Re-Evaluating Late Nineteenth Century Creative Innovations in the Silicate Industry: The Zsolnay Ceramics Works of Pécs, Hungary

Abstract

The Zsolnay ceramics factory was founded in the old, culturally rich south Hungarian city of Pecs in 1853, by the merchant, Vilmos Zsolnay (1828-1900) at the start of the industrial development of the area. From a small cottage industry, the extraordinarily gifted and driven Vilmos, his children and descendents, built up the firm into a huge complex which at the time of his death was at its peak, employing over 1000 workers, who produced a great variety of the most unusual and creative utilitarian and decorative ceramics products which earned Zsolnay worldwide recognition even today. Initially Vilmos continued his activities as a merchant but became more and more involved in the ceramic operation. He and his two teenage daughters were self-taught in ceramics. They at first designed and made the simple but beguiling rustic crockery, based on traditional Hungarian models. Their interest in local folk arts and crafts gave rise to the sisters' splendid collection of ethnic textiles and embroideries which served also as inspirations for their earliest designs. Vilmos moved the premises, bought additional lots, continually enlarged the plant and bought up clay deposits, coal mines, and other industrial properties to enhance his operations. He took chemistry lessons, and concentrated on refining and improving the quality and appearance of his products. By 1873 he had developed his trademark porcelain-faience fired ware, a warm yellowish white body, with colored glaze decorations, amassed an art history and ceramic reference library and ceramics sample collection, and sent his daughters Terez and Julia to study and copy traditional Iranian, Turkish, Japanese and Chinese designs from the collections and books in the academic libraries of Vienna. The 1873 Vienna World's Fair brought Zsolnay's first success: the bronze medal, diploma, and Franz Joseph Order, for the displayed eclectic and Renaissance style pots, vases, pitchers, pharmacy white ware, and simple but charming rustic Hungarian wares. Orders followed from England, France, Russia, America, and from the Austro-Hungarian Empire's most promintent personages. Decors such as the Godollo, the Rothschild Orchid, the Pheasaut, were originated by the sisters and by newly hired artists such as Armin Klein, Kelemen Kaldeway. From 1874 Vilmos further expanded the range and improved the quality of his products, developed the Old Ivory technique, hired artists whom he trained, not to slavishly copy historic models, but to develop and express their own personal style. He established the factory's museum to inspire the workers, and improved their living, working, and social conditions. The 1878 Paris World's Fair brought Zsolnay the highest recognition, the Grand Prix and Legion d'Honneur. From this period date such innovations as the denser, high fire wares, decorated with cobalt, black, red and green glazes in the Chinese manner, the celadon and turquoise glaze, the tiger or coagulated glaze, the gold brocade and metal techniques, the grain de riz, and glass techniques. The Viennese Ernst Wahliss and Jules Houry in Paris became exclusive foreign representatives, and 80% of production was exported.