The Majolica of Royal Dux

Royal Dux majolica duck grouping

Established in 1853 in Dux, Bohemia as Duxer Porzellanmanufaktur, the company initially specialized in the production of simple sanitary and utility ware. In 1860 the pottery came under the control of experienced designer Eduard Eichler who named the pottery after himself, E. Eichler Thonwaren-Fabrik, and purchased anther pottery in Šelty in Česká Lipé to expand the pottery line. The new line included terracotta, porcelain, earthenware and decorative majolica. 

The company prospered under Eichler’s ownership until Eichler’s death in 1878. It then came under the direction of Eichler’s widow who took over leadership of the pottery from her husband. She ran it alone until 1890 when her son-in-law Wilhelm Hans joined the company and supplied a much needed infusion of capital. Under his direction the company continued to flourish and entered it’s most successful period. 

In 1897 the company became a joint stock company and changed its name to Dux Porzellenmanufter A.C. Further expansion in 1900 was through the purchase of a porcelain factory in Blankenheim, Germany. Corporate headquarters were moved to Berlin and the pottery took the name Royal Dux. 

Royal Dux majolica leaf

Royal Dux majolica leaf plate

Royal Dux majolica peacock vase

Royal Dux majolica flamingo pitcher

Royal Dux majolica crane pedestal

Royal Dux majolica rooster

Royal Dux majolica female bust

Royal Dux majolica 17th century figure 

Royal Dux majolica conch vase

Royal Dux majolica cane stand/floor vase

Royal Dux majolica cane stand/floorvase

Royal Dux majolica umbrella/cane stand

Royal Dux majolica heron cane stand/vase

Royal Dux majolica crane cane stand/vase

Designer Alois Hampel is certainly the most well known of the sculptors who worked for Royal Dux during this time. A native of Duchcov, he worked at the factory for 55 years, beginning with an apprenticeship at the age of 14. As chief modeler, he is responsible for much of the successful figural work created at the pottery in the first quarter of the Twentieth century. Under his hand many of the most elegant Art Nouveau figures produced by Royal Dux came to fruition for which the company won much acclaim. This success expanded their export market throughout Europe.

Alois Johann Hampel 1853-1924

Royal Dux majolica flamingo cane stand/vase 

attributed to Alois Hampel

Royal Dux majolica flamingo cane stand/vase 

attributed to Alois Hampel

Royal Dux majolica flamingo pedestal and jardiniere 

attributed to Alois Hampel

Majolica figure attributed to Alois Hampel

Royal Dux porcelain figure by Alois Hampel c.1918

Art Nouveau porcelain figure attributed to Alois Hampel

With the decline in popularity of majolica after 1920, Royal Dux’s focus turned to other bodies, mainly porcelain. A succession of owners continued production through the Twentieth century. After WWI and the resulting depression the company headquarters returned to Bohemia, where economic realities caused quality to suffer. Production during WWII declined. 

After WWII, Bohemia, Slovakia and Moravia combined to create Czechoslovakia and in 1947 Royal Dux was nationalized. Eichwald Pottery, Royal Dux and Count Thun’s Porcelain Factory were combined and the resulting company was renamed Duchcovsky Porcelain, a name it retained through the Russian occupation. 

In 1957 the company merged with Carlsbad Porcelain. The company factory in Duchcov was taken under stock ownership again in 1992 and changed its name to Porcelánová Manufactory Royal Dux Bohemia A.S. The company is now part of Česky Porcelán.

Early 20th century Royal Dux Egyptian tazza 

Modern Royal Dux porcelain polar bear

The Royal Dux Bohemia trademark name has remained in continuous use throughout the Twentieth century to present day. Today, Royal Dux mainly produces porcelain, sometimes utilizing prewar molds. 

Royal Dux pottery is usually marked. Their most distinctive mark is the pink triangle which started in use c.1860. The mark continued in use through the Twentieth century, both as an applied pad and as an ink mark, joined in 1919 by the phrase Made in Czechoslovakia. This remained in use until the company was taken private in 1990 and the mark changed to Made in the Czech Republic. The mark often included a stylized acorn. A plain text mark has also been used.

Royal Dux mark c. 1918. The E is for founder Eichler

Happy Thanksgiving from Glazed & Confused!

French Majolica Cemetery Decoration

Now and then I’ll come across lovely bouquets of majolica flowers for sale at auction. These floral decorations are often seen decorating the tables and mantels of collectors and well other appointed homes. It occurred to me that more often than not the owners aren’t aware of the history behind these beautiful decorations. 

I was inspired to write this post because the French tradition of decorating graves with these majolica flowers is basically unknown outside of France, Brussels and Switzerland. It’s a lovely tradition. Creating ceramic flowers that will never die assures these cemeteries will be filled with color and joy year round.

The French potteries Choisy-le-Roi and Sarreguemines were both among the producers of these grave decorations in the late Nineteenth century and early Twentieth century. At the Sarreguemines museum there are several examples of their grave decor.

20th century Sarreguemines mark on the back of grave flower

19th century Sarreguemines mark on the reverse of a grave wreath. 

The catalog number dates it between 1882-1889

While this tradition began at the end of the Nineteenth century, they continued in production through the Twentieth century. In fact they are still in production today by current companies like the one founded by Henri Mahieu in Northern France in the early 1900s. No longer technically Victorian majolica, they are still quite beautiful. Many of these are simply signed Made In France.

Happy Hooligan Majolica

The Happy Hooligan comics were an immensely popular comic series in the first three decades of the Twentieth century. Created by cartoonist Frederick Burr Opper, it debuted in 1900. Opper was a political cartoonist and illustrator who created the strip while working at the Hearst Newspaper chain. It gained international popularity running until 1932 when Opper’s eyesight began to fail, leading to his retirement.

The Happy Hooligan comic strip followed the exploits of the Hooligan brothers, three poor, affable hobos with an aversion to work whose adventures made up the premise for the comic strip. The family consisted of the three brothers, Happy Hooligan, Gloomy Gus and Montmorency. Rounding out the cast of characters were Happy’s girlfriend Suzanne, Happy’s dog Flip, the brother's three wisecracking nephews, and an ever present policeman. 

Frederick Burr Opper

Its great popularity led to a marketing boom for Hearst Newspapers with the creation of three live action short films and an estimated 50 cartoon features. There were also theatrical productions, books, dolls, toys, games, ceramics and associated ephemera.

Happy Hooligan comic strip (1914)

Happy Hooligan’s nephews with Happy, Gloomy Gus 

and the always present policeman.

Happy Hooligan game

Happy Hooligan Steiff doll

Happy Hooligan wind-up toy

German Happy Hooligan Christmas ornament

Happy Hooligan roly-poly toy

Ad for Happy Hooligan cartoon movie

Happy Hooligan sheet music

Happy Hooligan theatrical poster

Happy Hooligan Valentine postcard

Happy Hooligan holiday postcard

Happy Hooligan, the character, was resurrected briefly in the early 1960s as a recurring visitor in Sam’s Strip, a comic strip that featured characters from other comic series’. 

Happy Hooligan in Sam's Strip

All three Hooligan brothers made their way into majolica figures made by Continental majolica potteries with an occasional appearance by Flip, the dog.

Continental Happy Hooligan majolica humidor

Continental Happy Hooligan majolica bottle

Happy Hooligan majolica smoking stand

Continental Happy Hooligan majolica vase

Continental Happy Hooligan majolica candlestick

Continental majolica Happy Hooligan vase

Continental Happy Hooligan majolica planter

Continental Happy Hooligan majolica bottle

Majolica Gloomy Gus bottle

Continental Gloomy Gus majolica match striker

Continental Gloomy Gus majolica smoking stand

Continental Montmorency majolica bud vase

Continental majolica Montmorency dish

Majolica Montmorency bottle

Majolica Montorency smoker's stand

Montmorenccy majolica bottle

Continental Montmorecy majolica candlestick

Continental majolica Montmorecy match striker 

with Flip match holder

Montmorency, Happy Hooligan and Flip majolica humidor

In spite of Opper’s health issues, it seems less than a coincidence that the strip ended in the darkest days of the Great Depression. The humor in the brother's poverty would have not been amusing to a Depression era audience going though much of the same hardship. Mocking these characters’ situation as well as the numerous racist stereotypes that often appeared in the comics would not be considered politically correct today but this strip was created for a a different time with different values and offers a window into the humor of the early Twentieth century.