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French, 18th – 19th century, male.

Active in Bohemia.

Died 1819.

Sculptor, potter, glassmaker.

Barthélemy Desprez started as a modeller at the Sèvres porcelain works. He founded and then ran the Nový Svet glassworks in Bohemia. Drawing his inspiration from ancient coins and medals, he produced a large number of ceramic cameos embedded in crystal, known in glassmaking as sulphides....

Article

Damie Stillman

Architectural and decorative arts style that flourished in the USA from shortly after the acknowledgement of independence in the Treaty of Paris (1783) until c. 1820. The term is derived from the period surrounding the creation of the federal constitution in 1787 and was in use in a political sense by that year. Essentially it was a form of Neo-classicism, strongly influenced by manifestations of that style in England and, to a lesser extent, in France; but at times certain more conservative qualities inherited from the previous Colonial period are also present. The inspiration of European, and especially English, Neo-classical architecture was to be expected in a society grounded in that of 18th-century England; but an added impetus was the association often cited at the time between the fledgling American republic and the ancient Roman one.

Although a few indications of European Neo-classical influence are found in the American colonies before the Revolution began in ...

Article

German, 18th – 19th century, male.

Born 1769, in Nuremberg; died 18 January 1847, in Munich.

Painter (including porcelain), glass painter.

Michael Frank worked for the Bavarian court and the Prince of Wallenstein. His works include the stained glass windows of Ratisbonne Cathedral.

Article

Term used for a manifestation of the Neo-classical style initiated in the decorative arts of France during the Second Empire (1852–71) of Napoleon III and his wife, the Empress Eugénie. Based on the standard repertory of Greco-Roman ornament, it combined elements from the Adam, Louis XVI and Egyptian styles with a range of motifs inspired by discoveries at Pompeii, where excavations had begun in 1848; it can be identified by the frequent use of Classical heads and figures, masks, winged griffins, sea-serpents, urns, medallions, arabesques, lotus buds and borders of anthemion, guilloche and Greek fret pattern. Néo-Grec was eclectic, abstracted, polychromatic and sometimes bizarre; it enjoyed popularity as one of the many revival styles of the second half of the 19th century.

In Paris, the Néo-Grec style was best exemplified in the famous ‘Maison Pompéienne’ (1856–8; destr. 1891) designed for Prince Napoléon Bonaparte (see...

Article

Bruce Tattersall

German ceramics and glass manufacturers. In 1748 François Boch (1695–1754) founded a small factory for the production of faience fine (a lead-glazed earthenware) at Audun-le-Tiche in the Meurthe-et-Moselle region of France, near Luxembourg. In 1766 a second factory was opened at Septfontaines in Luxembourg, and more diversified wares were produced. In the early 19th century Boch’s son Jean-François Boch (1735–1817) visited England to study ceramic techniques, which led to the introduction of transfer-printing at the factory. In 1809 Boch founded a factory for the production of creamware at the monastery of Mettlach. In 1787 another earthenware factory had been started at Vaudrevanges-Wallerfangen, Luxembourg, by Nicolas Villeroy (1759–1843). Under the direction of the Englishman John Leigh this also produced faience fine decorated with enamelled and transfer-printed flowers and views. Pierced wares and Neo-classical vases, influenced by wares from the Leeds factory, were also made. In ...