{"id":14578,"date":"2026-03-01T11:53:50","date_gmt":"2026-03-01T10:53:50","guid":{"rendered":"https:\/\/www.fayence-steinzeug-vogt.de\/?p=14578"},"modified":"2026-03-01T11:53:52","modified_gmt":"2026-03-01T10:53:52","slug":"camaieu-vert-and-the-chinese-dream","status":"publish","type":"post","link":"https:\/\/www.fayence-steinzeug-vogt.de\/de\/camaieu-vert-and-the-chinese-dream\/","title":{"rendered":"Cama\u00efeu Vert and the Chinese Dream"},"content":{"rendered":"\n

Durlach Chinoiserie Faience circa 1775<\/h2>\n\n\n\n
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Durlach faience dish depicting Chinese figures circa 1775, black painter’s mark „T“ <\/em>
probably Johann Georg Tritt, D. 24 cm<\/em> see Markentafel below<\/figcaption><\/figure>\n\n\n\n

The Durlach Faience Manufactory<\/h4>\n\n\n\n

The Fayencemanufaktur at Durlach was founded in 1723 when Margrave Karl Wilhelm von Baden-Durlach granted a privilege to Johann Heinrich Wachenfeld. As he died only 3 years later the factory subsequently navigated through very turbulent seas, with stability only returning in 1749 with a new privilege granted to Georg Adam Herzog and Johann Adam Benckiser.
Under the direction of Dominicus Cuny, a highly skilled craftsman from Nancy the Durlach Manufactory flourished. In just six years, Cuny laid the technical foundations that would define Durlach’s character for decades: a pale, fine-grained body, a dazzlingly white glaze with an almost porcelain-like brilliance, and bright high-fired colours. The golden age of production was brought about by Johann Adam Benckiser, who employed a succession of skilled painters between 1749 and 1789.<\/p>\n\n\n\n

Painters and Marks – Markentafel der Durlacher Fayencen<\/h4>\n\n\n\n
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Hauger, Otto. Durlacher Fayencen: ein Beitrag zur Geschichte der deutschen Keramik. G. Braun, Karlsruhe, 1951
Seite 78<\/p>\n<\/div><\/div>\n\n\n\n

The faience dish and the teapot in cama\u00efeu vert produced around 1775 represent the Durlach manufactory’s outstanding technical quality of glaze combined with the charm of its mostly green chinoiserie decoration.<\/p>\n\n\n\n

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Durlach faience teapot circa 1775, picturing Chinese scenery in Cama\u00efeu Vert, H. 8.5 cm<\/figcaption><\/figure>\n\n\n\n

Cama\u00efeu Vert as a Decorating Technique<\/h4>\n\n\n\n

The word cama\u00efeu derives from French and describes the technique of painting in two or three tones of a single colour. When the single colour chosen is green, as in these pieces, one speaks of cama\u00efeu vert.
This elegant technique represented ornamental delicacy of Chinoiserie topics on 18th-century European faience.
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Cama\u00efeu vert is a high-fired technique on faience. On this particular object Seladon Green based on iron oxide (Fe\u2082O\u2083) is applied to the raw glaze and fused in the kiln at temperatures of around 1,000\u00b0C.
An outline with very dark manganese and varied dilutions of the green pigment create shadow and light.
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The green monochrome had flourished in French faience workshops of Moustiers and Marseille produced celebrated cama\u00efeu vert pieces. Durlach, with its strong connections to the French manufacturing tradition through figures like Cuny, were inspired by this example. The renown Durlach shiny glaze met elegantly with the Cama\u00efeu technique.<\/p>\n\n\n\n

Museum Reference Object Badisches Landesmuseum Karlsruhe<\/h4>\n\n\n\n

The primary collection of Durlach faience is held by the Badisches Landesmuseum Karlsruhe<\/strong>, which possesses over 500 documented pieces and published the fundamental catalogue Durlacher Fayencen 1723\u20131847<\/em> (1975). The museum’s online catalogue, is accessible at:
katalog.landesmuseum.de \u2014 Durlach Fayencen<\/a><\/p>\n\n\n\n

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Inventarnummer V 12449
Georg Christian Gabriel Renk (Fayencemalerin), Durlacher Fayencemanufaktur <\/em>
Datierung um 1770-1775

Fayence, Scharffeuerfarbe
Durchmesser: 25 cm (Gesamt)
Durchmesser: 16.5 cm (Spiegel )
Breite: 3.7 cm (Fahne )<\/p>\n\n\n\n

https:\/\/katalog.landesmuseum.de\/object\/534D24474EA24DAD3625CF822546E357-teller-mit-chinoiserie<\/a><\/p>\n<\/div><\/div>\n\n\n\n

German description of the object by the museum: Der Teller hat einen runden Fond und eine aufgebogene, sechspassig geschweifte Fahne mit gekehltem Rand. Die Motive sind in Schwarz linear gezeichnet und mit den Farben Blaugr\u00fcn bis Graublau gemalt. Der Teller tr\u00e4gt an der Unterseite in Schwarz die Malermarke „R“. Mit dieser Marke wird Georg Christian Gabriel Renk (1748-1816) identifiziert, der seit etwa 1770 bis 1815 in der Durlacher Fayencefabrik t\u00e4tig war. Renk gilt unter anderem als Maler von Chinesen-Darstellungen und von ostasiatisch beeinflussten Blumen mit schraffierten Bl\u00fctenstempeln.<\/p>\n\n\n\n

Literatur: Durlacher Fayencen 1723-1847 ; Ausstellungskatalog des Badischen Landesmuseums Karlsruhe ; Karlsruhe 1975 ; S. 132, Nr. 67, Abb., S. 440 f. (Markentafel 101).<\/em><\/p>\n\n\n\n

Museum Deutscher Fayencen Schloss H\u00f6chst\u00e4dt<\/a> – Reference Object<\/h4>\n\n\n\n
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Inspiration: Engravings by Elias Baeck (1679 – 1747) Augsburg Painter and Engraver<\/h4>\n\n\n\n
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One of a set of 8 designs for lids of boxes with an ornamental border containing landscapes and figures in Chinese style; engraving by Elias Baeck, Heldenmuth copyright V+A London<\/p>\n\n\n\n

https:\/\/collections.vam.ac.uk\/item\/O783157\/print-baeck-elias<\/a><\/p>\n<\/div><\/div>\n\n\n\n

Literature<\/h4>\n\n\n\n
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Hauger, Otto.<\/strong> Durlacher Fayencen: ein Beitrag zur Geschichte der deutschen Keramik.<\/em> G. Braun, Karlsruhe, 1951. <\/p>\n\n\n\n

The standard monograph on the manufactory, with nearly 100 illustrations. Currently the most complete study of the factory’s output and history.<\/p>\n<\/div><\/div>\n\n\n\n

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Durlacher Fayencen : 1723 – 1847 Badisches Landesmuseum Karlsruhe Ausstellung vom 20. Juni – 28. Sept. 1975
Petrasch, E., Franzius, W., & SALABOVA, M. <\/p>\n\n\n\n

A survey of the artistic output of the faience factory which was founded in 1723 by the Markgrave Karl Wilhelm von Baden-Durlach. <\/p>\n<\/div><\/div>\n\n\n\n

\"Museum<\/figure>
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Museum deutscher Fayencen Schloss H\u00f6chst\u00e4dt
Autoren: Uta Piereth Friederike Ulrichs
Bayerische Schl\u00f6sserverwaltung, 2010<\/p>\n\n\n\n

With over 1,000 exhibits from 58 manufacturers, the collection of German faience at H\u00f6chst\u00e4dt Castle is one of the largest and most important in Europe. <\/p>\n<\/div><\/div>\n\n\n\n

Further readings: Chinoiserie in 18th-Century Europe<\/h4>\n\n\n\n

Very intersting article on this topic at the Victoria and Albert Museum London: https:\/\/www.vam.ac.uk\/articles\/chinoiserie-an-introduction<\/a><\/p>\n\n\n\n

People had long been fascinated by the exotic nature of luxury products, such as porcelain, silk and lacquerware, that had been flowing into Europe from East Asia since the early 16th century.
Chinoiserie is characterised by a number of frequently occurring motifs. In 18th-century Britain, China seemed a mysterious, faraway place. Although trade between the two countries had increased over the 17th and 18th centuries, access to China was still restricted and there were few first-hand experiences of the country. Chinoiserie drew on these exotic, mysterious preconceptions. Objects featured fantastic landscapes with fanciful pavilions, sweeping lines of the roofs of Chinese pagodas, fabulous birds and figures in Chinese clothes. Sometimes these figures were copied directly from Chinese objects, but more frequently they originated in the designer’s imagination. (Source Victoria + Albert Museum London – Chinoiserie \u2013 an introduction)<\/p>\n","protected":false},"excerpt":{"rendered":"

Durlach Chinoiserie Faience circa 1775 The Durlach Faience Manufactory The Fayencemanufaktur at Durlach was founded in 1723 when Margrave Karl Wilhelm von Baden-Durlach granted a privilege to Johann Heinrich Wachenfeld. As he died only 3 years later the factory subsequently navigated through very turbulent seas, with stability only returning in 1749 with a new privilege […]<\/p>\n","protected":false},"author":2,"featured_media":14579,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[28,31],"tags":[44,1289,42],"class_list":["post-14578","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-european-ceramics","category-fayence","tag-18th-century-works-of-art","tag-18th-century-art","tag-18-jhd"],"_links":{"self":[{"href":"https:\/\/www.fayence-steinzeug-vogt.de\/de\/wp-json\/wp\/v2\/posts\/14578","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.fayence-steinzeug-vogt.de\/de\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.fayence-steinzeug-vogt.de\/de\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.fayence-steinzeug-vogt.de\/de\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fayence-steinzeug-vogt.de\/de\/wp-json\/wp\/v2\/comments?post=14578"}],"version-history":[{"count":65,"href":"https:\/\/www.fayence-steinzeug-vogt.de\/de\/wp-json\/wp\/v2\/posts\/14578\/revisions"}],"predecessor-version":[{"id":14654,"href":"https:\/\/www.fayence-steinzeug-vogt.de\/de\/wp-json\/wp\/v2\/posts\/14578\/revisions\/14654"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fayence-steinzeug-vogt.de\/de\/wp-json\/wp\/v2\/media\/14579"}],"wp:attachment":[{"href":"https:\/\/www.fayence-steinzeug-vogt.de\/de\/wp-json\/wp\/v2\/media?parent=14578"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.fayence-steinzeug-vogt.de\/de\/wp-json\/wp\/v2\/categories?post=14578"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.fayence-steinzeug-vogt.de\/de\/wp-json\/wp\/v2\/tags?post=14578"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}