THE BEGINNING OF THE STORY
Thomas Hulm said Hall, acquired the Faïencerie de Gien in 1821. Hall chose the former Minimes convent founded in 1490 by Anne de Beaujeu to settle there. Indeed, the building is on the banks of the Loire, an ideal way to transport goods and its proximity to the forest of Orléans provides it with the necessary wood supply to operate the ovens. The region is also rich in silica pebbles which are an integral part of the recipe.
THE STEADY ACTIONS OF THE MASTERS
Each object passes through the hands of no less than 30 craftsmen, many of whom perpetuate actions initiated 200 years ago. Today they are 80 out of 130 people working in the factory. "Our master faienciers are decorated with the National Order of Arts and Letters. They constantly seek to magnify the material" specifies the CEO Yves de Talhouet.
From workshop to workshop, from hand to hand, it is an orchestration of precise and attentive gestures that composes the final object. The dough, which is deaerated, turns into "mud sausages" or dilutes into a slip. Plaster molds, designed from a mother mold, sculpted by a modeler, take out the "raw pieces, before drying. A first firing of 18 hours at 1045 ° C in the tunnel ovens gives the biscuit. It is done. groom in order to remove the slightest roughness then in an ultra fast gesture he sees himself caught and plunged into an enamel bath, before a second firing of 27 hours up to 1045 ° C. Afterwards, towards the colors workshop, before a last firing revealing them and giving them a particular intensity.The process is the same for dishes and plates, except that molding is replaced by stamping, the plates taking their shape by pressing.
HAND PAINTED PARTS
30 people for the Decoration Workshop, the most important of the Faiencerie. Several techniques are used but they are all done by hand. Whether it is the one called chromolitography which consists of applying a decoir on a bowl by transfer, or the freehand execution of monochrome nets bordering the plates. The "hand painted" is reserved for more complex pieces and decorations - Italian Renaissance collections, Dominotés, Peonies - which are produced in several stages. Linocut is the first. Hundreds of copper plates of engraved goddesses have been classified since 121. Inked, they deposit their drawings on tissue paper. They are then cut and affixed to the part. The painters come with their brush to deposit the different colors, inculcating them with modeling, playing with light and shadows. Each creation is signed with his initials by the craftsman. They can increase the interest of the piece among collectors, all unique.
A MANUFACTURE OPEN TO ARTISTS
"It is perhaps this very special bond with the artists that best defines the Gien factory" Yves de Talhouet insists on this characteristic which makes it a creative earthenware. These different collaborations write, in hollow, the history of the decorative arts. Gien, with a rare openness, associated with the artists of his time, and this is more than ever true today.
800,000 is the number of pieces produced by hand each year
3000 stores around the world
40% of turnover from exports
50 active collections in the Gien catalog
8000 plates and 1200 drawings digitized in a database
4000 preserved molds and 5000 engraved copper plates
EVENTS OF 200 YEARS ANNIVERSARY
- Reeditions that mark great periods of the Faiencerie de Gien, in the form of decorative pieces
- White cards to artistic and creative personalities who are fashionable today, with a desire to create surprises!
- The Inauguration of the new Faiencerie Museum in Gien, a museum with a special dimension because it is already part of the manufacture, linked to production, with 200 years of history. The visitor will be immersed inside the factory
- Numerous partnerships with 3,000 shops and resellers around the world and actions within the manufacture are also expected.
Visiit the website Faiencerie de Gien