Ant\u012bka keramikas \u016bdens kr\u016bka “Margot” \u2014 Soci\u00e9t\u00e9 C\u00e9ramique, M\u0101strihta, N\u012bderlande<\/strong><\/p>\n

Eleganta lielform\u0101ta keramikas \u016bdens kr\u016bka ar klasisko baltu un zilu ziedu rakstu. Kr\u016bkas korpuss ir veidots b\u0113r\u0161anas form\u0101 ar izteiktu dobumu apak\u0161\u0101 un plakanotu, dekorat\u012bvi vi\u013c\u0146otu malu aug\u0161da\u013c\u0101. Uz virsmas ar transferdruk\u0101\u0161anas tehniku uzkl\u0101ts smalkziedu raksts “Margot” \u2014 atv\u0113rtas krizant\u0113mas, pumpuri un v\u012bte\u0146augi zil\u0101 ton\u012b uz balta fona, kas pie\u0161\u0137ir priek\u0161metam vieglu, gai\u0161u izskatu.<\/p>\n

M\u0101kslinieciskais stils un laikmets<\/strong><\/p>\n

Kr\u016bka veidota v\u0113l\u0101 viktori\u0101nisma stil\u0101, kas rakstur\u012bgs 19. gadsimta beig\u0101m un 20. gadsimta s\u0101kumam (aptuveni 1880\u20131910). Pirms 1870. gada transferdruka tika veikta vien\u0101 kr\u0101s\u0101 \u2014 meln\u0101, zil\u0101, sarkan\u0101 vai violet\u0101. Daudzkr\u0101sainas transferas domin\u0113ja no 1870. l\u012bdz 1900. gadam. \u0160aj\u0101 kr\u016bk\u0101 redzamais monohromais zilais raksts nor\u0101da uz periodu pirms vai ap 1870.\u20131880. gadiem. Dekor\u0101cija ir tipisks ang\u013cu un kontinent\u0101l\u0101 Eiropas stila augu mot\u012bvu kr\u0101sojums uz ironstone keramikas, popul\u0101rs daudzu m\u0101jas piederumu veido\u0161an\u0101 tolaik. WorthPoint<\/span><\/span><\/a><\/span><\/p>\n

Ra\u017eot\u0101ja z\u012bmogs un manufakt\u016bras v\u0113sture<\/strong><\/p>\n

Kr\u016bkas apak\u0161\u0101 ir redzams zils druk\u0101ts z\u012bmogs: skrieno\u0161s lauva (heraldisks simbols), ap to apl\u012b uzraksts “SOCI\u00c9T\u00c9 C\u00c9RAMIQUE \/ MAESTRICHT \/ MADE IN HOLLAND”, un virs lauvas \u2014 mode\u013ca nosaukums “MARGOT”.<\/p>\n

Uz\u0146\u0113m\u0113ji V\u012bnands Nikol\u0101ss Klermons un \u0160arls \u0160enejs 1851. gad\u0101 M\u0101striht\u0101, Vijkas (Wijck) rajon\u0101, nodibin\u0101ja keramikas ra\u017eotni. 1859. gad\u0101 uz\u0146\u0113mumu p\u0101r\u0146\u0113ma be\u013c\u0123u in\u017eenieris Gijoms Lambers un p\u0101rveidoja to par pilnsabiedr\u012bbu. \u010cetrus gadus v\u0113l\u0101k t\u0101 k\u013cuva par sabiedr\u012bbu ar ierobe\u017eotu atbild\u012bbu, kas visp\u0101rpaz\u012bstama k\u0101 “Soci\u00e9t\u00e9 C\u00e9ramique”. Direktora Viktora \u017don\u0113 (1863\u20131913), in\u017eeniera P.J. Lengersforfa (1902\u20131915) un Edgara Mi\u0161ela (1915\u20131954) vad\u012bb\u0101 Soci\u00e9t\u00e9 C\u00e9ramique uzplauka un k\u013cuva par galveno konkurentu Petrusa Regouta uz\u0146\u0113mumam, kas 1899. gad\u0101 tika p\u0101rd\u0113v\u0113ts par “Sphinx”. museum-digital:deutschland<\/span><\/span><\/a><\/span><\/p>\n

Soci\u00e9t\u00e9 C\u00e9ramique ra\u017eoja iztur\u012bgu un augstas kvalit\u0101tes m\u0101jsaimniec\u012bbas keramiku apvienojum\u0101 ar m\u0101ksliniecisku dizainu. Ap 1900. gadu Soci\u00e9t\u00e9 C\u00e9ramique izstr\u0101d\u0101jumi sac\u012bkstes ar Sphinx produkciju gan cenas, gan kvalit\u0101tes zi\u0146\u0101. 20. gadsimt\u0101 Soci\u00e9t\u00e9 C\u00e9ramique arvien vair\u0101k koncentr\u0113j\u0101s uz sanit\u0101ro ier\u012b\u010du ra\u017eo\u0161anu. 1958. gad\u0101, daudziem par p\u0101rsteigumu, uz\u0146\u0113mums apvienoj\u0101s ar savu M\u0101striht\u0101 b\u0101z\u0113to konkurentu Sphinx. Frey Antiques<\/span><\/span><\/a><\/span>museum-digital:deutschland<\/span><\/span><\/a><\/span><\/p>\n

St\u0101voklis<\/strong><\/p>\n

Kr\u016bka ir lab\u0101 visp\u0101r\u0113j\u0101 st\u0101vokl\u012b, \u0146emot v\u0113r\u0101 t\u0101s cien\u012bjamo vecumu. Redzamas vecuma paz\u012bmes: nelielas glaz\u016bras kr\u0101sas izmai\u0146as, s\u012bkas net\u012brumu p\u0113das apak\u0161\u0101 un nelieli plankumi uz virsmas. Tr\u016bkst skald\u0146u vai plaisu. Detaliz\u0113ts priek\u0161meta st\u0101voklis ir atspogu\u013cots pievienotaj\u0101s fotogr\u0101fij\u0101s.<\/p>\n

\n
\ud83c\uddec\ud83c\udde7 In English<\/h3>\n
Antique Ceramic Water Pitcher “Margot” \u2014 Soci\u00e9t\u00e9 C\u00e9ramique, Maastricht, Netherlands<\/strong><\/p>\n
Dimensions:<\/strong> Height 31 cm, Width ~22 cm<\/p>\n
A large and elegant ceramic water pitcher decorated in the classic blue-and-white floral style. The body has a generous baluster form with a wide, scalloped rim, an elegantly curved spout, and a scrolled handle. The surface is decorated using the transfer-printing technique with the “Margot” pattern \u2014 open chrysanthemums, buds, and trailing foliage rendered in soft blue on a white ground, giving the piece a light and airy character.<\/p>\n
Artistic Style and Period<\/strong><\/p>\n
The pitcher was made in the late Victorian style, typical of the late 19th to early 20th century (approximately 1880\u20131910). Prior to 1870, transfer decorations were executed in a single colour \u2014 black, blue, red, or violet \u2014 while multicoloured transfers dominated the period from 1870 through 1900. The monochromatic blue decoration on this piece points to a date of around 1870\u20131890. The naturalistic floral motifs on ironstone earthenware were a hallmark of both British and continental European domestic ceramics of the era. WorthPoint<\/span><\/span><\/a><\/span><\/p>\n
Maker’s Mark and Manufacturer History<\/strong><\/p>\n
The underside bears a printed blue mark featuring a prancing lion within a circular inscription reading “SOCI\u00c9T\u00c9 C\u00c9RAMIQUE \/ MAESTRICHT \/ MADE IN HOLLAND,” with the pattern name “MARGOT” printed above.<\/p>\n
The entrepreneurs Winand Nicolaas Clermont and Charles Chainaye founded a pottery in 1851 in the Maastricht neighbourhood of Wijck. Their company was taken over in 1859 by Belgian engineer Guillaume Lambert and transformed into a limited partnership. Four years later it became a limited liability company that became generally known as Soci\u00e9t\u00e9 C\u00e9ramique. Under the directorate of Victor Jaunez (1863\u20131913), engineer P.J. Lengersdorff (1902\u20131915), and Edgar Michel (1915\u20131954), Soci\u00e9t\u00e9 C\u00e9ramique flourished and became the main competitor of Petrus Regout’s firm, which was renamed Sphinx in 1899. museum-digital:deutschland<\/span><\/span><\/a><\/span><\/p>\n
Soci\u00e9t\u00e9 C\u00e9ramique produced sturdy and high-quality domestic ceramics combined with artistic design. Around 1900, the products of Soci\u00e9t\u00e9 C\u00e9ramique rivalled those of Sphinx in both price and quality. In the twentieth century, the company shifted its focus increasingly towards sanitary ware production, and in 1958 it unexpectedly merged with its Maastricht competitor Sphinx. Today, the former factory site in the C\u00e9ramique district of Maastricht is a cultural quarter, with the Centre C\u00e9ramique \u2014 a library and cultural centre \u2014 named in the company’s honour. Frey Antiques<\/span><\/span><\/a><\/span>museum-digital:deutschland<\/span><\/span><\/a><\/span><\/p>\n
Condition<\/strong><\/p>\n
The pitcher is in good overall condition considering its age. Signs of age are present, including minor discolouration of the glaze, small marks on the base, and light surface spotting. No chips or cracks are visible. The full condition of the piece is reflected in the accompanying photographs.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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