Greenish-brown glass with kick in bottom. Cork sealed in mouth of bottle with pinkish wax ('Red Seal') and copper wire. Old torn tag around neck 'Dennison Mfg. Co. Tag Mfrs. 25 & 28 Franklin St. Boston'. Label on bottle printed with '1827 Red Seal Madeira'
Thrown earthenware bowl. Purple transfer printed pattern with leaf-like designs and four house scenes, bottom of interior has similar house scene and three furniture marks. Exterior has farmland pattern.
Bottom marked: "Peter Wright & Sons Importers Philadelphia"
White porcelain bowl set on a raised foot. Gold motif at center is concentric circles of floral and foliate design; outer ring has 12 elongated flowers radiating outward. Edge has 1/2" wide band of gold that extends to outside. The raised foot is gold. Upper half of outside of bowl painted pink and banded at lower edge with gold.
Although attributed to Feuillet, there is no inscription on bottom. Additional pieces of this set of dishes in collection are 2013.008. Jean-Pierre Feuillet, Decorator (French, 1777-1840). See Notes
Rue de la Paix decorating studio, Paris
Provenance
Descent within Buchanan and Henry family to Pamela Henry (daughter of Frank Anderson Henry, Buck's youngest son) to Louisa Dent (donor).
About one quarter of bowl's side has been broken out in pieces and repaired with 10 staples at outside cracks. Large edge losses have been filled and painted. Additional hairline cracks on inside, opposite large repair.
All gold decoration is worn, esp. at rim.
Object ID
2015.029.8
Notes
Research on E-bay has dealer's statement:
"Feuillet introduced a porcelain decorating studio at the Rue de la Paix, Paris in 1820. The products came chiefly from the Royal Factory Sèvres. His successor was Boyer (1845)."
Another seller writes:
"The Feuillet studio was at 18, Rue de la Paix, advantageously located for the wealthy denizens of the area to come visit and make purchases. The Prince of Conde gave Feuillet his protection, thus assuring a constant flow of high-end clients. Feuillet's design atelier reached its apex in the mid-1820s, lavishly decorating some of the most remarkable plates of the time. The combination of rich paste gilding, saturated border colors and meticulous fruit or floral still life paintings made the factory's output one of the favorite choices, other than Sevres, for purchase by the new French Regime. According to the book "Paris Porcelain" by Regine de Plinval de Guillebon, "Feuillet was one of the best decorators in the Restauration period," (Paris Porcelain, page 244)."
Glazed soft paste porcelain Gaudy Welsh sugar bowl (A) with lid (B). Handpainted inverted tulips of red and yellow are interspersed with 3 large, dominating deep blue scalloped motifs decorated with copper lustre painted floral decoration. Squat pot-bellied body sits on a low squarish pedestal with scalloped edging. Two molded angular applied handles. Top has round mouth with flared collar extends outward. Domed lid has squarish molded knob finial. Darkened remnant of paper sticker with blurred writing, perhaps "-caster/ --ea set/ --1825."
Provenance
Collected by Harpo and Susan Marx during visits back East from CA. Donated to Heritage Center.
Molded earthenware sugar bowl with lid, pink surface coloring over pearl-colored body. Four applied feet and applied molded flat handles with molded foliate pattern. Floral finial at top of lid. Transfer printed design of butterflies, fruits, birds. Green enameled border pattern at waist of bowl. Pink lustre trim.
Diamond Pattern blow molded blue glass sugar bowl with lid.
This may be the "stiegel-type" bowl described in a letter dated August 21, 1956 from Elizabeth Kieffer to the donor of such a bowl, Miss Mary L. Kohler. The accession number may have been 1956.11??
Creamware sugar bowl has apple shaped body with a flaring foot ring and rim. Both lid and bowl are decorated by hand with wide bands of blue and thin rings of red. Sides of bowl have blue flower alternating with smaller leaf sprigs. Lid has low dome topped with a knob resembling a pepperment life saver. Three leaf sprigs spaced around the knob on dome.
Paper sticker on bottom has pencil inscription: "no./ ace/ no".
Reportedly used by donor's great-great-grandmother, Sally, wife of Andrew Ellicott.
A 3 1/2" long section of rim is broken off. One broken piece saved in bowl. Extremely strong brown stain covers most of bowl except for several patches. Same stains sprinkled around bottom of lid. Glazing imperfections such as on top of lid. A 1 3/4" long hairline crack extends up side from base. Dark soil adhering to bottom of foot ring. Bowl has some wear around shoulder.
