German. It became in Germany again in 1940 for the duration of World War II. Post-war production struggled to make a profit, and there have been various crises and sales. But by 1972 the "Faïenceries de Niderviller et Saint-Amand" (FNSA) employed 700 workers, a number since greatly reduced. The Dryander family still had ownership until the post-war period.
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259:, which combined faience production techniques with a new process that mixed crushed limestone with the clay. Custine, with his wife, was guillotined in 1793, and his son not long after. This led to the temporary closing of the plant when the regime confiscated his property; the workmen, summarily laid off, travelled to Paris to find work, and several signed a petition for her release. The continued war with the Coalition reduced the number of employees to 15; the factory survived, however, and the Custine share was bought by Lanfrey in 1802.
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255:, discouraged the original investors. When Custine purchased the property in 1770, it was a struggling investment. He encountered significant financial problems over the next eight years, and considered bankruptcy in 1778. He subsequently entered into partnership with François-Henri Lanfrey and the factory began producing faience in the English style of tableware. Lenfrey also revamped the production process, producing
202:, a long way from Niderviller. The paste produced from the Saint-Yrieix kaolin was white, highly translucent and produced pottery with a distinct color and weight. The artistic directorship was that of his wife, Dame Marguerite Chalons-Drolenvaux. The glaze of the Niderviller factory is considered to have been of the best quality and brilliance, closely resembling the contemporary glaze used at Sèvres.
147:
In 1735, Anne-Marie Défontaine, lord of the village, decided to put her forests and quarries to a good use by starting a pottery works. She drew on local skills available in
Lorraine to gather the proper staff, including Mathias le Sprit as manager. In 1748 her nephews sold it for 90,000 livres to
166:
Baron de Beyerlé authored two known books in 1760 and 1765, both dealing with ceramic technique, secrets of the trade of ceramics, firing of ceramics, openwork, and pilot wheels imitating baskets. Instrumental in the discovery and development of porcelain as we know it today, his books are still
186:
The full resume of Baron de Beyerlé included Lord of
Niderviller, Schneckenbusch, Wuischviller and other places, adviser to the king, Director of the Court of Currencies, master treasurer of the mint of Strasbourg, Ecuyer (member of Nobility of the Second Order), Lawyer, author and Freemason. As
353:
Documentary evidence from
Niderviller indicates that in 1759 a large staff was employed at the pottery, in addition, the names of all the employees are given, with the wages each man received. Eleven painters and two sculptors were engaged, which shows that the factory founded by Jean Louis de
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531:
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Beyerlé, towards 1754, had made great progress. The employees were paid in ‘Sols’, a coin minted at the
Strasbourg mint. The names and wages of these employees, as listed in LES MERVEILLES DE LACÉRAMIQUE, and were:
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228:, died in 1765, the north-eastern territory reverted to the French crown, and the manufactory was then subject to new, even tighter restrictions on production and decoration, as the royal
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876:
187:
Director of the Royal Mint in
Strasbourg, the Baron produced coins for King Louis XIV, the Sun King, and King Louis XV of France, and for use in the colonies in America.
358:
François
Anstette, controller of manufacture and probably a member of the same family who worked at the pottery in Haguenau, earned approximately thirty sols per day.
251:
The manufactory had enjoyed limited profitability. Various difficulties, including a fire that gutted the production building and a limitation on the manufacture of
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768:(catalogue de l'exposition, Musée du pays de Sarrebourg, 29 June – 22 September 1996), Musée du pays de Sarrebourg, Sarrebourg, 1996. p. 72.
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Because of its unique location in the duchy of
Lorraine, where it was exempt from French laws designed to protect the royal monopoly of the
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La famille Seeger : aperçu des manufactures de
Niderviller et de la rue Pierre Levée à Paris aux XVIII et XIX siècles
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manufactory, Niderviller flourished for nearly twenty years, unlike other French porcelain manufacturers of the period.
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115:(tin-glazed earthenware), and returned to making this after a period in the mid-18th century when it also made
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236:. Probably because of this, and continuing losses, in 1770 the company was sold by Beyerlé (by then 75) to
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Jean-Baptiste Mainat, director of the same manufacture, has five taxable quota books per annum pledged.
85:
Potpourri with cover, showing the elegance of form and painted decoration that the factory achieved in
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was brought from
Germany until Baron de Beyerlé bought some of the first kaolin mines, in France, at
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103:) is one of the most famous French pottery manufacturers. It has been located in the village of
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Histoire de la faïence française. Strasbourg-Niderviller : sources et rayonnement
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Lanfrey's sons sold the company to Louis-Guillaume
Dryander, a former partner of
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373:
Fréderic Adolph Tiebauld, boy painter, approximately twenty-four sols per day.
282:
112:
241:
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803:(in French). Nancy, faculté de lettre. p. 225. thèse de IIIème cycle.
730:(in French). SHAL. p. 76. Faïenciers et Porcelainiers De Niderviller.
388:
Jean-Pierre Racket, boy painter, gain approximately eighteen sols per day
233:
815:. London, UK: Reeves & Turner 83, Charing cross road. p. 1080.
379:
Augustin Ilerman, boy painter, earned approximately twenty sols per day
367:
Pierre Anstette, painter, earned approximately twenty-four sols per day
330:
281:
Many museums across the world display Niderviller products, including:
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697:(in French). Aubenas: Tardy. p. 836. les porcelaines françaises.
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397:
Charle Reflects, boy sculptor, approximately twenty-four sols per day
334:
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To produce Niderviller's porcelain, a fine white china-clay known as
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148:
Baron Jean Louis de Beyerlé. In 1763, the company started producing
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Michel Anstette, boy painter, approximately twenty-four sols per day
338:
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605:
Annual Report – The Mount Vernon Ladies' Association of the Union
461:
Terrine dish, traditional Niderviller monochrome in pink, c. 1760
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Martin Schettier, boy painter, approximately fifteen sols per day
364:
Michel Martin, painter, earned approximately twenty sols per day
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Niderviller faience and associated Lorraine royal manufactories
400:
Jean Thalbotier, boy painter, approximately twenty sols per day
725:
Faïenciers et Porcelainiers De Niderviller au XVIIIème siècle
403:
Philip Arnold, boy sculptor, approximately twenty sols per day
18:
391:
Nicolas Lutze, boy painter, approximately twenty sols per day
826:
702:
Jean-Louis Janin-Daviet, Hervé de la Verrie (October 2007).
382:
Daniel Koope, boy painter, approximately twelve sols per day
782:
La Faïencerie De Niderviller (ses origines il y a 250 ans)
708:(in French). Drulingen: imprimerie Scheuer. p. 187.
370:
Joseph Secger, painter, approximately twenty sols per day
753:, Musée du pays de Sarrebourg, Sarrebourg, 1990, 100 p.
695:
Les porcelaines françaises (Caractéristiques, marques)
608:. Mount Vernon Ladies' Association of the Union, 1977.
705:
Mémoire d'une collection éphémère au Château d'Haroué
780:
Patrick Bichet & Henry Bourgon (February 2013).
664:
Memoires of Delphine de Sabran, Marquise de Custine,
394:
Deroy, boy moulor, approximately twenty sols per day
593:. Infofaience, 2012–2014. Accessed 8 December 2014.
449:Plate, 18th-century from Custine period (1779–89)
209:Covered milk jug, hard-paste porcelain, c 1775,
119:. In both materials, it made heavy use of deep
602:Mount Vernon Ladies' Association of the Union.
152:, thanks to the help of workers recruited from
266:with a set of this tableware service in 1782.
242:fine earthenware products in the English style
521:Covered tureen, Niderviller exhibited in the
8:
813:Marks and Monograms On Pottery and Porcelain
509:"The broken clog", Niderviller, 18th century
497:18th century figurine with condiment-holder
111:, France since 1735. It began as a maker of
877:Manufacturing companies established in 1735
130:Porcelain platter, Beyerlé period, c. 1760s
784:(in French). Drulingen: SHAL. p. 55.
174:Porcelain baskets, Niderviller, ca 1785,
69:Learn how and when to remove this message
723:Chantal Soudée-Lacombe (February 1984).
661:Gaston Maugras, Pierre Croze-LeMercier,
647:. London, UK: Paul Hamlyn. p. 160.
232:factory had been given various forms of
32:This article includes a list of general
832:history of the Niderviller manufactory
551:
411:
277:Museums exhibiting Niderviller ceramics
240:. Shortly after, it started producing
167:considered hallmarks of that period.
569:A History of Pottery and Porcelain...
299:Musée des Arts décoratifs, Strasbourg
7:
801:Recherches sur la céramique Lorraine
718:. Mémoire d'une collection éphémère.
143:Entrance of the manufactory c. 1900.
540:, 18th century faience figure group
677:Dorothée Guillemé Brulon (et al.),
38:it lacks sufficient corresponding
14:
738:, D. Dubus, Cauge, Évreux, 1984.
727:(collection: Le Pays Lorrain n°1)
693:Tardy & Adrien Lesur (1950).
681:, C. Massin, Paris, 1999, 167 p.
571:nl, J. Murray, 1868, pp. 438–439.
523:Birmingham Museum and Art Gallery
473:Pair of figurines, faience, 1770s
847:Ceramics manufacturers of France
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485:Detail of porcelain basket above
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287:Musée des Arts Décoratifs, Paris
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764:Dominique Heckenbenner (dir.),
295:Palace of the Dukes of Lorraine
238:Adam Philippe, Comte de Custine
591:History of Niderviller factory
123:or pink in its decoration.
1:
857:Companies established in 1735
751:Les faïenciers de Niderviller
323:Museum of Anthropology at UBC
291:Sèvres – Cité de la céramique
222:Francis I, Holy Roman Emperor
852:Companies based in Grand Est
794:. Faïencerie De Niderviller.
627:la faïencerie de Niderviller
329:in Stockholm and museums in
16:French pottery manufacturer
893:
766:Porcelaines de Niderviller
667:London, W. Heinemann, 1912
319:Metropolitan Museum of Art
311:Philadelphia Museum of Art
643:Eileen Aldridge (1969).
315:Art Institute of Chicago
433:Faience cabbage-shaped
303:Smithsonian Institution
53:more precise citations.
749:Martine Hassenforder,
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196:Saint-Yrieix-la-Perche
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799:Maurice Noël (1961).
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253:soft-paste porcelain
117:hard-paste porcelain
867:Porcelain of France
271:Villeroy & Boch
224:, who was also the
538:Abduction of Helen
325:in Vancouver, the
262:Custine presented
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872:Faience of France
734:Dominique Dubus,
715:978-2-913162-71-6
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657:. porcelain.
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525:18th century
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307:Mount Vernon
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101:Niederweiler
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59:October 2018
56:
37:
617:Infofaience
421:Modern logo
257:cailloutage
105:Niderviller
94:Niderviller
51:introducing
841:Categories
637:References
283:the Louvre
34:references
645:porcelain
180:Stockholm
150:porcelain
89:, 1760-65
811:(1912).
589:Faience
293:, the
234:monopoly
109:Lorraine
99:(German
437:, 1760s
408:Gallery
331:Hamburg
246:faience
215:Toronto
200:Limoges
135:History
121:magenta
113:faïence
97:faience
87:faience
47:improve
788:
772:
757:
742:
712:
685:
651:
435:tureen
343:Zürich
335:Berlin
321:, the
317:, the
313:, the
309:, the
297:, the
289:, the
285:, the
192:kaolin
154:Saxony
36:, but
546:Notes
339:Basel
244:, or
220:When
198:near
786:ISBN
770:ISBN
755:ISBN
740:ISBN
710:ISBN
683:ISBN
649:ISBN
629:p.50
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