Turquoise Blue Ceramic Inkstand

This French inkstand is a beautiful example of Iznik Revival (or Neo-Persian) faience, a style that became popular in France during the late 19th century.

Description & Artistic Style

The set consists of a rectangular ceramic tray mounted in an ornate spelter metal frame, two lidded inkwells, and a central tapered vessel typically used as a pen holder or for a taper candle.

• Decoration: The pattern is a classic “Orientalist” design inspired by 16th-century Turkish Iznik pottery. You can clearly see the iconic “Vase of Flowers” motif on the tray, featuring stylized tulips and carnations—the signature blooms of the Ottoman era.
• Palette: The ground is a vibrant turquoise blue, decorated with hand-painted scrolling floral motifs in black and dark cobalt blue. This specific “turquoise and black” aesthetic was a hallmark of high-end French ceramic houses during the Belle Époque.

Manufacturer Identification

Based on the style and the handwritten markings (specifically the red “FRANCE” and the cursive monogram):

1. Faïencerie de Gien: This is the most likely manufacturer. Gien is world-renowned for its “Persan” (Persian) and “Iznik” patterns. Their turquoise pieces are highly collectible. The hand-painted “FRANCE” in red is very common on Gien pieces produced for export.
2. Jules Vieillard & Cie (Bordeaux): Vieillard was another master of this style and produced spectacular turquoise Iznik-style wares. However, Vieillard pieces are often marked with their specific factory stamp or a “JVB” monogram.
3. The Mark: The cursive mark in image tur 1f looks like a decorator’s or painter’s mark (possibly a “G” for Gien). It was common for individual artists in the factory to sign their work with a unique flourish.

Age & Provenance

• Era: Late 19th Century, specifically circa 1885–1905.
• Dating Evidence: The presence of the word “FRANCE” is a crucial dating tool. Following the McKinley Tariff Act of 1891, items imported into the United States were required to be marked with their country of origin. This piece was likely produced right at the turn of the century for the international market.
• Construction: The metal mounts and the “faience” (tin-glazed earthenware) technique are consistent with the high-quality desk sets produced in the Loire Valley (Gien) during this period.