The Industrial Arts in Spain Part 41
Vilar, Ramon, retouched porcelain in 1789.
Vilar y Bordonan, Cristobal, modeller in 1783.
Vilar y Bordonan, Mariano, worked at pipe-clay porcelain in 1789.
Vilar Perpinan, Cristobal, painted from 1739 to 1743.
Vilar Ricart, Cristobal, painter from 1727 to 1735.
Vilar Porcar, Cristobal, painter, 1727.
Vilar Ricart, Joseph, painter from January, 1731, to 1735.
Vilar Porcar, Joaquin, painter from 1727 to 1735.
Vilar Saboret, Joaquin, painter in 1729.
Yguet, Vicente, painted common pottery in 1783.
Zaragoza, Friar, worker in porcelain, 1799.
MARKS AND SIGNATURES OF THE PAINTERS WHO WORKED AT ALCORA.
From 1727 to 1784 no special mark was used at Alcora. In several instances specimens were signed with the painter's name or initials.
In order to distinguish the qualities or sizes, coloured numbers were frequently added.
From 1784 the letter A in gold or colours was used to mark the pottery and porcelain made at Alcora.
The following marks were used after 1784. The a underlined, [A=], sometimes in blue.
A number and letter, No. 4 A, G 8; No. 3 P. In 1799 the pottery made by Friar Joseph de Zaragoza was marked M. O. X.
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MADRID.--BUEN RETIRO PORCELAIN.
In 1759 King Charles III. came from Naples, having inherited the Spanish crown on the death of his brother Ferdinand VI. Soon after his arrival he determined to establish a porcelain manufactory at Madrid in the same style as one which in 1736 he had founded at Naples. The doc.u.ments which exist relating to this manufactory at the archives of the Royal Palace, Madrid, Alcala, Ministry of Finance, etc., state that before the King left Naples, he ordered the following letter to be written to the Secretary of State, Richard Wall, on September 11, 1759: "Likewise the workmen and utensils used at the royal manufactory of porcelain of Capo di Monte must be embarked from Naples to Alicant, in the vessels prepared for that purpose, in order to continue from there the journey to Madrid. The necessary conveyances are to be provided, and the expenses to be charged to his Majesty's account."
Charles III. landed at Barcelona on the 17th of October, 1759, and we find a letter written by order of the King, by the Marquis of Esquilace to Secretary Wall, in November of the same year, in which he says that the King had heard of the arrival in Spain of the workmen from Capo di Monte, and gives orders that money should be supplied to the Director, Don Juan Thomas Bonicelli. Wall answers that he "will give orders and help the workmen who are to establish the manufactory, and let them have every facility to examine different sorts of earths and localities which may suit them, and that the Director, Bonicelli, should have the money he might require."
It appears also that 300 gold ducats were given to Giuseppe Gricci, "modeller," in absence of Bonicelli. The King ordered Wall to be informed that he understood that a place had been found near Madrid to establish these works, and that he was anxious to see a plan of the exact locality. Giuseppe Gricci drew the plan of the spot chosen, and was paid 100 gold doubloons for works connected with the manufactory.
Bonicelli sends the following list of workmen who had arrived from Naples to the King.
Cayetano Schepers, chief composer.
Pablo Forni.
Joseph Gricci, princ.i.p.al modeller.
Carlos Gricci.
Esteban Gricci, modeller.
Cayetano Fumo, "
Basilio Fumo, "
Joseph Fumo, "
Carlos Fumo, "
Macedonio Fumo, "
Joseph Santorum, "
Juan Bescia, "
Bautista de Bautista, "
Antonio Morelly, "
Salvador Nofri, "
Phelipe Esplores, "
Ambrosio de Giorgi, "
Pedro Antonio de Giorgi, "
Pablo Frate, "
WORKMEN EMPLOYED IN THE KILNS.