48https://emuseum.gardinermuseum.com/internal/media/dispatcher/12525/fullCharger with Exotic Landscapeca.1750[Madeleine Héraud, Louis Leroy]Tin-glazed earthenware (grand feu faïence)Warriors, pineapples and coconut trees… This charger featuring an exotic landscape evokes images of distant lands which most Europeans only encountered through the travel narratives that circulated since the Renaissance, providing perhaps an imaginary conception of the Caribbean islands where France had colonies. The Manufacture of Madeleine Héraud and Louis Leroy was, along with the Veuve Perrin, the most important and prosperous faience enterprise in Marseille.European Ceramicshttps://emuseum.gardinermuseum.com/objects/5082/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/12525/fullEwer and Basin with Chinoiserie1750-1800[Manufacture de la Veuve Perrin]Tin-glazed earthenware, petit feu enamelsEwers and basins were essential components of the morning ritual of the toilette, used for washing the face and hands, the basin serving as a portable sink. They were also used for washing hands after eating in bedchambers or private apartments. Made fashionable by its chinoiserie ornament, this faience ewer and basin would have provided a less expensive alternative to examples made of porcelain or silver.European Ceramicshttps://emuseum.gardinermuseum.com/objects/5083/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/12525/fullDish with the story of Elijahlate 1600s - early 1700sTin-glazed earthenware (faience)Painters often worked from printed sources; however through the process of visual translation, the original meaning of a scene is sometimes lost on contemporary viewers. This is the case with this charger which probably illustrates an event from the early life of Christ. The scene is rendered in a style inspired by the maiolica produced by Ligurian potters – who were in turn copying Chinese export porcelain – in which the forms are first outlined in dark blue and painted with loose brushstrokes in various shades of blue. The animals amid flowers decorating the rim are drawn from Persian ceramics.European Ceramicshttps://emuseum.gardinermuseum.com/objects/5084/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/12525/fullInkstand and desk tidy with chinoiserielate 1600sTin glaze earthenware (faience), blue and manganese decorationThe inkstand and desk tidy is decorated with quills, instruments to sharpen them, coins, as well as a coat of arms, thus reflecting the use of the object as well as the identity of its owner. The inscription “JC” which appears twice inside the round containers are probably the owner’s initials. On the back, the chinoiserie scene of a scholar meditating on a rock while gazing at the moon – a common motif of Chinese art – reflects intellectual pursuit. Used everyday, such objects have rarely survived.European Ceramicshttps://emuseum.gardinermuseum.com/objects/5085/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/12525/fullCharger with Scholars in Conversationearly 18th CenturyTin-glazed earthenware (grand feu faience)Decorated with a group of scholars in conversation in a garden, the charger shows the impact of the porcelain produced during the reign of the emperor Kangxi from the Qing Dynasty as exemplified by the jar. Monochrome blue decoration enriched with manganese pigments is one of Nevers’ stylistic innovations of the 17th century.European Ceramicshttps://emuseum.gardinermuseum.com/objects/5086/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/12525/fullCircular with Figures in a Landscapelate 17th CenturyTin-glazed earthenware (grand feu faience)Circular charger in the manner of Savona and Deruta. 2nd half of 17th century. Two figures and birds in the centre, building and figures on the rim, rim underlined in blue and manganese.European Ceramicshttps://emuseum.gardinermuseum.com/objects/5087/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/12525/fullPair of Ornamental Vasesin the style of 17th century Nevers, possibly later productionTin-glazed earthenware (grand feu faience)Nevers first produced objects intended for display, such as this pair of monumental vases, before turning to utilitarian objects. The rope handles and the decoration combining blue and manganese (a purplish brown) are characteristic stylistic features of the centre. A close look at the two vases reveal the painter’s working method: each shows the same group of two figures with one of them holding a fan, thus pointing to the use of poncifs. Poncifs are drawings with pinholes following the outlines of the composition. They were laid over the piece and charcoal was dusted through the holes to transfer the design.European Ceramicshttps://emuseum.gardinermuseum.com/objects/5088/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/12525/fullBlue and manganese vase with lambrequin decoration18th CenturyTin glaze earthenware, blue and manganese decorationBlue and manganese vase on a small circular pedestal with lambrequin decoration and a young couple dancing in the landscape. 2nd half of the 17th century.European Ceramicshttps://emuseum.gardinermuseum.com/objects/5089/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/12525/fullCharger with Leisure Sceneearly 18th CenturyTin-glazed earthenware (grand feu faience)Gathered in a garden, a group of men and women play a game of lawn bowling while two women are on the swing. The scene evokes the fêtes galantes, a popular theme of rococo painting that shows the pastimes and love intrigues of the aristocracy.European Ceramicshttps://emuseum.gardinermuseum.com/objects/5090/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/12525/fullLobed faience plateca.1700 - 1750[Poterat]tin glaze earthenware, blue decorationLobed faience plate with blue monochrome lambrequin or trefoil design.European Ceramicshttps://emuseum.gardinermuseum.com/objects/5091/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/12525/fullLobed faience plateca.1700 - 1750[Poterat]Tin glaze earthenware, blue and iron red decorationLobed faience plate with blue and iron red lambrequin trefoil design.European Ceramicshttps://emuseum.gardinermuseum.com/objects/5092/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/12525/fullArmorial Plate with Cornucopia19th Century, in the style of 18th century RouenTin-glazed earthenware (grand feu faience)This object is a19th-century product which demonstrate the continued interest for the variety of styles developed by Rouen potters in the previous century. A type of decoration where the dominant motif is a large cornucopia surrounded by Eastern style flowers, birds and insects was well established by the mid-18th century. It is reminiscent of contemporary textile designs, especially Lyon’s woven silks which were decorated with a panoply of Asian motifs.European Ceramicshttps://emuseum.gardinermuseum.com/objects/5093/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/12525/fullPlate with Aphrodite, Cupid and Satyrs19th CenturyTin-glazed earthenware (grand feu faience)Ceramics is known for its capacity to fool the eye of the beholder by imitating other materials. The plate’s ornament emulates the niello technique developed by goldsmiths and silversmiths. Known as décor à l’ocre niellé or “inlaid yellow,” this type of decoration practiced in Rouen from c. 1725-1735 is characterised by delicate arabesques painted in black or blue on an ochre ground with figures – here Aphrodite and cupid flanked by dancing satyrs – rendered in various tones of blue on a central medallion. Difficult and time consuming to achieve, these wares were usually expensive.European Ceramicshttps://emuseum.gardinermuseum.com/objects/5094/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/12525/fullJug with the portrait of Monsieur Tourer1737Tin-glazed earthenware (grand feu faience)Who was Mr. Tourer? This jug with the inscribed date of 1737 features a rare portrait of an individual on faience as opposed to the image of a patron saint. Geared for the hunt with his rifle and hound, the man’s dress and sword suggest that he was a member of the provincial nobility. But why has the inscription following the sitter’s name been scratched out and by whom? What aspect of Mr. Tourer’s identity did it originally reveal? These questions unfortunately remain without answers.European Ceramicshttps://emuseum.gardinermuseum.com/objects/5095/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/12525/fullRectangular Trays with Décor Bérainearly 18th CenturyTin-glazed earthenware (grand feu faience)Decorated with grotesque ornaments finely outlined in blue on a white ground, the trays exemplify the impact of Jean 1er Bérain’s designs on the decorative arts of the 18th century. Bérain (1640-1711) was a painter, draftsman, engraver and Louis XIV`s official court designer, providing theatrical decors and costumes for royal entertainments. Artisans adapted his ornamental designs known through prints in various media, including textiles, tapestries and furniture.European Ceramicshttps://emuseum.gardinermuseum.com/objects/5097/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/12525/fullPair of Plates from the Service of Bernard d’Avesnesca. 1730[Jean-Baptiste Guillibaud Manufacture]Tin-glazed earthenware (grand feu faïence)Jean-Baptiste Guillibaud was one of the most important faience producers in 18th-century Rouen, his period of activity coinciding with the apogee of the faience industry in that city. The brightly coloured plates, originally from the service of Bernard d’Avesne, advisor to King Louis XV, exemplify Guillibaud’s unique chinoiserie style inspired by Chinese famille verte porcelain characterized by polychrome enamels. At the same time, they point to the impact of Japanese kakiemon porcelain which was avidly collected in Europe and imitated by numerous porcelain factories including Chantilly in France. The flying cranes and banded hedge are among the repertoire of motifs appropriated from Japanese porcelain and that can be seen on the flask decorated in the kakiemon style.European Ceramicshttps://emuseum.gardinermuseum.com/objects/5098/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/12525/fullCharger with Chinoiserielate 18th Century[Bordeaux Porcelain]Tin-glazed earthenware (grand feu faience)Chinoiserie decoration is here rendered in a somewhat naïve and simplified form, therefore indicating the popularity of this fashionable type of ornament at all levels of society.European Ceramicshttps://emuseum.gardinermuseum.com/objects/5699/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/12525/fullHand-held Spittoonlate 17th-early 18th Century[Clérissy Manufactory, Saint-Jean-du Désert, Marseille]Tin-glazed earthenware (grand feu faience)While spittoons, or cuspidors, were among the objects found in a dentist’s office, they also belonged to the material culture of tobacco. By the mid-18th century, tobacco had reached a level of mass consumption in France, and was most commonly consumed by snuff taking and smoking. Porcelain snuffboxes were collected and offered as gifts. At the lower end of the market, the spittoon, which was used to spit in, was an essential accompaniment of the pipe smoker.European Ceramicshttps://emuseum.gardinermuseum.com/objects/5725/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/12525/fullRectangular charger manufactured by Guillibaud.18th Century[Jean-Baptiste Guillibaud Manufacture]Tin glaze earthenware with polychrome decorationRectangular charger with cut-off corners decorated with two pagodas surrounded by exotic flowering plants beside a lake. Huge insect flying toward a bird. Checkered border alternating with sprays of flowers in cartouches situated in the centre of the four sides. A yellow striped ribbon runs along the rim.European Ceramicshttps://emuseum.gardinermuseum.com/objects/5743/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/12525/fullPlate with a Pastoral Scene1750-1800[Manufacture of Joseph Fauchier (1710-1795)]Tin-glazed earthenware (grand feu faience)The idyllic landscape with a shepherdess and a lamb is framed by undulating rocaille garlands composed of foliage and flowers, a decorative motif associated with the manufacture of Joseph Fauchier. The pastoral scene offers an idealized image where man and nature live in harmony.European Ceramicshttps://emuseum.gardinermuseum.com/objects/5726/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/12525/fullLobed Round Plate with Chinoiserie1750-1800[Manufacture de la Veuve Perrin]Tin-glazed earthenware, petit feu enamelsFounded by Claude Perrin around 1742-43, the Manufacture de la Veuve Perrin was taken over by his widow Pierrette Candelot after his death in 1748. Widows running potteries were not unusual, as potters tended to die young, perhaps because of the toxic materials they worked with. Pierrette Candelot therefore ran the manufacture on her own until her death in 1794, sometimes in partnership with other faience producers.European Ceramicshttps://emuseum.gardinermuseum.com/objects/5727/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/12525/fullFruit Basket with Chinoiserie1750-1800[Manufacture de la Veuve Perrin]Tin-glazed earthenware, petit feu enamelsThe chinoiserie style seen on the wares produced by the Veuve Perrin was inspired by Jean-Baptiste Pillement’s engravings and pattern books. This group of objects capture the witty spirit of Pillement’s designs of an imaginary Orient characterised by multilevel structures and asymmetrical compositions. His chinoiserie ornaments were the most commonly interpreted on French faience.European Ceramicshttps://emuseum.gardinermuseum.com/objects/5728/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/12525/fullPlate with Floral Ornamentsecond half of the 18th Century[Manufacture de la Veuve Perrin]Tin-glazed earthenware, petit feu enamelsMarseille faienciers were recognised for their inventive and refined floral decorations. Decorated with monochrome green flowers and insects, this plate is representative of a style for which Honoré Savy was renowned. Savy was one of the Veuve Perrin’s most important collaborators.European Ceramicshttps://emuseum.gardinermuseum.com/objects/5729/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/12525/fullCharger with Grotesqueslate 18th Century[Fabrique de Ferrat, Olérys-Laugier Factory]Tin-glazed earthenware (grand feu faience)Grotesques and chinoiseries allowed free range to the artists’ imagination, resulting in the creation of whimsical imagery. The charger exemplifies a later style of grotesque ornament practiced in Moustiers. Characterised by a stylised crane and a fantasy figure framed by loosely scattered vegetation and flying insects, the composition contrasts with the earlier décor Bérain, which is more airy in spirit and symmetrical.European Ceramicshttps://emuseum.gardinermuseum.com/objects/5730/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/12525/fullShallow bowl with chinoiserie decoration1750-1800[Fabrique de Ferrat]Tin glaze earthenware painted in enamelMoustier, Fabrique de Ferrat, Polychrome shallow gadrooned bowl with chinoiserie decoration. 18th C.European Ceramicshttps://emuseum.gardinermuseum.com/objects/5731/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/12525/fullTondino with Figures in a Landscapelate 17th CenturyTin-glazed earthenware (grand feu faience)This plate demonstrates the convergence of various sources of artistic influences, making it a truly cross-cultural object. Its tondino shape, characterised by a broad flat rim, is borrowed from Italian maiolica. The dish’s decoration with European and Chinese figures in a garden rendered in monochrome blue demonstrates the impact of Chinese porcelain, while the loose, spontaneous brushwork shows the influence of the wares produced in Savona in the region of Liguria. Plates in this shape would have been used to serve thick soups or dishes with sauces, or alternatively to display a pyramid of fruit.European Ceramicshttps://emuseum.gardinermuseum.com/objects/5732/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/12525/fullPlate with a Scene from L’Astrée1650-1700Tin-glazed earthenware (grand feu faience)The pastoral scene featuring lovers in a landscape may have been inspired by Honoré d’Urfé’s hugely popular pastoral novel L’Astrée (1607-1627). One of the most influential works of 17th-century French literature, L’Astrée is a monumental novel in six parts that tells the love story between a shepherd and a shepherdess, Astrée and Céladon. The dish is decorated in a style known as a compendiario inspired by Italian maiolica from the second half of the 16th century; it is characterised by loose brushwork using primarily blue and yellow. European Ceramicshttps://emuseum.gardinermuseum.com/objects/5733/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/12525/fullPlate with Scene from the New Testamentmid 18th CenturyTin-glazed earthenware (grand feu faience)This plate illustrate episodes from the New Testament. The scene refers to the biblical proverb from Matthew, 7:1-5: “Why do you look at the speck of sawdust in your brother’s eye and pay no attention to the plank in your own eye?” The painter possibly used a contemporary paraphrase of the Bible such as Monsieur Lemaître de Sacy’s L’histoire du vieux et du nouveau testament (1735) as a source for the narrative. A comparison with one of the prints shows that the scenes were freely appropriated and simplified.European Ceramicshttps://emuseum.gardinermuseum.com/objects/5736/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/12525/fullPlate with Scene from the New Testamentmid 18th CenturyTin-glazed earthenware (grand feu faience)The plate illustrates an episode from the New Testament. The scene shows two centurions kneel in front of Jesus praying him to cure their friend’s servant. The painter possibly used a contemporary paraphrase of the Bible such as Monsieur Lemaître de Sacy’s L’histoire du vieux et du nouveau testament (1735) as a source for each narrative. A comparison with one of the prints shows that the scenes were freely appropriated and simplified.European Ceramicshttps://emuseum.gardinermuseum.com/objects/5737/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/12525/fullRevolutionary Plate1789-1792Tin-glazed earthenware (grand feu faience)With the onset of the French Revolution, plates conveying political messages became a popular product of Nevers faience makers. This plate presents the symbols of the crown, standing for the monarchy, the swords, for the aristocracy, the crosiers, for the clergy, and the hearts for the common people. The crown placed above the three other social classes perhaps suggests the desire for a constitutional monarchy as opposed to absolutism.European Ceramicshttps://emuseum.gardinermuseum.com/objects/5738/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/12525/fullTwo-handled covered monochrome bouillon tureen18th CenturyTin glaze earthenware decorated in blue and manganeseNevers, Two-handled covered monochrome bouillon tureen («faïence parlante»). 18th century.European Ceramicshttps://emuseum.gardinermuseum.com/objects/5734/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/12525/fullMonochrome charger with putti playing in the centrelate 17th-early 18th CenturyTin glaze earthenware decorated in blueNevers, Monochrome «stile bello» charger with ornemental raphaelesque border and putti playing in the center. End of 17th / beginning of 18th century.European Ceramicshttps://emuseum.gardinermuseum.com/objects/5735/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/12525/fullBlue on white bottle cooler or planter18th CenturyTin glaze earthenware with monochrome blue decoration with manganeseNevers, blue on white bottle cooler or planter, 18th Century. European Ceramicshttps://emuseum.gardinermuseum.com/objects/5739/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/12525/fullTureen1770-1793[Niderviller China]Tin-glazed earthenware (petit feu faïence) with in-glaze enamelsNiderviller, Polychrome tureen with, as a knob on its cover, two putti leaning against a fruit basket. End of 18th century.European Ceramicshttps://emuseum.gardinermuseum.com/objects/5741/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/12525/fullFeeding cupearly 1700sTin-glazed earthenware (grand feu faience)Diderot and d’Alembert’s widely read Encyclopédie (1751-1772) provides a detailed description of faience production. One of the plates features a variety of common objects, among which appears a feeding cup similar in shape to the example displayed. The reader is informed of the object’s function as a cup used to feed liquids to the sick (“Un biberon pour la commodité des maladies, fait pour contenir les breuvages qu’on veut leur faire prendre.”).European Ceramicshttps://emuseum.gardinermuseum.com/objects/5744/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/12525/fullPlate with coat of arms of an archbishop and marquisca. 1760Tin glaze earthenware decorated in red and blueRouen, Plate with wide blue rim of red foliage forming a lambrequin with the coat of arms of an archbishop and marquis. C. 1760European Ceramicshttps://emuseum.gardinermuseum.com/objects/5742/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/12525/fullJug with a representation of St. Petermid 18th CenturyTin glaze earthenware with polychrome decorationRouen, Water, cider or beer jug with a representation of saint Peter. Mid 18th century.European Ceramicshttps://emuseum.gardinermuseum.com/objects/5745/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/12525/fullPlate with a Male Figure in a Landscape1770-1780[Sceaux Porcelain]Tin-glazed earthenware, petit feu enamelsIn a spirit of competition and rivalry, Sceaux was able to entice many skilled artisans, many of whom came from the Royal porcelain manufactory at Sèvres located only four miles away. Decorated with a delicate landscape the plate testifies to the refinement of the wares produced at Sceaux. The blue feathered border, rendered in royal blue copied from Sèvres porcelain, is typical of the manufactory’s decorative repertoire. European Ceramicshttps://emuseum.gardinermuseum.com/objects/5746/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/12525/fullDessert Plate1770-1780[Sceaux Porcelain]Tin-glazed earthenware, petit feu enamelsA drunken peasant raises a glass as he stands in front of an upturned bench. Chaotic and humorous, such tavern scenes were inspired by the paintings of David II Teniers, a 17th-century Flemish artist whose work was widely known through engravings.European Ceramicshttps://emuseum.gardinermuseum.com/objects/5747/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/12525/fullBough Pot or Flower Holder1755-1772[Sceaux Porcelain]Tin-glazed earthenware, petit feu enamelsTwo-section rectangular bough pot / flower holder decorated with animal scenes. European Ceramicshttps://emuseum.gardinermuseum.com/objects/5748/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/12525/fullChargerlate 17th Century[Poterat]Tin-glazed earthenware (grand feu faïence) with in-glaze blue and blackCharger with Chinese Vase and StagsEuropean Ceramicshttps://emuseum.gardinermuseum.com/objects/6420/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/12525/fullDish with Armorial of the Poterat Familyearly 18th Century[Poterat]Tin-glazed earthenware (grand feu faïence) with in-glaze blueDish with Poterat Family coat of arms marked g in blue on undersideEuropean Ceramicshttps://emuseum.gardinermuseum.com/objects/6421/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/12525/fullDessert Plateca.1765-1770[Manufacture de la Veuve Perrin]Tin-glazed earthenware (petit feu faïence) with overglaze enamelsWhot porcelain with dimpled edges and naturalistic floral and butterfly patternEuropean Ceramicshttps://emuseum.gardinermuseum.com/objects/6423/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/12525/fullWinterMid-eighteenth century[Paul-Louis Cyfflé]Tin-glazed earthenware (petit feu faïence) with in-glaze enamelsMale figure seemingly braced against wind wearing hat and coat, and with hands in his pocketsEuropean Ceramicshttps://emuseum.gardinermuseum.com/objects/6424/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/12525/fullChargerca.1750[Olérys-Laugier Factory]Faience (tin-glazed earthenware)This large scalloped dish exemplifies a type of decoration commonly found on Moustiers faience and possibly invented by Joseph Olérys. It shows human figures and fantastical animals amid insects and floral garlands. The spontaneous, yet precisely executed decoration is rendered in monochrome ocre. The engravings of Jacques Callot (1592-1635) may have inspired some of the figures.European Ceramicshttps://emuseum.gardinermuseum.com/objects/9492/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/12525/fullChargerlate 17th centuryTin-glazed earthenware (grand feu faïence)European Ceramicshttps://emuseum.gardinermuseum.com/objects/8574/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/12525/fullCharger1680-1685Tin-glazed earthenwareEuropean Ceramicshttps://emuseum.gardinermuseum.com/objects/8496/rdfhttps://emuseum.gardinermuseum.com/internal/media/dispatcher/12525/fullJar with 'Bleu Persan' decorationca.1670Faience, tin glaze, lead glaze, and thrown.London Delft jar with "Bleu Persan", the floral decoration copying a Nevers original. Dark blue ground with white decoration.European Ceramicshttps://emuseum.gardinermuseum.com/objects/638/rdf