Porcelain of Bayeux
After the stop of the manufacture of Porcelain to Valognes, which had thrived of 1793 with 1812 under the direction of Jean-Thomas-Michel Masson, inventor of the layer of kaolin located at the Pieux in the Cotentin, Joachim Langlois (directing of manufacture since 1802), resulting from the Protestant middle-class of the area of Caen (of which he was mayor and president of the bankruptcy court) and endowed with a remarkable artistic talent, creates with Bayeux a new business which manufactures in its porcelain turn splendid, thanks to the same layer of the Piles (exhausted in 1936).
It realizes in particular, starting from 1820, the famous decorations blue-red-and-but of inspiration imari, but also the decorations Chinese (especially confined) which will thrive particularly after its death in 1830. Its widow and her children succeed to him, her Frederic son making secession by creating a manufacture with Isigny in 1839, after rupture with her mother who did not tolerate her union with a catholic (it had to close in 1845 because of economic problems).
In 1847, his/her Jenny sisters and Sophie take the continuation of their mother.
In 1850, the heirs must sell the company to François Gosse, decorator of ceramics in Paris. This one diversifies the production without never giving up the former decorations and by developing the porcelain of chemistry which benefitted from the characteristics of hardness of the regional raw material and which had soon a world famous.
The Kid family, succeeds in 1878 a family of engineers ceramists, Morlent, who confine the production with a porcelain of use domestic (white crockery or with decoration with the barbel or blue apple, then blue daisy and blue of Saxony), chemical, medical or electric. After an attempt at modernization in 1951, manufacture must close, the not functioning new tunnel kiln installed. This fine contrast with the former excellence which always placed manufacture at the point of technologies of its time and which is illustrated by the many received rewards, in particular during national or international exposures, throughout the 19th century. The productions of Bayeux are today still very appraisals, so much so that they are among most expensive of the market of ceramics. The public collection of reference is that of the museum Baron Gerard in Bayeux. The porcelain factory of Bayeux, installed in an old monastery of the 17th century (convent of bénédictines) is a private residence today.
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