The 1884 New Orleans Cotton Exposition

Anyone familiar with American majolica is aware of the Catalogue of Majolica printed in 1884 for the Etruscan Works display at the New Orleans World’s Industrial and Cotton Centennial Exposition. But what is the story behind the Exposition and why did the Griffen brothers and David Smith choose to enter their work in this place so far from the Phoenix Pottery? 

The answer to the latter part of that question is quite simple. The new company was anxious to increase awareness of their products and saw the effects promotion had at the 1876 Philadelphia Centennial. It was through this catalog that Griffen, Smith & Company found the national distribution that made the company's name, and for a brief while, its fortune. Here is the story behind the Exhibition itself.

Guide to the New Orleans Exhibition

Main building of Horticultural Hall at the New Orleans Exhibition

Horticultural Hall and the Mexican Mining buildings at the 

New Orleans Exhibition

Major Edward A. Burke

In 1881 an exhibition was planned to commemorate the 100th anniversary of the cotton export trade from the United States which started in 1784. Originally just an agricultural cotton exhibition, by 1883 the display evolved into a full international world’s fair exhibition. Planned by owner of the New Orleans Times Democrat Newspaper, and former state treasurer Edward A. Burke, the site of a former plantation as well as surrounding undeveloped land was chosen for the fair. With a budget of $2,700,000 allocated by congress, the state of Louisiana, investors and local governments, buildings were constructed to hold displays from 44 participating states and territories as well as several foreign countries. An opening date of November 1884 was set but construction delays forced the opening to December. At opening only part of the exhibits had been completed.

Opening day ceremonies in the music hall at the New Orleans World’s 

Industrial and Cotton Centennial Exposition

The unofficial opening on December 1 was followed by an official opening on December 16 initiated by President Chester A. Arthur by telegraph from the White House who pressed a button to begin the machinery at the fair.

WASHINGTON, D. C., December 16th, 1884.–“In the name of the people of the republic I congratulate the citizens of the Southwest on their advancing prosperity , as manifested by the great International Exposition now about to open. …With my best wishes for the fulfillment of all its great purposes, I now declare that the World's Industrial and Cotton Centennial Exposition is open.” —C. A. ARTHUR.

President Chester A. Arthur

From the beginning the Exposition was plagued with problems: construction delays and overruns; corruption; poor attendance and bad weather.

The Liberty Bell traveled on a specially built railroad car to the N.O. Exhibition 

Pennsylvania sent the Liberty Bell as a good will gesture to help aid in the healing of the North and South after the Civil War. For the first time ever in the South a special exhibition was created called "The Colored People's Department" showing the contributions of African Americans to American science and culture. In addition there was a special Women's Exhibition. Modern advances in technology, education, art and livestock all touted the most up to date inventions available.

African American contributions to American culture were featured

 in "The Colored People's Department."

Native American display

General view in Horticultural Hall

Nebraska state exhibition

Nebraska’s Corn is King!

Alabama exhibit

Henry Worthington's Cascade machine display

The Japanese Court display

Mexican Mining Pavillion. After the fair the pavillion 

was moved to Mexico City where it stands today

Official guides, maps and souvenirs were sold at the fair as well as a catalog with a complete description of every display shown and every speech given.

Black collectible match holder from the 1884 Exhibition 

From an official description of the fair:

“No pen can describe the grand scene within the mighty [main] building. Each State and Territory had brought hither that which was beautiful and attractive in grains, grasses, minerals , and the work of the school, the factory and the farm. Looking down the broad aisles, or across the vistas of space, it was one continuous display of natural resources adorned by the skillful hands of decorators and made imposing by many grand center- pieces , while grain and grasses were woven into mighty pyramids or beautiful statues. Pagodas innumerable and tasteful in design, monuments of solid rock, huge piles of phosphates and ore and signs in almost countless number met the eye no matter whither turned. The great State banners denoted where each commonwealth was to be found, and were models of beauty in themselves .”

The Pennsylvania display which included the Liberty Bell as well as the three piece garniture set designed by Griffen, Smith & Company also included mining and agricultural products from the state.

Griffen Smith & Co. garniture set shown at the N.O. Exhibition 

which won a gold medal for the company.

The original closing date of May 31, 1885 fell on a Sunday, forcing the closing of the Exposition to Monday, June 1, 1885. To try and recoup losses several months later, the fair reopened under new management under the name of the North, South and Central American Exposition. New exhibits were brought in to boost attendance but it was all to no avail. After four months the new Exposition closed in April 1886.

The fair closed with a financial loss of $470,000 to investors. The main building, Horticultural Hall, which was retained as the only permanent structure from the fair, began to deteriorate as early as the 1890s and was eventually destroyed by a hurricane in 1915. Today, the site of the fair now renamed Audubon Park shows few signs of the grand exposition that was held there 140 years ago. It wouldn't be until 1984 that another World’s Fair would be held in the city. Unfortunately that one too ended in bankruptcy for the backers.

If you would like more information on the 1884 New Orleans Exhibition a comprehensive book is available for purchase by author Kenneth R. Speth in both softcover and eBook format.

Majolica in the Media: Antiques Roadshow UK

I love watching old episodes of Antiques Roadshow UK. As I have written before, I far prefer the UK version of Antiques Roadshow to the one made in the US mainly because the quality of antiques are of a higher caliber, and older than those shown in America. They also give more realistic evaluations, not pumping the value up for sensationalism the way the US version does.

As I was watching a show recorded at Barrington Court on May 17, 2015 (S37 E22), I was delighted to see a rare piece of Copeland majolica pop up. 

A woman brought in a piece of majolica she and her husband had purchased in 1973 on an installment plan. It cost them £39 10s.

The appraiser, Fergus Gambon, who is currently the director of British Ceramics and Glass at Bonhams UK (and the son of the late actor Sir Michael Gambon), found it unusual having never seen it before among the many pieces of majolica previously brought in for appraisals. He identified it as a piece of Copeland, a company he described in a dismissive manner the way only the British can, as a "second division" majolica manufacturer. (I will say, that the snobbery common on the UK version of Antiques Roadshow is the thing I like least about the program.)

Fergus Gambon

The owner had done some research and though she originally thought it was made for plover eggs she knew she was on the wrong track when she saw that plovers do not have a crest but another bird popular at the time did. It was a piece specifically made for holding lapwing eggs, which apparently were fashionable for Easter with Queen Victoria who liked hers served in aspic. She also mentioned that there were recipes for them in Mrs. Beeton's Book of Household Management, where they are described thus: 

"Those [eggs] of land birds that are eaten, as the plover, lapwing, ruff, etc., are in general much esteemed."

But getting back to the appraisal...

Copeland majolica lapwing egg server

He pointed out the unusual mark on the base that included "copyright reserved" in addition to the impressed Copeland mark. He did not show the date code.

I will say that in spite of Copeland being “second division” he still liked it and gave it a value of £500-£600 in 2015 even with its repaired beak.

Of course, now lapwings are critically endangered probably due to all this lapwing egg gathering during the reign of Victoria so chicken or quail eggs would make a good substitute if you choose to use your lapwing egg holder next Easter.

Honestly, the things you can learn on Antiques Roadshow!

Ceramics that are Confused for Majolica but Aren’t Majolica

There is quite a bit of ignorance about the definition of Victorian majolica. This is actually quite natural. No one can know everything and a specialized collecting area like Victorian majolica is bound to confuse people. This post is an attempt to clarify some of these misconceptions to those who may be new to this particular collecting area. 

Mexican dripwire duck pitcher

For the purpose of this blog the term majolica is used to describe the lead-glazed pottery invented in England by Minton in 1851 and continued throughout Western Europe and the United States until roughly around 1920. It continued in Central Europe until the onset of WW2. Three examples of Victorian majolica can be seen directly below.

Forester majolica cockatoo basket

Adams & Bromley majolica cornbread tray

Massier majolica iris jardiniere

To make it simpler, let me just say upfront that any pottery marked “Italy,” "Japan,” “China” or “Mexico” is not Victorian majolica as none of these countries ever produced lead-glazed majolica pottery. Let me elaborate.

The pottery most commonly confused for majolica is maiolica. I have discussed the differences between maiolica and majolica before, as well as described how this confusion began. It’s really the fault of the inventor of Victorian majolica, Léon Arnoux and his employer Minton. The two forms were confused from the beginning and the confusion has persisted ever since. Although the two illustrations below are from 16th century Italy, this highly detailed, hand decorated tin-glazed pottery is still in production today throughout the world. The most obvious difference is that majolica has lead-based glazes whereas maiolica has tin-based glazes. Delft nor faïence are considered majolica either because they too have tin based glazes. For clarification on Deft please refer to my post on faïence below.

Castelli maiolica vase c.1530

Gubbio maiolica marriage dish c.1535

A type of pottery often confused for majolica and commonly found in the U.S. is Mexican Dripware. This is a specific product made in Oaxaca, Mexico for the tourist trade. It has a folksy, primitive look and can be attractive in a large grouping but it is not majolica.

Mexican dripware coffee pot

Mexican dripware swan pitcher

Mexican dripware jardiniere

Mexican dripware pitcher

The Japanese created an inexpensive pottery for export similar in look to majolica during the 20th century. These pieces are marked "Japan," "Occupied Japan" or "Made in Japan."

Hotta Yu Shoten Japanese basketweave lidded pitcher

Japanese biscuit jar

Japanese Banko shell teapot

Japanese export vase

Another pottery that is confused for majolica is faïence as mentioned at the top. Most commonly referred to as “quimper” in the United States it originated near Quimper Brittany, France by potter Jean-Baptiste Bousquet in the late 17th century but continues production to this day. The term, however, has become a generic one describing any tin-glazed pottery with a similar type of decoration. To add a bit of confusion though, the term faïence is sometimes erroneously used to describe any form of colorful pottery made in France. More confusing yet, the decoration technique is sometimes used by the same manufacturers who made majolica. Quimper has a naïve hand panted Breton folk art decoration that speaks for itself. Delft ware is a type of faïence with a different decoration inspiration originating in Northern Europe.

Quimper faïence platter

St. Clément faïence plate

Angoulême faïence wall vase

In the United States the Chesapeake Pottery of Baltimore used the term faïence to describe some of their lead-glazed majolica. This was probably done for marketing purposes. Imported ware was considered more desirable by American consumers, hence a piece with a European sounding name may sell better. 

Nothing is ever cut and dry in the antique pottery world!

Mark for the Chesapeake Pottery's Haynes Avalon Faience majolica line

Chesapeake Pottery advertising 

It should go without saying that the ceramic reproductions made today that imitate majolica such as these frog pieces from Southern Asia are not majolica but should be considered majolica-style pottery. Victorian majolica was never made in Asia. A search through this blog on reproductions can be helpful to the novice in identifying these.

Navigating pottery attribution can be a hazardous one even for professionals as I have written on this blog but with a little experience anyone can master it... or at least come close!