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| Rome pattern, (detail), c1811 |
Reading a book called Clara's Grand Tour reminds me that scenes from the Grand Tour are depicted on some of Spode's blue printed patterns of the early 19th century. Spode patterns such as Caramanian, Castle, Italian and Rome became very fashionable and diners could reveal great architectural gems as they cleared their plates and serving dishes of food.
Clara, though, was not accompanying a wealthy young man furthering his education abroad; nor was she a strong-minded, well-to-do lady of independent means doing the grand tour in her own right - she was a rhinoceros! I have not gone completely mad as there is, perhaps surprisingly, a connection between Spode and rhinoceroses. Yes really...
Clara's Grand Tour by Glynis Ridley is a great read, even more so for anyone with an interest in the 18th century and, of course, rhinoceroses. Ridley makes it quite clear how unusual it was for a rhinoceros to be seen in Europe in the middle of the 1700s. There was only one and Clara was that rhoinoceros.
Ridley also emphasises the remarkable marketing skills of Clara's owner, Van der Meer, coupled with his ability to transport her safely from city to city and, importantly, keep her alive and well. He took her where powerful people, such as royalty and the aristocracy, would be able to see her and would pay well for the privilege. In turn this encouraged the masses to want to see her too thus driving his publicity machine. Posters were made to advertise Clara's appearances and souvenirs were produced of varying finesse to sell at different prices which included prints, medals and porcelain.
One venue Clara visited was Dresden - home of the famous Meissen factory. They already produced pieces featuring a rhinoceros but it was not until their modeller Johann Kaendler saw Clara that it was realised that the picture of a rhinoceros used previously, based on a Durer engraving, was slightly at odds with reality to say the least! Chapter 4 entitled Pretty in Porcelain... includes this lovely sentence: The very notion of a rhinoceros trundling towards a porcelain factory seems to presage disaster.
A Meissen dish (pre Clara) is illustrated in the book showing a painted rhinoceros. It was seeing this which made me wonder if Spode depicted any rhinoceroses on any of their pots. Of course they do!
Clara, though, was not accompanying a wealthy young man furthering his education abroad; nor was she a strong-minded, well-to-do lady of independent means doing the grand tour in her own right - she was a rhinoceros! I have not gone completely mad as there is, perhaps surprisingly, a connection between Spode and rhinoceroses. Yes really...
Clara's Grand Tour by Glynis Ridley is a great read, even more so for anyone with an interest in the 18th century and, of course, rhinoceroses. Ridley makes it quite clear how unusual it was for a rhinoceros to be seen in Europe in the middle of the 1700s. There was only one and Clara was that rhoinoceros.
Ridley also emphasises the remarkable marketing skills of Clara's owner, Van der Meer, coupled with his ability to transport her safely from city to city and, importantly, keep her alive and well. He took her where powerful people, such as royalty and the aristocracy, would be able to see her and would pay well for the privilege. In turn this encouraged the masses to want to see her too thus driving his publicity machine. Posters were made to advertise Clara's appearances and souvenirs were produced of varying finesse to sell at different prices which included prints, medals and porcelain.
One venue Clara visited was Dresden - home of the famous Meissen factory. They already produced pieces featuring a rhinoceros but it was not until their modeller Johann Kaendler saw Clara that it was realised that the picture of a rhinoceros used previously, based on a Durer engraving, was slightly at odds with reality to say the least! Chapter 4 entitled Pretty in Porcelain... includes this lovely sentence: The very notion of a rhinoceros trundling towards a porcelain factory seems to presage disaster.
A Meissen dish (pre Clara) is illustrated in the book showing a painted rhinoceros. It was seeing this which made me wonder if Spode depicted any rhinoceroses on any of their pots. Of course they do!
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| Plate, The Rhinoceros House, 2000 |
You will find more about this pattern, which was originally produced in the mid-1800s by another company altogether, by clicking Spode ABC and go to the Z page. Six plates were produced and I think a few ornamental pieces. The Rhinoceros House depicted here shows the wild animal and the viewing public separated only by a flimsy rustic fence.
There are, though, much older Spode patterns from the very early 1800s which use exotic animals. Such beasts would have been unfamiliar to the Spode designers and engravers, most likely only known from paintings and books. Several Spode patterns of this early date use exotic beasts in the border of their designs: Gothic Castle, Indian Sporting and Caramanian. It is the latter where a rhinoceros is featured. You can see the animal circled in red in the illustration on this page of a plate in Caramanian (V & A collections.)
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| Plate, Caramanian pattern, c1809 |
I love the movement of the rhinoceros as it seems to chase the other beasts around the edge of the pieces; or maybe it is trying to catch up? I have yet to think of any more Spode with rhinoceroses, maybe there isn't any, but I am sure you will let me know if you find anything. It is a good exercise in looking closely at the elements of these early 19th century designs from Spode.
I now find I am getting quite fond of rhinoceroses. Below is detail of a painting of the lovely Clara by Pietro Longhi which belongs to the National Gallery.
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| Clara featured in Exhibition of a Rhinoceros at Venice (detail) 1751 |