I1ERAMIC STUDIO 
DOAT HOENTSCHEL JEANENEY 
EXHIBITION OF FRENCH POTTERY AT THE 
TIFFANY STUDIOS 
Anna B. Leonard 
NE of the choicest exhibitions of modern 
pottery that has ever been in this country 
is now to be seen at the Tiffany Studios, 
which all students should visit. In no 
place in the city does one meet greater 
cordiality and kindness than at these studios, and from an 
educational standpoint, a visit to them is invaluable, there being 
always something new and charming to see. It is an experi- 
ment having these choice bits of pottery there, but it is quite 
in keeping with the broad policy of not only Mr. Tiffany, but 
the entire staff. 
The work by Hoentschel is perhaps the greatest there, 
although the honors seem to be rather equally divided as the 
exhibitors are all great potters ; what will sometimes appeal to 
one does not appeal to another in just the same way. Hoen- 
tschel's work, of which he shows a variety, is all beautiful in 
form and delicious in color. The body is usually of restful 
tones and dull glaze, not by any means matt or dead, but the 
softness of ivory, which is the finish that all potters are now 
trying to get. It is the blending of the clay, the enamel and 
the glaze, that great unity so dear to the 
potter's heart, and not merely the layers of 
one over another. He has also some placques 
upon which he uses a hard enamel or clay, 
then fills in with a flowing enamel or color, 
which gives an outline to the design, yet 
the colors flow in such a way that there are 
no hard lines (we have seen some charming 
tiles of late made in this method by the 
Grueby people and also by Mr. Volkmar.) It 
is impossible to describe the beauty of this 
exhibition of pottery when the charm is all 
in the form, color and texture. Even pho- 
tographs can give nothing but the idea of 
form. 
Then there are the big, powerful tiles 
by Bigot for heavy architectural purposes, 
one being from the "Porte Monumentale," 
the gateway of the Paris Exposition. The 
tile is three feet long and of immense thick- 
ness ; the design, representing a lion, is 
deeply incised in the strongest of lines, 
leaving the animal in relief with a border or band that sur- 
rounds it. Bigot's architectural work at the Paris Exposition 
was great ; his tiles, stairways and great columns supporting 
balconies showed tremendous skill and artistic merit in an 
avenue in which potters may follow him profitably. Besides 
this heavy work he shows charming bits in the form of jars, 
placques and vases, all quiet colors and dull glaze. 
The work of Dalpayrat is quite individual and by many 
he also is considered the greatest potter. To the writer his 
work lacks the repose of Delaherche or of Hoentschel, but it 
is glowing in rich color effects. He has succeeded in obtain- 
ing beautiful reds flaked with other colors. One little piece 
is particularly attractive and reminds one of a charming bit 
of fine enameling on metal, with its rich reds, green, a touch 
of yellow and even a dull blue, all mingling in perfect harmony 
with no outline, yet each separate and in its place. All this 
is the effect of the fire, this bringing to the surface of these 
many colors, and shows his mastery of chemistry and his 
understanding of his kiln. He has a little gem of a vase with 
a suggestion of ruby toning into purple and dull blue, with 
the dull body and finish that is so much desired. 
Chaplet's work seems more ordinary, and the texture 
from a potter's standpoint not so beautiful, and perhaps the 
forms are not so attractive either, but he has succeeded in 
obtaining wonderful reds, to which he seems turning his 
attention. Some of them are flaked with beautiful greys, and 
one is a little gem in the delightful red of the Orientals. 
Jeaneney, another great potter, has a few very choice 
things showing an individuality in his modeling. One leaf- 
like piece, flat and low, is very beautiful and rare in color, 
being dull light blue, running into dull greens and greys of 
the same value. 
Delaherche, of whom we have written in- the Keramic 
STUDIO, has some charming little bits and one glowing vase 
running from the peach blow into the ruby. This small ex- 
hibit of his does not begin to show the wide range of this 
wonderful man. A tiny bit of a vase in very dull blue of light 
tone with silver grey, is rare in color and effect, the texture is 
something charming and one feels an inclination to touch it, but 
the tall vase would naturally attract more notice not only for 
its size, but for its delightful color, which should be studied 
earnestly by every student. There is an exquisite tone of 
DALPAYRAT 
DELAHEKCHli 
