The Town, The People and The Pottery
Volume 23 Number 4
September 2021
September 2021
The western-most part of the continent of Europe, this is a 1683 map of Brittany. Quimper is located to the left of center, above a small island and noted with its name at that time...Quimper-Corentin.
Quimper...pronounced "kem-pair"...is a town in northwestern France. It is also a people and a pottery.
To the people of Quimper, the town name is Kemper, which in their language describes a confluence of rivers. ("Quimper" is a somewhat nonsensical rendition as not all the Breton dialects have a "Q" and a true French pronunciation would be different from the actual "kem-pair"). At any rate, "confluence of rivers" is an apt description, as the town is situated at the juncture of two rivers, the Odet and the Steir. Two other rivers, the Jet and the Frout, are close-by, but travel underground through the town limits. Historically, this close proximity to rivers meant an ideal place to establish a pottery factory and thus, Quimper has been a pottery town for centuries. Its "recent" history of continuous pottery production begins in 1708. (Previous accounts put the date as 1690, but history is not written in stone and recent findings have provided further information).
By the last decade of the nineteenth century, three pottery factories were operating in the town of Quimper. One was the Porquier factory, another was known as the Grande Maison or De la Hubaudière factory, and the third, owned by Jules Henriot, was called the Faïencerie d’Art Breton. Tin-glazed earthenware, known in France as faïence, was a popular product, especially pieces that were hand-painted with scenes depicting life in the region of Brittany.
The making of faïence is an art. Especially in the early days, prior to the introduction of more modern methods, when both the technical and artistic skills necessary to make a piece of faïence were quite daunting. Extremely difficult to master its making, I've been known to liken faïence to being the "puff pastry" of pottery production.
The use of an opaque tin glaze is one factor that distinguishes faïence from other types of pottery...pieces made by this process were known as faïence in France, Spain, Germany, and Austria; in the Netherlands, they were called Delft; in England, the term was Delftware; and in Renaissance Italy, such pieces were called maiolica...not to be confused with majolica, that's actually a trade name of the Minton pottery in England for a Victorian-era product made using substantially different glazes and production methods.
The tradition of Quimper faïence production continues today. But much like the comparison of a Model T with a current Ford Motor Company product, today’s Quimper is very different from vintage Quimper. In many fields of collecting there is a line of demarcation; for Quimper pottery that line is World War II. Modern techniques and machinery introduced in the days after World War II resulted in the creation of a different product. Vintage Quimper refers to pieces made prior to that time period; later production falls into the collectible genre.
Here at www.oldquimper.com, we specialize in vintage Quimper and invite you to come along as we further explore old Quimper...The Town, The People, and The Pottery. If you've just joined us, since 1999 we've been using these pages to extol upon the beauty and intrigue of vintage Quimper pottery and, at the same time, do some "traveling"...and, indeed, over the years, we have visited some of the most picturesque towns of Brittany...each one delightfully different.
Each month, this depiction of King Gradlon by Quimper-born artist Pierre Toulhoat (1923-2014) will herald in a new article about Quimper...The Town, The People and The Pottery.
For the past several issues of www.oldquimper.com, we've been presenting a series of articles designed to provide a primer on the history of Quimper...a sort of abridged and updated version of the story behind The Town, The People and The Pottery. We hope to educate collectors...correcting some long-standing and stubborn misinformation...so that fans of Quimper pottery will become more comfortable with the whys and wherefores of Quimper and what makes it so special. It's also a good lesson in remembering that history is not written in stone and that our knowledge of it can indeed change.
Reminder: in many instances, clicking on the photos will lead to a larger image and please take note that the names and dates given may be entirely different from what you hear or read from various sources. This is an updated and corrected history of Quimper pottery, designed to provide a clear illustration of how styles and techniques from Provence, Nevers and Rouen came together to create the enduring fascination that is Quimper pottery.
In case you just joined our on-going discussion of the history of Quimper pottery…we've made our way from the very beginning of "modern-day" Quimper pottery...Pierre Bousquet's founding of a factory in 1708...following his enterprise through the French Revolution, the beginnings of local competition in the marketplace and the inevitable effects of death and taxes. We focused first on the factory that started it all...what came to be popularly known as HB Quimper or La Grande Maison and then turned to those that followed...the Eloury/Porquier pottery, and then after that, another competing pottery...one that came to be known as Henriot.
Since we're reviewing the history of Quimper's potteries in chronological order based on the date of their opening, the next up was the Fouillen pottery with Keraluc, HB-Henriot, FAB and some independent studios slated among the subjects to follow.
In case you just joined our on-going discussion of the history of Quimper pottery…we've made our way from the very beginning of "modern-day" Quimper pottery...Pierre Bousquet's founding of a factory in 1708...following his enterprise through the French Revolution, the beginnings of local competition in the marketplace and the inevitable effects of death and taxes. We focused first on the factory that started it all...what came to be popularly known as HB Quimper or La Grande Maison and then turned to those that followed...the Eloury/Porquier pottery, and then after that, another competing pottery...one that came to be known as Henriot.
Since we're reviewing the history of Quimper's potteries in chronological order based on the date of their opening, the next up was the Fouillen pottery with Keraluc, HB-Henriot, FAB and some independent studios slated among the subjects to follow.
The faded sign on the exterior of the former Fouillen pottery.
We're in the midst of chronicling the history of the Fouillen pottery but, this being the September issue, regular readers know that this is when the task of presenting The Town, The People and The Pottery article is turned over to Jean-Pierre ( J-P ) our resident CFO or Chief Feline Officer. Here's his play-by-play:
I'm going to split this year's "What I Did on My Summer Vacation" report into two parts...the part here on this page will be more about places and exhibits that were visited and for my Memo from J-P page, I'll be revealing more personal happenings...like how my cousin from California came for a brief visit...he's fifteen and can be a bit incontinent at times...but I figure that just makes me look good. Oh, did I mention he's my canine cousin ? Also on that link, in addition to images taken during his visit, I'll reveal a lesson about the importance of being familiar with Quimper forms, plus Mom's experiences at the Expert Days at the Musée de la Faïence and some of the results of her knitting therapy...warning...it's therapy, so try not to laugh.
Summer 2021 was definitely different, but the folks did manage to get out and about and enjoy some of the things they usually do...like going to special exhibitions, eating lots of things they aren't supposed to eat and shopping at brocantes.
This year there weren't nearly as many brocantes or flea markets as usual, but since they always provide a good excuse to visit another part of the region, the folks always tried to partake when the opportunity presented itself. This one was held in the delightful village of Locronan.
The annual Festival de Cornouaille Quimper was not cancelled like it was last year, but it was three days shorter and featured less activities. The grand parade was not scheduled, but a few die-hard celebrants were observed from our windows...
...groups of young quimperoises danced beneath our geraniums...
...to the strains of a bagad or troop of young musicians...
...and Mom was excited...
...to hear the sound of the "pipes" of visiting Scots caterwauling down the street again.
But some things are eternal and with all its coastline...1,780 miles of it...a summer in Brittany is sure to include some beach visits...
...there was fun in the sun in Île-Tudy...
...and a more athletic adventure at Sainte-Anne-la-Palud...
The beach at Sainte-Anne-la-Palud has some very special historical significance...it was here that Jean-Marie Le Bris became the true aviation pioneer responsible for Man's first flight...this was in 1856, many years prior to the Wright Brother's Kitty Hawk experiment of December 1903. In addition, local lore credits this very location as being the site of the lost city of Ys...of King Gradlon, Saint Guénolé and Dahut fame...and the location of the nearby chapel has served as an important place of religious pilgrimage since 500 A.D.
The current chapel dates from 1858-1864 and is filled with many beautiful things that attract thousands of visitors each year...particularly during its annual pardon which has been held since antiquity on the last weekend of August.
This Quimper plate with a scene of the chapel at Sainte-Anne-la-Palud is by René Quéré for Keraluc and dates from 1960. Quéré passed away on the 16th of August, 2021; he was 89 years-old. Born and raised in Finistère, his was a family of fishermen and as a life-long native of Douarnenez, the colors of the sea, the coastline of Brittany and the activities related to seamen permeated his art. He joined the circle of Keraluc artists with the encouragement of two of his professors at Quimper's École des Beaux-Arts...Pierre Toulhoat and Jos Le Corre. This example of Quéré's ceramics is part of this year's special exhibition at the Musée de la Faïence along with those of Touhoat, Le Corre, Paul Yvin...whose work is signed"Yvain"...and Xavier Krebs.
The pardon at the chapel of Sainte-Anne-la-Palud is one of Brittany's largest and oldest pardon processions; some 85 to 90 sacred objects...crosses, banners and statues...are carried by and among some 600 faithful porteurs. Dressed in the traditional "Sunday Best" that had been worn in their specific parish, the porteurs participate in a centuries-old tour of the sand dunes, stopping at mid-point for the ceremonial blessing of the land and the sea.
A peek inside the chapel gives a hint of some of its splendor...
...unusual scenes in stained glass include this depiction of a traditionally-dressed Breton being greeted by Saint Mahouarn...
...one of the chapel's many statues shows Saint Yves between two town folk...the one on the left is rich, while the other is poor. Saint Yves works to protect the poor and as the originator of the idea behind Legal Aid, he is the patron to those involved in the legal profession.
Included among the chapel's display of ex-votos...offerings given after the making of a vow...are this faithfully-executed ship model and a Quimper pottery figure of Sainte-Anne and the Virgin Mary.
A mosaic of the Book of Genesis' tree of knowledge of good and evil...complete with the forbidden fruit...is given a Breton accent with a border of stylized ermine tails...
...and the mosaic over the altar clearly illustrates that this chapel is dedicated to Sainte-Anne...
Sainte Anne is the mother of the Virgin Mary and is often depicted teaching her daughter to read.
It's a theme that was used on one of the embroidered banners that plays a part in the pardon festivities...
...and on this statuary which...as the day of the annual pardon was approaching...had already been set upon its carrying pedestal.
Sainte Anne teaching the Virgin to read is a subject that has inspired many an artisan working with Quimper faïence...here are a few examples:
An Emile-Just Bachelet design for Henriot...
...this one is HB Quimper by Jean-Charles Le Bozec...
...a classic example from Henriot...
...a Pierre Touhoat design for the Keraluc pottery has Sainte Anne wearing a cape decorated with stylized ermine tails...
...and Bel Delcourt created this pièce unique at Quimper's HB pottery.
Since we're on the subject of Quimper saint figures...
...another summer adventure centered around a day spent in Sainte-Anne-d'Auray and a visit to a glorious exhibition of Quimper saints in the basilica's cloister gallery.
The exterior of the exhibit area beguiles visitors with this very special example......created in May of 1958 by Robert Micheau-Vernez for the Henriot pottery, it stands over 23 inches high and was originally projected to be a very popular item...
...but the Bishop of Quimper let it be known that he was not at all pleased with the imagery of the Virgin Mary in a Breton coiffe holding the Infant Jesus who is playing the biniou while dressed in the traditional costume of Cornouaille. As a result, Joseph Henriot halted production and only a very small number of examples were made.
Photographs were not allowed within the exhibit itself, but the following images that were used for publicity purposes and some that were previously taken by the folks will give you an idea of what a good time they had...
About 80 examples were on display...ranging from over 30 inches high to these very small examples...the smallest being less than 2 inches high. These are commonly called vierges de lit-clos...literally "saints of the closed beds"...as they were used to adorn the exterior of many a Breton bed. But, being pocket-size, they were also put to use when Bretons were on a pilgrimage.
The exhibit showcases some very, very old Quimper saints...
...these two incredible saints were signed by their painter...Louis La Rossa, who worked at Quimper's original, modern-day pottery...the one started by Pierre Bousquet in the Locmaria neighborhood in 1708. They illustrate the excellent quality that the pottery was able to produce in its earliest days. Both are almost 20 inches high and the one on the right has the distinction of being the oldest, dated piece of Quimper found so far....signed on the base and the bottom with the date 1733.
The exhibit related the long history of Quimper pottery and its evolution was colorfully presented through the display of saints...from 1733 on up to today. Modern pieces were celebrated with current examples created by Daniel Girault and...
...Patrice Cudennec.
The exhibition was superb and continues until the 7th of November if you have the opportunity. Located in the Morbihan department, the site is exceptional as well. In normal times, some 800,000 visitors come to the basilica. It has been a popular place of pilgrimage since the 17th century...more precisely, since a local plowman by the name of Yves Nicolazic ( 1591-1645 ) reported that Sainte-Anne had appeared to him and led him to uncover a statue that had been buried in a field.
The site itself is marvelous...the present basilica was constructed during 1866-1872 to replace the earlier structure erected on the same location...on what had been the field where Nicolazic made his discovery on March 7, 1625.
Additional views of the basilica...the exterior, the interior and the tomb of Nicolazic...
...stained glass and embroidered banners attest to the artistry of the decoration within the basilica...
...several of the pieces of ornamentation play an important part in the pardon processions...
...like this ornate statue of Sainte-Anne and the Virgin...
The base of the statue holds a piece of an earlier figure of Saint-Anne that was damaged in the turmoil of the French Revolution.
The basilica cloister with its covered arcade and immense bronze sculptures illustrating the stations of the cross.
The surrounding grounds are a haven of peace and calm...
...with statuary nestled in every corner...
Additional structures on the site include Scala Sancta...or Holy Stairs...
...what began as an earlier doorway was repurposed with stairs on which the faithful ascend on their knees...
...and a moving war memorial...
...citizens from throughout Brittany raised the money to erect this memorial honoring the over 250,000 Breton soldiers and sailors who perished in World War I...1914 to 1918.
Sculptured plaques on the exterior honor the participants and their families.
The interior of the structure features a representation of each of Brittany's five dioceses...
I'll wrap up this part of my report with a note about the results of the summer specialty auction of Quimper pottery...as usual, there were some spectacular examples up for grabs. The folks watched from the sidelines as record prices precluded their participation...
This figure...entitled Vierge Noire au lampé Bamako...was crafted by Gaston Broquet as part of Henriot's presentation for the 1931 Colonial Exhibition. With an auction estimate of 700 to 800 euros, it quickly sailed past that and was sold for the equivalent of over $5000.
And a Louis Garin HB Quimper Odetta vase...
...estimated at a healthy 6000 to 9000 euros, the vase went for an even healthier amount...with buyer's premium and converting into US dollars, it sold for over $23,000.
That's my official report of our summer adventures for this year...you'll find my comments about some "unofficial" happenings in this issue's Memo from J-P page.
That's it for this issue...our exploration of Brittany...its towns, its people and its pottery...will continue in our next webisode. We publish a new issue on or about the first of each month. If you would like an email reminder when a new issue comes out, please contact us at oldquimper@yahoo.com. ...and be sure to check your computer settings...because sometimes unless you change them, we end up in your SPAM folder !