Sikota Győző: Herendi porcelán (Budapest, 1970)
Idegen nyelvű összefoglalók
of fancy articles) were universally acclaimed at every world exhibition. Alexander Humboldt, the great scientist of his age and an expert in porcelain wrote in 1857 to Fischer in terms of utmost admiration about the Chinese imitations of his factory. The models were certainly of Chinese origin, but the gorgeous decoration often represented the flowers and birds of the Bakony forests and meads. While adopting and imitating, Herend is creating always something new. This is the source of the great triumphs at the various world exhibitions. Here are only the most important first prizes: London, 1851 "Prize Medal”; Paris, 1855 Médaille Ire Classe; London, 1862 "Honoris Causa”-Medal; Vienna, 1873 “Fortschrittmedaille"; gold medals at St. Petersburg, 1901, St. Louis, 1904, Torino, 1911, Philadelphia, 1935. Budapest, 1940, Brussels, 1958. The most important was the first world exhibition in the London Crystal Palace (1851), for it was the first international acknowledgment of Herend’s technical and artistic ambitions beyond the frontiers of the country. “The Stranger’s Adviser” writes about the exquisite style and the fine taste of the beautiful vases, services, tea and coffee sets exhibited by Móric Fischer (Herend near Veszprém, Hungary). At this exhibition Queen Victoria ordered a service designed under Chinese influence, with butterflies and a floral pattern, which— under the name of “Queen Victoria Service”—is still one of the most popular Herend patterns. The good reputation of the factory was established by the world exhibitions, which gave always more impetus to production. The grave economical consequences of the big crash in Vienna, 1873, was painfully felt by Hungarian industry too. In order to survive the critical times, Fischer’s sons tried to persuade their father to introduce a more lucrative way of production, but he held tight to the high artistic standard. In 1876 they took possession of the factory. It was the end of the heroic age in Herend's history, characterized by frequent financial crises, worldwide triumphs and the constant seeking of something new. Fischer's sons tried to restore the financial equilibrium by simplifying the decorations and by producing less expensive articles, but they failed. In both the artistic and economical respect the factory began to decline. Several joint-stock companies were founded. Although the old rival Wiener Porzellan-Manufaktur had ceased to exist for 20 years, the rapidly developing Czech porcelain factories with abundant sources of raw material were hard competitors for Herend within the common customs area. After 1896 till the foundation of the Herend Porcelain Factory Co. in our century, the factory was owned by Jenő Farkasházy, a grandson of Móric Fischer. He continued to produce old models, carefully selected for perfection of style. At the turn of the century some fine pieces and “pâte sur pâte” decorations achieved great success in Paris and St. Petersburg. The new joint-stock company established in 1923 brought about a new upswing. Systematic production, general modernization of technique, expansion of the world market and a new artistic program, worthy of old traditions, marked the new period. Ever since the factory was founded, porcelain statuettes were but sporadically made, but now Herend plastic art was introduced. Mainly Hungarian subjects as interpreted by eminent sculptors were chosen. From the first decades of the 20th century Herend produced small copies of well-known statues standing in public places, such as the “Horseherd” by György Vastagh, “The Hussar looking at his sword” by Zsigmond Kisfaludy Strobl, or “Farewell” by János Pásztor. Typical figures of Hungarian life were represented by these works. Figures of Hungarian folk tales and others have also inspired the artists: Tom Thumb, Matyi the Gooseherd, Madame Déry, the famous actress. Nude compositions, such as “Amazon on horseback” by Éva B. Löte, and “Woman Combing her Hair” by Elek Lux also achieved outstanding success. The bird and animal figures constitute a fine part of the factory’s small sculpture. Most ot them distinguish themselves by plastic expression and pastel-like tint. The recently started small sculpture, still trying to find always new and new ways of expression, is a fine completion to Herend’s art. It harmonizes in style and conception with the approach to vessel and decoration which has laid the foundation of Herend’s world-wide reputation in the middle of the last century. After having survived the economical crises, Herend found itself in a period of prosperity which manifested itself in every sector of its life. The participation at
