French Porcelain

Founded in 1773 by Jean-Baptiste Locre, Porcelaine de Paris was one of the first manufacturers to use the Chinese secret of porcelain.

It immediately aimed for the luxury trade, selling to the Royal Courts of Europe. But even then, a part of its production was utilitarian: such as wine coolers, fruit baskets, vases etc.

developing soft-paste porcelain, but Meissen porcelain was the first to make true hard-paste, around 1710, and the French took over 50 years to catch up with Meissen and the other German factories.

But by the 1760s, kaolin had been discovered near Limoges, and the relocated, royal-owned Sèvres factory took the lead in European porcelain design as rococo turned into what is broadly known as the Louis XVI style

French porcelain has a history spanning a period from the 17th century to the present. The French were heavily involved in the early European efforts to discover the secrets of making the hard-paste porcelain known from Chinese and Japanese exports. They succeeded in

and then the Empire style. French styles were soon being limitated in porcelain in Germany, England, and as far afield as Russia. They were also imitated in the cheaper French faience and in other materials elsewhere. This dominance lasted until at least 1830.

Before the French Revolution in 1789, French production was complicated by various royal patents and monopolies, restricting the production of various types of wares. This could sometimes be circumvented by obtaining the ‘protection’ of a member of the royal family or senior courtier; this might or might not involve ownership by them.

Throughout the 18th and 19th centuries, France had a vigorous faience industry, making high-quality, tin-glazed earthenware that remained in touch with artistic fashion. At least before 1800, this catered to the lower end of the market very successfully, so that porcelain factories concentrated on the top end, in France and elsewhere. Compared to other European countries, French manufacturers have generally concentrated on tableware and decorative vessels rather than figures, with Mennecy-Villeroy porcelain being something of an exception.

Where figures and groups were produced, these were most often in the French invention of unglazed biscuit porcelain.

Donna