The replica Washington house is open at George Washington’s Ferry Farm but furnishing is still ongoing. We traveled to Richmond to visit furniture maker Harrison Higgins and he told us about the furniture that he and his crew have made for the Washington house.
Watch other videos and read more about rebuilding the Washington house here.
Today, we revisit the Chinese Export Porcelain (CEP) reproduction ceramics now displayed or to be displayed in the future in the Washington house replica at George Washington’s Ferry Farm. We’re examining the artifacts recovered at Ferry Farm, the complete 18th century objects those artifacts represent, and the reproduction pieces inspired by these artifact sherds as well as by the complete originals. This is the final post in this three week series and in it we’ll take a look at two special styles of CEP known as imari and famille rose.
These sherds are CEP like the blue and white porcelains we wrote about in part 1 but they are in different colorways, namely “imari” (blue, red, orange and occasionally some gilt accents) and “famille rose” (pink, orange and some green). Sometimes, the exterior of teacups, bowls and saucers were painted an opaque brown, which is a style known as “Batavian.” Our fragments suggest some Batavian pieces were in use in the Washington house, as well as some that show gilding.
Buildings, people and fish were all popular motifs in imari and famille rose palettes. Famille rose was one of the earliest of the CEP decorative styles, dating as early as the 1720s. If a colonial American family managed to obtain a piece of famille rose CEP, it would be a treasured possession for generations.
Again, we have located individual pieces in period-correct shapes, that are decorated in colors and motifs that belong to the imari and famille rose palettes. While interest in all things Asian may have reached its height in 18th century Europe, the style had several resurgences over the ensuing years, including in the early 20th century, which helped us greatly in our hunt for suitable reproductions of CEP. During that time, Japanese potters began to churn out massive quantities of porcelain decorated in what became known as the “geisha girl” style, using green, orange and pink enamels. The decorations depicted geishas in gardens near buildings. While geishas may be a Japanese cultural theme, the colors, the delicate ceramic, and the inclusion of buildings and flowers all reference Chinese famille rose.
These pieces were intended for the Western market, and were often found in American dime stores, or given away as premiums in packages of tea. They were produced from the 1890s, through World War II and even during the Allied occupation of Japan. As a result, they’ve become highly collectable and we were able to find several different forms to add to our collection of stand-ins for famille rose tea wares.
Meghan Budinger
Aldrich Director of Curatorial Operations
Today, we continue our look at the different ceramics displayed or soon to be displayed in the Washington house at George Washington’s Ferry Farm. We’re examining the artifacts recovered at Ferry Farm, the complete 18th century objects those artifacts represent, and the reproduction pieces inspired by these artifact sherds as well as by the complete originals. Last week, we learned about the blue and white Chinese Export Porcelain reproductions gracing the house. This week, in the second post of this series, will investigate the white salt-glaze stoneware and the Westerwald stoneware.
These fragments are from white salt-glazed (WSG) stoneware dinner plate rims, and show two different styles of molded decoration. The pattern in the above photo on the left was known as “dot/diaper/basket” and the pattern in the above photo on the right was known as “royal rim.”
Molded WSG came into existence in the 1740s, so the Washington family was right on trend. A few decades later, creamware would replace it as popular dinnerware, but the rim patterns found on WSG were often very similar to those used on later creamware.
During the height of the Colonial Revival decorating style in mid-20th century America, the patterns used on WSG and creamware back in the 18th century had a major resurgence. Several American potteries started producing white stoneware table wares, similar to WSG, with glossy surfaces similar to creamware, using molded rim decorations that were almost exactly like their 18th century predecessors. The Canonsburg Pottery outside of Pittsburgh, Pennsylvania, produced dot/diaper/basket plates under the pattern name of American Traditional from the early 20th century through the company’s closure in 1978. The Red Cliff Company pottery in Chicago produced plates with a rim pattern taken from the “royal” rim style on 18th century creamware (which was similar to an earlier WSG rim) under the pattern name Heirloom from the 1950s until their closure in 1977. Similarly, Sears sold an almost identical plate under the pattern name American Federalist until the mid-1980s. Luckily for us, all of these 20th century patterns are collectible and we found many of them in stores and on-line.
The above fragment came from either a mug or a jug made from grey stoneware decorated with cobalt blue glaze, known as Westerwald. The Washington family owned quite a bit of Westerwald ceramic, as did the Lewis family at Kenmore.
Westerwald pottery originated in 17th century Germany, and it is still produced there today. It was a popular style for traditional German steins, often with pewter lids attached. In the 18th century, it was often made for export to England and was therefore decorated with the “GR” emblem, referencing Georgius Rex (King George).
During one of our treks through a thrift store, we came across this lidded Westerwald mug, and we were amazed at how similar to our 18th century fragments it was. So amazed, in fact, that we questioned whether or not it might actually be an antique piece (that somehow remained in pristine condition)! A look at the bottom revealed a very 20th century maker’s mark, however, but it also spurred a desire to find out more about the company that was producing such excellent Westerwald. The mark indicated that the 
piece was “Original Gerzit,” and some internet research revealed that the Gerzit Company in Höhr-Grenzhausen, Germany, was originally the pottery founded by Simon Peter Gerz in 1857. The family owned and continued to operate the pottery through World War II, at which time they changed the name to Gerzit. By German law established in 1887, Westerwald produced for export has to be marked Made in Germany. Westerwald produced for sale in Germany doesn’t have to carry a mark at all. Any Westerwald produced after World War II for export has to specify whether it was made in East or West Germany. Putting all of that together, and comparing it to the mark on our newly acquired mug, shows us that it was produced sometime between 1949 (when the company name changed) and 1997 (when the company closed) and was originally intended for sale within Germany. How it ended up in a thrift store in Virginia is anyone’s guess, but it was a very lucky find for us!
In part 3, we’ll revisit Chinese Export Porcelains to see imari and famille rose artifacts, originals, and reproductions that will go in the Washington house.
Meghan Budinger
Aldrich Director of Curatorial Operations
In this video, Fredericksburg, Virginia-based furniture maker Steve Dietrich discusses some of the techniques he used to create four low post beds for the reconstructed Washington house at George Washington’s Ferry Farm.
Watch other videos and read more about rebuilding the Washington house here.
In this video, Curator Meghan Budinger shows us early arrivals among the reproduction furniture to go into the reconstructed Washington house at George Washington’s Ferry Farm.
As more of reproduction furnishings for the Washington house get underway, I thought I might address one of the more notable characteristics of the pieces: their feet. Anyone familiar with antique furniture has noticed the sometimes rather odd appearance of foot shapes at the end of table and chair legs. We have a variety of feet among the Washington house furnishings, some more unusual to our modern eyes than others. There are three furniture styles represented in the Washington house furnishings: William and Mary (the earliest, dating from the late 17th century to the very early 18th century), Queen Anne (early to mid-18th century) and a bit of Chippendale (mid-18th century onward). Each of these styles had their own weird feet.
Probably the most well-known type of furniture foot is the “ball-and-claw.” As the name suggests, the foot looks like the talons or claws of a large animal or bird gripping a ball. The talons or claws could be quite detailed and realistic or a bit more stylized.
An example of the ball-and-claw foot on a reproduction escritoire — a massive cabinet-sized desk — that will sit in the Hall of the Washington house.
Why did these somewhat grotesque feet take hold in furniture design? In the early 17th century, design elements and decoration from the Orient began showing up in everything from ceramics to textiles to furniture all over Europe, as maritime trading vessels brought Asian goods to new markets. The image of a dragon’s claw gripping a precious stone had been a common symbol in Chinese mythology for centuries, and was usually intended to symbolize the Emperor’s protection of knowledge. As with many Chinese decorative elements imported to Europe at the time, the reason it was used in China was less important to European buyers than its exotic look.
In England, the ball-and-claw style of foot was used primarily during the Queen Anne period and faded in popularity as the Chippendale style came into vogue. In America, however, the ball-and-claw remained a popular decorative feature well into the 19th century. As a result, American Chippendale style chairs will often have ball-and-claw feet, while English Chippendale chairs often do not. During the height of its popularity, English furniture makers adapted the ball-and-claw style to other types of claws, often favoring a lion’s paw, to represent the King. In America, eagle talons were the preferred model. The level of detail portrayed was purely up to the desire and skill level of the furniture maker and carver.
Another animal-inspired foot found on furnishings in the Washington house is known as the “pied de biche” (literally translated from the French as “doe’s foot”) or hoof foot. Much like a ball-and-claw, this style can either be an exact replication of a delicate deer’s cloven hoof, or it can be a shape inspired by the graceful curve of a deer leg and foot.
An example of a “pied de biche” furniture leg on a gaming table that will be displayed in the Washington house.
The reason for its popularity comes from two related trends in furnishings. In the early 18th century there was a strong backlash against the bold, heavy, bulky style of the William and Mary period, which resulted in something completely opposite – the very graceful and delicate curves of the Queen Anne style. This preference for lighter furnishings in the Queen Anne period also ushered in the beginnings of interest in classical themes, such as ancient Roman and Greek art. Animal feet were featured prominently in classic Roman style, and the legs and feet of a deer just so happened to emulate the graceful, delicate curves that exemplified the Queen Anne style, so it was a perfect match. Pied de biche feet are often found on Queen Anne furnishings in both England and America, but it was raised to a real art form by the French.
The last weird foot that we’ll cover in this installment is probably the most mysterious, simply because we aren’t sure exactly why it came into being. Known as the trifid foot in America, this style is found mostly on Queen Anne furniture. In some cases it appears to be more of a three-toed paw, while on other pieces it looks like three webbed toes. The webbed toes may have been its original iteration, because in Britain this style of foot is often referred to as a “drake” foot, drake referring to a male duck. Interestingly, it was Irish furniture makers who began using stylized duck feet on their work, and so the trifid foot shows up in American in regions with high Irish immigration, like the area around Fredericksburg. As to why the Irish chose duck feet, well, that remains a mystery, nevertheless we can add the trifid foot to the list of unusual animal feet in the Washington house.
A trifid foot on a chair at Historic Kenmore.
So whether it was Chinese dragons or Roman deer, furniture designs of the 18th century were looking to the past for inspiration, although the actual reasons behind these choices are sometimes forgotten. Visitors to the Washington house will have the chance to see a wide variety of homages to these ancient cultures, whether they know it or not.
Meghan Budinger
Aldrich Director of Curatorial Operations
Several weeks ago, staff from George Washington’s Ferry Farm went hunting for objects to go into the reconstructed Washington house, which will be fully furnished with reproduction pieces to allow our visitors to sit on the chairs, open drawers, and pick up the plates on the table. Finding accurate, well-made reproductions of pieces from the Washington-era is no small feat but staff members have traveled to a variety of flea markets and consignment shops on the hunt for 20th century Colonial Revival objects that will pass as 18th century. Here are a few photos from one of these trips…
To learn more about the reconstructed Washington house furnishing effort, you might wish to read these blog posts…
Furnishing George’s House: The Corner Cupboard
Furnishing George’s House: What Exactly is That? Curatorial Conundrums in the Washington House – Part 1: Scrutoire
Furnishing George’s House: What Exactly is That? Curatorial Conundrums in the Washington House – Part 2: Sugar Box
Search for Washington House Furnishings Takes Exciting Turn!
Just What is Colonial Revival?
Getting “Judgy” With Colonial Revival Ceramics
Video – Lecture: “The Rooms at Ferry Farm”
Meghan Budinger
Aldrich Director of Curatorial Operations
