Reflections on Nature from Aesthetic to Mid-Century Modern through the Major Ceramic Types inside of the Mansion at Marsh-Billings-Rockefeller National Historical Park

By Alexa “Lex” Rose, ACE CRDIP Curatorial Member

Within the Marsh-Billings-Rockefeller collection, there are close to 700 ceramic artifacts! The Collection was started by Frederick and Julia Billings and succeeded by Mary and Laurence Rockefeller. Ceramics can be seen prominently in every area of the Mansion; for example, there are numerous pieces sitting upon the mantelpieces, hung on the walls, and adorning all the flat surfaces in the museum.

This collection was started in 1881 by the Billings in their former estate, with both Frederick and Julia actively involved in purchasing. These dinnerware and display pieces were mostly purchased from New York retailers and importers, including those of Louis Lanthier, Black, Starr & Frost, Vantine’s, and J.B. Woolley (1). , Henry Hudson, one of the major renovators of the Mansion, is quoted as saying, “Ceramics were the most avidly collected objects during the aesthetic movement, a rare piece of China upon the wall is often more effective than many ornaments or pictures.” (2) The aesthetic movement emphasized the use of Asian, Indian, and Middle Eastern patterned ceramics, but the Billings seem to purposefully collect mainly Chinese ceramic patterns associated with the natural world (3).

This aesthetic collection was then moved and expanded upon in the Mansion when succeeded by Mary and Laurence Rockefeller who continued collecting similar Chinese ceramics. The Rockefellers however collect different time periods, patterns and style, often expanding the collection to include more artifacts showcasing the mid-century modern style. This article will give an overview of some of the major categories of ceramics found in the Mansion, highlight a special interest piece, and showcase a conservation effort made for the collection.

Major Types

Blue-and-White Ceramics

Prominently displayed in the Dining Room are blue underglaze porcelain, dating between the 1600s-1800s, which were collected by the Billings Family. Porcelain is made with a two white mineral powder (kaolin and alabaster) combined in a paste, painted with blue glaze, and then fired at high heat. Most of the porcelain on the Mansion walls is made in a Chinese Fenshui style, popularized in the Kangxi reign (1662-1722) and later copied in Japan. To the viewer, this under glazing creates an effect similar to an ink painting (4).

Fredrick Billings greatly valued his set of blue-and-white Chinese chargers especially, praising them in his diary as being “so very fine” (5). This room seems to be purposefully curated to have a visual effect with the blue-and-white contrasting the dark wood of the room. Also emphasizing the scenes of nature and people within nature echo the larger themes of environmental stewardship at the park. Some of the main symbols with clear Chinese meanings that repeat in the room are the symbols of the four seasons with butterflies and lotuses for summer, tree peony for spring, chrysanthemum for autumn, and prunus trees for winter (6). These repeated symbols seem to be purposeful because Julia specifically mentions the purchase of a Vase depicting Hawthorn, a pattern of prunus, for the dining room (7). For more practical everyday use, the Billings collected blue-and-white British sets such as the Brown-Westhead set which can be seen displayed on the table. The Rockefellers continue to display the blue-and-white collection seemingly in it’s original placement and enhance it with purposeful drapery and reupholstering of chairs to match the colors of the collection, but they also collected ceramics with different Chinese symbolism.

Mason’s Ironstone

The Rockefellers transition the largely blue-and-white room to include red, prominently with their set of 200 Mason’s Ironstone dinnerware displayed on the Dining Room side table. This set was made between 1802-1820 in England and inherited by Laurance Rockefeller from his father John D. Rockefeller Jr. in the 1960s (8). Although these look similar to the porcelain on the walls, this is a type of earthenware (or clay-based pottery). Contrary to the name, no Ironstone was used in formulation, but instead the name was chosen to imply strength. The patterns are transfer printed to imitate finer hand painted porcelain from China or Japan (9). In order to steal some of the importation market, British pottery of this time period imitated the coloring and motifs of Chinese and Japanese ceramics. It is interesting the Rockefellers chose to prominently display these pieces, as opposed to the Billings who chose to eat on similar pieces. This set emphasizes more man-made structures with natural scenes, as opposed to the Billings ceramics which are solely focused on nature.

Famille Rose

Moving through the hallway of the Mansion and popping up throughout, like the flowers they are named after, are 18-19th century Chinese “Famille Rose” or “pink family” ceramics with images of flowers, birds, and insects adorning. These seemingly were collected by the Billings family, but prominently displayed by Theodore Muller, a decorator under the Rockefellers who reduced and rearranged many of the Billing’s ceramic collection (which included retrofitting many of the vases into lamps around the Mansion!) (10). All of these have imagery of flowers, animals, insects, and people in a garden perhaps chosen to draw comparisons with the gardens around the property. Created in the Qing Dynasty, this type of ceramic overtook the previously popular Blue-and-White porcelain market and is recognizable by its pink to deep ruby colored enamel harkening to its western name. The “Famille Rose” and “Famille Verte” were sold at the same time and have similar coloring, but the “Famille Rose” has more pink pattern overall. In the collection, there are both the original Chinese manufactured wares and later English adaptations.

Sang de Boeuf

In the Prayer Room, in stark contrast to the other highly decorated ceramics, there are four Sang de Boeuf porcelain miniature vases framing the fireplace that were manufactured in China from 1736-1795 perfectly complimenting the wood. Sang de Boef, or “ox blood,” is a specific glazing method using copper oxide fired in an atmosphere without oxygen to create the deep red effect of the glaze. Although originally collected by the Billings, this display was made by Theodore Muller (11). As opposed to Billing’s curation of the blue-and-white being the opposite colors, these single-color glazed miniature porcelain pieces can be seen throughout the Mansion in Muller displays often complimenting and blending into the wood or exactly matching the colors of other décor. These glazing methods become popular again during the Mid-Century Modern era (12), which make the pieces the perfect middleman from the Aesthetic to Mid-Century modern decoration styles.

Stoneware

Echoing the beauty of nature, on two tables in the Parlor sit a stoneware tray and bowl. Designed after Mid-Century Modern (1945-1970) decor, stoneware was made with muted color palettes and displays glazing methods common to this design. Although they stick out from the Victorian style furnishings, the pieces exemplify the history of land stewardship. Near the end of this mid-century modern movement, this tray displayed was made by Nancy Wickham Boyd in 1978. Mirroring the Billings journey she moved from New York to Vermont remarking, “Vermont is a magical world, almost everybody in New York dreams ideally of getting to the country” (13). Boyd established the “Vermont Workshop” and specialized in pottery that showed an idealized sense of nature. On the other table is another stoneware bowl, made in 1980 by Mary Montagu Billings French Moore (putting her nickname “Muffy” on the bottom of the bowl), and is casted in a similar style as seen in this type of Mid-Century Modern design. Perhaps this member of the family made it purposefully to look like Boyd’s? Bought by the Rockefellers and incredibly different from the other ceramic artifacts, this stoneware tray and bowl still show an appreciation for nature.

Individual Highlight

Chargers

A set of three massive 17th century Famille Verte chargers line the staircase depicting a familiar appreciation of nature (14). Each charger has a central medallion that depict ten female figures who are shown to be playing different games like “go”, which is similar to the western game of checkers. With eight “petal” panels extruding out from the medallion, the art details people within nature. In between the petals are floral scenes with butterflies, which often symbolize summer and young love (15). These chargers, much like the other ceramics, continue the theme of natural symbolism.

Looking closely at the non-nature symbolism one can see some of Laurence Rockefellers personality shine through. Laurence Rockefeller selected these from the estate of Martha Baird Rockefeller in the 1970s. In two rings surrounding the central medallion and external pedals are geometric designs and paintings of the “hundred antiquities” (bǎigǔtú 百古圖) with the central ring representing a sub-group eight symbols of the Pa-pao or “eight precious objects”, which are Buddhist symbols (16). Taking all the symbolism together and Laurence Rockefeller’s specific interest in Buddhism, one would think it may add up to a larger story, but it is unclear if any specific myth is being referenced. The “petal panels” have been noted as a common type, but with our combination of symbols these pieces become truly unique (17).

Pottery was clearly of importance to both the Billings and Rockefeller families. The variety of pottery in the collection is more than one article can capture, but today one can see through historic lenses their adoration for these truly unique artifacts.

“We are sitting in the Library—Our Satyama vases look rich & rare;” (Julia Parmly Billings to Fredrick Billings, 25 January 1882)

Conservation Cap

Marsh-Billings-Rockefeller National Historical Park focuses on the history of conservation and stewardship at the park. Conservation Cap shows an example of a unique current conservation treatment done on an artifact from the curatorial team!

Sitting happily, conserved on the mantelpiece of “Dear Aunt’s Room”, or Elizabeth Billing’s Bedroom located on the second floor of the Mansion, is a set of peach vases that were conserved in 2013. The sides of the vases that are shown here, depict a Swiss Chalet and Chapel, but oddly seem to be of French origin. Theodore Muller replicated a trend called garniture, a home décor style from the 17th-19th century, where matching sets were used to decorate surfaces (18). Often Sèvres pottery was used and we have other examples of this type in the collection, but this set is unclear if it is indeed genuine Sèvres. It does have some typical gilding and looks similar to the Swiss scenes painted in the “Tableaux de la Suisse” series of transferred images (19). On the reverse of the imagery is ivy leaves, which also decorate the wallpaper all around the room. With the ivy and travel imagery, these artifacts may have been placed in the room for the longest inhabitant Elizabeth Billings who loved her travels and famous for her herbarium.

These particular vases have a little secret, which was the cause of conservation. For unknown reasons, the square bases can be separated from the bell-shaped containers by a small screw. Overtime, this screw’s metal needed to be treated to ensure the safety of the artifact. The screws exist in other alike pieces, but we can still only speculate why they come apart.

Works Cited

1. Susan Porter, Susan Walton, and Erica Donnis, Historic Furnishings Report, vol. 1, The Mansion: Historical Data Marsh-Billings-Rockefeller National Historical Park Woodstock, Vermont (Porter/Miller Ink, 2013), 369.

2. Susan Porter, Susan Walton, and Erica Donnis, Historic Furnishings Report, vol. 1, The Mansion: Historical Data Marsh-Billings-Rockefeller National Historical Park Woodstock, Vermont (Porter/Miller Ink, 2013), 369.

3. Susan Porter, Susan Walton, and Erica Donnis, Historic Furnishings Report, vol. 1, The Mansion: Historical Data Marsh-Billings-Rockefeller National Historical Park Woodstock, Vermont (Porter/Miller Ink, 2013), 348.

4. Kelun, Chen. Chinese porcelain: Art, elegance, and appreciation. (Long River Press, 2004), 83.

5. Susan Porter, Susan Walton, and Erica Donnis, Historic Furnishings Report, vol. 1, The Mansion: Historical Data Marsh-Billings-Rockefeller National Historical Park Woodstock, Vermont (Porter/Miller Ink, 2013), 369.

6. Williams, Charles Alfred Speed. Chinese Symbolism and Art Motifs Fourth Revised Edition: A Comprehensive Handbook on Symbolism in Chinese Art Through the Ages. United States (Tuttle Publishing, 2012), 200.

7. Williams, Charles Alfred Speed. Chinese Symbolism and Art Motifs Fourth Revised Edition: A Comprehensive Handbook on Symbolism in Chinese Art Through the Ages. United States (Tuttle Publishing, 2012), 320.

8. Susan Porter, Susan Walton, and Erica Donnis, Historic Furnishings Report, vol. 1, The Mansion: Historical Data Marsh-Billings-Rockefeller National Historical Park Woodstock, Vermont (Porter/Miller Ink, 2013), 408.

9. Blacker, James F. Nineteenth-century English ceramic art. (Little, Brown, 1911), 194.

10. Susan Porter, Susan Walton, and Erica Donnis, Historic Furnishings Report, vol. 1, The Mansion: Historical Data Marsh-Billings-Rockefeller National Historical Park Woodstock, Vermont (Porter/Miller Ink, 2013), 407.

11. Susan Porter, Susan Walton, and Erica Donnis, Historic Furnishings Report, vol. 1, The Mansion: Historical Data Marsh-Billings-Rockefeller National Historical Park Woodstock, Vermont (Porter/Miller Ink, 2013), 490.

12. Dietsch, Deborah. Classic Modern: midcentury modern at home (Simon and Schuster, 2000), 41.

13. Shapiro, Mark. O Pioneers! Women Ceramic Artists 1925-1960 : 10 September-20 November 2015. United States. (Alfred Ceramic Art Museum at Alfred University, 2015). 38.

14. Susan Porter, Susan Walton, and Erica Donnis, Historic Furnishings Report, vol. 1, The Mansion: Historical Data Marsh-Billings-Rockefeller National Historical Park Woodstock, Vermont (Porter/Miller Ink, 2013), 509.

15. Williams, Charles Alfred Speed. Chinese Symbolism and Art Motifs Fourth Revised Edition: A Comprehensive Handbook on Symbolism in Chinese Art Through the Ages. United States (Tuttle Publishing, 2012), 76.

16. Williams, Charles Alfred Speed. Chinese Symbolism and Art Motifs Fourth Revised Edition: A Comprehensive Handbook on Symbolism in Chinese Art Through the Ages. United States (Tuttle Publishing, 2012), 230.

17. Hobson, Robert Lockhart. The Later Ceramic Wares of China: Being the Blue and White, Famille Verte, Famille Rose, Monochromes, Etc., of the Kʻang Hsi, Yung Chêng, Chʻien Lung and Other Periods of the Chʻing Dynasty. E. Benn, limited, 1925, 34.

18. Susan Porter, Susan Walton, and Erica Donnis, Historic Furnishings Report, vol. 1, The Mansion: Historical Data Marsh-Billings-Rockefeller National Historical Park Woodstock, Vermont (Porter/Miller Ink, 2013), 513.

19. French, Manufactory Sèvres Manufactory. “Sèvres Manufactory: Lac de Lugano (from the Service Des Vues Suisses): French, Sèvres.” The Metropolitan Museum of Art, January 1, 1970. https://www.metmuseum.org/art/collection/search/231960.