The term barbotine is a French word defined as any earthenware produced through a clay slip casting method. In that regard almost all majolica hollowware can be described as barbotine. In fact, that is the term most commonly used in some countries to describe all majolica. Within the specialized English speaking world of Victorian majolica parlance however, barbotine has taken on a different meaning. This can be confusing to those outside of the niche world of majolica collecting.
Let me say this then: when I refer to barbotine majolica in this blog I am referring to the practice of adding applied decoration or “sprigs” to a slip cast body. Barbotine work of this type was particularly popular between the years 1870 and 1920 in France which is probably why this French term for majolica has been settled on to describe this specialized form of majolica production. This type of decoration is an off-chute of the molded slip cast majolica that is featured in most of this blog.
Of the English manufacturers, Minton and George Jones made pieces that could loosely fit that description of barbotine. Manufacturer Thomas Forester was particularly prolific in the production of this type of ware. Forester developed a mechanized method for producing the decoration to be added to the slip casted body and it is this kind of application that we generally refer to as barbotine. The floral decoration was then attached by hand by joiners—workers who specialized in this process.
In England, Samuel Lear, Fielding, Wardle, the Salopian pottery and others all produced barbotine type wares, often in conjunction with a style that has come to be known as sand majolica like the Forester piece above.
This technique we now call sand majolica had different brand names at different companies. The term sand majolica is actually a misnomer because there is no sand involved in the process. What gives it that name is that the surface has a sand-like texture. What has been interpreted as sand is actually tiny ground pieces of dried clay that have been attached to the body after preliminary firing of the greenware. When combined with shiny lead glazes it adds additional contrast to the piece which makes any added decoration stand out. This process was used throughout Europe and not just England.
The majority of barbotine type wares we see today however come from France and the rest of continental Europe. All the major majolica manufacturers in France and many of those in continental Europe made sprigged barbotine wares.
What distinguishes some barbotine from generic majolica aside from the sprigs, is the extensive use of both lead and non-lead based enamel decoration in place of all lead based majolica glazes. This is more common in smaller potteries. The lead fluxes used in these barbotine wares give the glazes a shiny, iridescent quality not available otherwise. Non-lead glazed matte enamels are usually used in combination with these to add contrast. Many also incorporate slip painting into their designs, In the barbotine aesthetic, more is MORE!
Unfortunately much of this type of barbotine continental work produced in smaller potteries is unmarked and unattributable but there were a few manufacturers who did mark their pieces. Édouard Gilles was such a potter.
Édouard Gilles was a French artist who specialized in producing barbotine wares between 1868-1895. His strong use of enamels bridged the gap between the classic definition of majolica as produced in England and the barbotine wares of continental Europe.
Another important ceramicist who made sprigged barbotine ware was Théodore Lefront who worked at Fontainebleau. Lefront opened his workshop in 1860 growing to employ a workforce of 40 at the peak of his production. He worked in a large range of bodies but it is his earthenware for which he is remembered.
Other barbotine manufacturers near Fontainebleau include those located in Montigny-sur-Loing which was a major center for barbotine manufacture.
The Faience Manufacturing Company in the United States also made barbotine ware through the use of enamel hand panting like that made in continental Europe. Pieces are marked FMC.
Ceramicist Thomas Wheatley, who marketed his work as art pottery, also made barbotine pottery in the U.S. out of his studio, T.J. Wheatley & Company. in Cincinnati, Ohio in the 1880s,
Buying and Condition
When buying barbotine type majolica condition is EVERYTHING! This type of pottery is easily damaged because of the softness of the earthenware body and the delicacy of the applied decoration. You need to examine pieces carefully before purchase.
Repair can be expensive so you need to be conscious of any damage that is on the piece before buying. Damaged pieces should be priced accordingly, Fortunately, the extensive decoration on many pieces hide damage well so even a damaged piece can display beautifully.
Market
