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A jardinière is a sizeable ornamental stand or holder to display potted plants or cut flowers. The jardinière first appeared in the 1760s. This was when flower arranging became a popular way to provide visual stimulation. It compensated for the increasing austerity of ornamentation and the rectilinearity of wall panelling and furniture in the Louis XVI Style.

Jardinière: A Case Study No.1

Jardinière designed by Emile Reiber | The Met
Jardinière designed by Emile Reiber | The Met

The above jardinière was created by Émile Reiber. He was the editor of the critical publication L’art pour tous in 1861. He was also the chief of the composition and design studios at Christofle in 1865. The design is decorated in Japanese with bunches of flowers and flowering branches. Pinecone feet and handles have been applied. The use of contrasting metal colours and finishes reflects the influence of Japanese mixed-metal objects (mokume) on European and American decorative arts. This influence is seen in the works by Christofle et Cie of Paris, Elkington’s in Birmingham, and Tiffany & Co. in New York. This jardinière is part of a series of objects produced in this style. It, or a similar example, was exhibited at the Exposition Universelle in Paris in 1878. Christofle also created variations with different colour combinations.

Case Study No.2 : Hannong’s Jardiniere from Strasbourg, circa 1770

Jardiniere, tin-glazed painted in colours, Hannong's pottery factory
Jardiniere, tin-glazed painted in colours, Hannong’s pottery factory

Hannong’s Pottery Factory, based in Strasbourg during the 18th century, was renowned for its tin-glazed ceramics. This jardiniere reflects the aesthetic and technical sophistication of the Rococo period, characterized by intricate designs and vivid decoration. Tin glazing—a technique offering a brilliant, opaque finish—was a hallmark of European ceramic art during this era.

Design and Technique

The jardiniere is crafted using tin-glazed earthenware, painted in multiple colors. This piece’s use of floral motifs is typical of the period’s decorative arts, reflecting a celebration of natural beauty and an inclination towards delicate, organic patterns.

  • Marks and Inscriptions: The piece bears the monogram ‘jH’ and the number ‘924’, painted in blue, indicating its provenance from Hannong’s factory.

Artistic Significance

The combination of functional and decorative aspects in this jardiniere exemplifies the Rococo style’s emphasis on elegance and refinement. The floral patterns served aesthetic purposes and highlighted the technical prowess of the artisans who executed such intricate designs.

Social and Cultural Relevance

During the late 18th century, items like this jardiniere were symbols of sophistication and wealth, often featured in aristocratic homes as functional vessels and decorative objects. The production of such ceramics reflected broader trends in European taste, particularly the influence of naturalism and an increased interest in botany.

Legacy and Preservation

The Hannong family’s contributions to ceramic art continue to be celebrated, with their works preserved in prestigious institutions such as the Victoria and Albert Museum. This jardiniere, bequeathed by Stuart Gerald Davis in 1951, is a significant artifact connecting modern audiences with 18th-century artistry.

Contemporary Use

Today, jardinières continue to be utilized in both interior and exterior design. They are valued for their versatility and ability to enhance the visual appeal of plant displays. They are available in various styles, sizes, and materials, catering to diverse aesthetic preferences and functional needs.

Incorporating a jardinière into your design scheme adds a decorative element and brings a touch of nature indoors. Thus, it promotes a sense of tranquillity and well-being. Whether used to house a vibrant floral arrangement or a lush green plant, a well-chosen jardinière can significantly enhance the ambience of your space.

Sources

Boyce, C. (1985). The Wordsworth Dictionary of Furniture. Wordsworth Reference.

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