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Quimper pottery, a piece has to
have been made within the town of Quimper).
Markings found on pieces from
this factory, ultimately known variously as Manufactures de Faïences,
Poteries et Grès Jules Henriot-Tanquerey, Manufacture de Faïencerie d'Art
Breton Jules Henriot, and Faïencerie d'Art Breton Jules Henriot et
fils...but generally known as Henriot:
Notes:
The factory first began
producing faïence in 1891 and used the conjoined initials of the owner and
his wife..."H" for Henriot and "R" for Riou. In this case the mark was
written in green...
...and in this one, in
manganese. There does not seem to be any significance to the use of the
different colors.
Without the underline underneath
the HR, this cannot be said to be the official mark of Camille Moreau,
although a handwriting expert might be tempted to point out the strong
similarities to those pieces that do have the underline. The proof would
lie in the décor. With all the competition from outside factories, the
faïenceries in Quimper began to consistantly add the word "Quimper" around
1895.
Beginning around 1900, numbers
were used to identify the specific painter-decorator responsible for the
painting of the piece.
In 1922, a complaint was filed
citing the similarities between the HB mark and the HR mark; Henriot lost
and from then on used his full name...although in some cases, the "R" was
emphasized.
Marks could be within the decoration, on the reverse, or both.
This mark indicates a piece intended for export made after 1922...while the mark was utilized
until 1968, the pink-hued clay indicates a piece made circa 1925.
This is the "f" and "d" mark for
the Henriot-based production of Les Faïenceries de Quimper; a piece with
this mark dates from 1968 to 1983. The Henriot portion of the mark is a
printed stamp and includes entièrement décoré à main in a half
circle...the hand-painted portion gives the form as number 5, the décor as
number 203, and the identifying initials of the painter as BG.
Backtracking to circa 1920, this is the mark used by the Henriot factory
for pieces they produced that incorporated the designs and molds purchased
from the holdings of the former Porquier factory. It is distinguished from
the original Porquier mark by the inclusion of the number used to identify
the painter of the piece. The numbering system was not used at Porquier.
Note that in many cases the differences in the glaze colors between a
Porquier piece and a later Henriot example is readily
apparent...particularly the use of the color orange...an indication of the
difference in the color preferences of the customer between the last
quarter of the nineteenth century and the period between World War I and
World War II.
Continue to Next Page...Porquier, Fouillen,
Keraluc, and other Quimper Factory Marks
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