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A Concise Guide to Caldas' Ceramics

Edgar Vigário

January 2015

Abstract

In the first half of the 19th century emerged in Caldas da Rainha an authored ceramics mostly done for decorative purposes. In this article are

listed some of the masters craftsmen and manufacturers that produced and developed this type of ceramics having as goal the construction of

a small guide to help in the identification of their work.

Figure 1: Tureen and decorative detail; glazed clay; Caldas da Rainha; 16th or 17th century; © Matriz Net.

Index

Introduction 1

Maria dos Cacos (1797 - 1853) 2

António Sousa Liso (1810 - 1862) 2

Manuel Cipriano Gomes Mafra (1829 - 1905) 3

José Francisco de Sousa (1835 - 1907) 4

Rafael Bordalo Pinheiro (1846 - 1905) 4

Francisco Gomes de Avelar (1850 - 1918) 5

José Alves Cunha (1853 - 1901) 6

António Moreira da Câmara (1854 - 1933) 6

António Alves da Cunha (1856 - 1941) 7

João Coelho César (1858 - 1905) 7

Herculano Elias (1864 - 1939) 8

Eduardo Augusto Mafra (1865 - 1926) 8

Adelino Soares de Oliveira (1866 - 1935) 8

Manuel Gustavo Bordalo Pinheiro (1867 - 1920) 9

Francisco Elias (1869 - 1937) 9

Avelino António Soares Belo (1872 - 1927) 10

António Augusto da Costa Motta (Sobrinho) (1877 - 1956) 10

João Duarte Angélico (1878 - 1926) 11

Eduardo Mafra Elias (1880 - 1940) 11

Germano Luís da Silva (1890 - 1957) 11

Atelier Cerâmico (1892 - 1896) 11

Francisco Frazão (1906 - 1978) 12

Afonso Duarte Angélico (1912 - 1977) 12

Álvaro José (? - 2006) 12

Aires Constantino Leal (?) 13

Faianças Artísticas Bordalo Pinheiro, Lda. (1920 - nowadays) 13

Fábrica Belo (1927 - 1962) 13

Fábrica SECLA (1947 - 2008) 13

Bibliography 14

Appendix A - Marks 16

Introduction

Caldas da Rainha has a tradition on pottery that dates from the last quarter of the 15th century shortly after its hospital was

built. The preference that court and nobility had devoted to it, especially during plagues outbreaks in Lisbon, attracted to the

region many artisans and among them some potters which production were mainly destined to satisfy the hospital needs.

Although this tradition it was only in the first half of the nineteenth century that emerged a ceramics type mostly done with

decorative purposes.

This production made by small industries of artisanal type that employed a reduced number of people1 generally with familiar

links, was primarily destined to be sold in markets all over the country and directed by masters craftsmen and/or

manufacturers that frequently put its author’s stamp. It also had the support of the Portuguese Royal House specially from D.

1 Generally between 5 or 7 with the exception of Manuel Mafra that in 1881 employed 15 workers.

2

Fernando II that collaborated in the manufacture of some pieces as commented by the Marquis of Vallada on his eulogy: "... The

August Prince have spent some time in Caldas da Rainha where he felt the desire to learn how to paint in dishware, and, being

pleased with the experience, made a collection of one hundred ornate objects, among them, dishes, vessels and plates ... ".

Figure 2: D. Fernando de Saxe-Coburgo-Gotha; Fábrica de Manuel Cipriano Gomes "Mafra"; © Matriz Net. a) Dish; faience; 1881; height: 1.2 cm,

diam.: 19 cm. b) Dish; faience; 1882; diam.: 30.5 cm. c) Dish; faience; 1882; height: 2.5 cm, diam.: 21.4 cm.

Maria dos Cacos (1797 - 1853)

The movement was driven by the Caldas’ potter, Maria dos Cacos, whose workshop worked under her direction between 1820

and 1853. Born in 1797 with the name of Maria Póstuma2 she was the daughter and granddaughter of potters but instead be a

potter, a profession at that time essentially masculine, she dedicate to the distribution selling the production of her pottery in

the markets all over the country.

Figure 3: Oficina de Maria dos Cacos; © Matriz Net. a) Toothpick box; glazed red clay; attributed; 1820 - 1853; height: 15 cm. b) Bottle with a

woman's shape; glazed red clay; attributed; 1820 - 1853; height: 22.6 cm. c) Bottle with a woman's shape; glazed red clay; Maria dos Cacos;

1820 - 1853; height: 30 cm. d) Toothpick box with a monkey's shape; faience; Maria dos Cacos; 1820 - 1853; height: 19.3 cm. e) Candlestick;

glazed red clay; Maria dos Cacos; 1853; height: 13.5 cm.

Recent studies done by João Serra estimate that already in the decade of 1820 she employed 15 to 16 workers, a considerable

number for the region that was only attained by the factory of Manuel Cipriano Gomes Mafra in the 1881's Industrial Census.

In fact, it was in her workshop that in 1850 Manuel Mafra started to work as a servant.

António Sousa Liso (1810 - ?)

One of the first Caldas' ceramists he founded in 1855 the factory that was transferred to José Francisco de Sousa in 1860.

2 Due to her father be already death in the time of her birth.

3

Figure 4: Inkstand; glazed clay; António Sousa Liso; 1855 - 1860; height: 22 cm; © BestNet auctioneers.

Manuel Cipriano Gomes Mafra (1829 - 1905)

In 1853, Manuel Cipriano Gomes becomes the owner of Maria dos Cacos' pottery adopting as Christian name, the county of his

origin, Mafra3. For that he was helped by his wife Maria José and his sisters Mariana da Conceição Gomes and Luísa Gomes

whom became specialists in the technics of verguinha4. Later, in 1860, he starts a new workshop in Praça Dona Maria Pia5,

signing his production pieces first with the initials MCM and afterward with the marks M.C.G., MCGM and M.

MAFRA/CALDAS/PORTUGAL plus an anchor. After 1870, D. Fernando II gives to Mafra's workshop the title of Royal Supplier

and the authorization to add on its mark the royal crown, originating the mark M. MAFRA/CALDAS/PORTUGAL with a crown.

Figure 5: Manuel Cipriano Gomes Mafra; Fábrica de Manuel Cipriano Gomes Mafra; © Matriz Net. a) Plate; glazed white clay; 1860; height: 3.7

cm, width: 32.4 cm. b) Jar; glazed red clay; 1870 - 1887; height: 32.3 cm. c) Toothpick box; glazed clay; 1850 - 1870; height: 13 cm. d) Canjirão;

faience; 1870 - 1887; height: 34.7 cm.

Strongly inspired by the Renaissance man Bernard Palissy, he followed Palissy's style and added to their traditional elements

the moss. In fact, taking advantage from the relation he had with the Portuguese king which put at his disposition the personal

collection and probably oriented him in the trending designs, the ceramist was always stimulated by foreign models reaching

3 Manuel Cipriano Gomes was the son of a red clay potter born in Saibreira nearby Mafra. 4 A technique probably inspired in the Wedgwood's late 18th century production that was introduced in Caldas da Rainha at Mafra's workshop.

This tradition was perserved in Fábrica Belo during the decades of 1930 and 1940 by a worker named América. 5 Named as Fábrica de Louças das Caldas de Manuel Cypriano Gomes Mafra

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the national and international reconnaissance as in the International Exposition of Vienna in 1873 where he was awarded with

an honor medal or in the International Exposition of Paris in 1878 and Rio de Janeiro in 1879 both awarded with silver medals.

Possibly due to the lack of the crown's support the factory starts to decline in 18856 and in 1887 the direction was taken by his

son Eduardo Mafra that started to sign the pieces as M.MAFRA FILHO/CALDAS/PORTUGAL (crown). The factory stays for a

short time until 1890 where its stock and molds were auctioned and bought by several ceramists being after reproduced by

them7. In 1897 Mafra opens a new factory but without achieving the first's one success.

José Francisco de Sousa (1835 - 1907)

Another ceramist strongly moved by the work of Palissy started his activity in 1860 on an workshop acquired to the ceramist

António de Sousa Liso. Distinguished by the huge diversity of the glazes used, in 1893 Sousa made a society with his sons and

the workshop was renamed José Francisco de Sousa & Filhos. Due to the death of his oldest son in 1903 he started a new

society with the other son, Salvador Fausto de Sousa, and António Moreira da Câmara named José Francisco de Sousa Filho &

Câmara that lasted until 1907 having in 1906 purchased some of the molds that had belonged to Atelier Cerâmico.

Figure 6: Fábrica de José Francisco de Sousa; © Matriz Net. a) Jar; white clay; José Francisco de Sousa; 1863 - 1890; height: 21.8 cm. b)

Toothpick box; glazed red clay; José Francisco de Sousa; 1860 - 1893; height: 23 cm. c) Dish; glazed red clay; José Francisco de Sousa; 1860 -

1893; height: 10.5 cm; diam: 37 cm. d) Container; glazed red clay; José Francisco de Sousa Filho; 1903 - 1907; height: 39 cm. e) Sugar box;

glazed clay; José Francisco de Sousa Filho; 1903 - 1907; height: 10.9 cm.

After 1907 another society driven by his son Salvador begun whose production adopted and renewed Sousa's artistic models,

however, although his recognized ability due to economic difficulties Salvador was forced in 1923 to sold the factory to Manuel

Rodrigues Cristino and their contents to other local manufactures.

Rafael Bordalo Pinheiro (1846 - 1905)

Born in an artistic milieu he starts to work as a cartoonist and during his life never stops to publish books, articles and satirical

cartoons. In this way, when he started the production of ceramics already had a good graphical experience8. After his

apprenticeship, first in the factory of Sacavém and later at the workshop of Francisco Gomes Avelar, builds with his brother the

Fábrica de Faianças das Caldas da Rainha (FFCR) and stays as its artistic director more or less twenty years.

The factory was organized in accordance with three production lines, the manufacture of building materials, artistic ceramics

and dishware, being the second line concluded in July 1885. Bordalo laid down the conditions for the workers to copy his

models and the production of artistic ceramics started in the same year. Recognized as a school factory before 1887, only the

concession of a loan by the Portuguese administration prevented the factory's bankruptcy in 1889. It also permitted the

participation at the Universal Exposition in Paris, where the factory took the gold and silver medals in the faience’s category. In

the following year the artistic direction was transferred to Bordalo's son, Manuel Gustavo Bordalo Pinheiro.

6 The year of D. Fernando's death. 7 This transfer of molds between different factories greatly contributes to prevent a reliable paternity attribution of the unmarked pieces. 8 This experience combined with the diversity of enamels applied and the originality of his molding gave him notoriety being his work

influenced by very different styles such as the Realism, Renaissance, Manuelino and Orientalism.

5

Figure 7: Rafael Bordalo Pinheiro; Fábrica de Faiança das Caldas da Rainha; © Matriz Net. a) Busto "Pae Paulino"; glazed white clay; 1893;

height: 41 cm. b) Dish; glazed white clay; 1897; height: 2 cm, diam.: 15 cm. c) Dish with lobster; glazed white clay;1900; height: 15 cm, diam.:

46 cm. d) Mísula; glazed red and white clay; 1903 - 1907; height: 43 cm. e) Tiles; glazed red clay; 1905; 14 x 14 cm (each).

Francisco Gomes de Avelar (1850-1918)

Avelar's workshop was built in 1875 and stayed in activity during 22 years being his work mostly recognized due to the

employment of cobalt oxide in the recreation of Sevres' blue and the quality of the enamels.

Figure 8: Francisco Gomes de Avelar; Fábrica de Francisco Gomes d'Avelar; © Matriz Net. a) Tile; glazed red clay; 1875 - 1897; 14 x 14 cm

(each). b) Tea service with snakes; faience; 1875 - 1897. c) Dish D. Maria Pia; faience; 1875 - 1897; height: 5.5 cm; diam.: 38.5 cm.

Located in what is nowadays the Largo de João de Deus the workshop had José Domingos de Oliveira nicknamed o Carneirinho

as its artistic director9 and the most qualified workers of the time like António Assis Madeira in the sculpture, Francisco

Pereira Caldas on the wheel and Luiza Mafra in the making of verguinha. Awarded in several expositions, it was also the Caldas'

place where Rafael Bordalo Pinheiro done experiences with clays and enamels.

9 Which had his own workshop between 1897 and 1902.

6

José Alves Cunha (1853 - 1901)

Another follower of Palissy's work that was also internationally recognized in several expositions with medals and honored

mentions built his workshop in 1860 to produce pieces very similar to the ones done by Mafra. After his death in 1901 the

daughter Henriqueta Ceselina Cunha and her husband, Ângelo Marcelino Garcia, renamed the factory as José Alves Cunha

Sucessor and maintained the production until 1910 when Ângelo died. Following this date, Henriqueta and some of the

workers established the society José Alves Cunha Sucessores, Lda. having purchased in 1916 to Godinho Leal molds of the

FFCR. This new society stayed in activity until the late 1980's.

Figure 9: Fábrica de José Alves Cunha; © Matriz Net. a) Figurative group; glazed red clay; José Alves Cunha; 1895; height: 20 cm. b) Dish; glazed

white clay; José Alves Cunha; 1862 - 1901; height: 9.5 cm; diam.: 29.3 cm. c) Figura de engoço "O Vira"; glazed red clay; 1913; height: 20 cm. d)

Container; glazed white clay; José Alves Cunha; 1862 - 1901; height: 36.3 cm. e) Dish; glazed white clay; 1913; height: 7.5 cm; diam.: 32.5 cm. f)

Toothpick box; glazed clay; 1912; height: 8.5 cm.

António Moreira da Câmara (1854 - 1933)

Figure 10: Centerpiece Adónis e o Javali; Fábrica de António Moreira da Câmara; late 19th century; height: 54.5 cm; © Pereira Sampaio.

In 1893 he established a partnership with José Francisco Sousa and in 1896 he rented to him the factory founded by António

da Sousa Liso. Between 1903 and 1907 he made a new partnership with Sousa and a son of Sousa entitled José Francisco de

Sousa Filho & Câmara having after that worked in a workshop located in the neighborhood of Águas Santas to produce like the

others Caldas' factories small souvenir items and pottery objects.

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António Alves da Cunha (1856 - 1941)

Specialist in the production of handmade clay flowers he was born in a family of potters and drove his workshop between

1890 and 1925 following the naturalist inspiration trend initialized by Mafra and using some of Mafra's molds. With a

production of high quality he employed an elevate number of workers but in 1925 due to a economic crisis the factory was

passed to João Arroja10.

Figure 11: António Alves da Cunha; Fábrica de António Alves da Cunha; 1902 - 1925; © Matriz Net. a) Jar; glazed red clay; height: 33 cm. b)

Box; glazed white clay; height: 11.3 cm. c) Decorative lizard; glazed white clay; height: 10 cm. d) Sculpture of a rooster; white clay; height: 39

cm.

According to the 1926's newspaper Gazeta das Caldas the city had several factories: Fábrica Bordalo Pinheiro, Lda. located

nearby the Parque das Faianças; Francisco Elias in Rua Tenente Sangreman Henriques; José Alves da Cunha, Sucessores, Lda.

and Salvador F. Souza in Rua Cândido dos Reis; Avelino Soares Belo, José Soares Belo and João Duarte Angélico in Rua da

Liberdade; Eduardo Mafra Elias in Rua Sebastião de Lima; João Arroja in Rua Miguel Bombarda; Herculano Serra in Largo da

Copa. The same newspaper also stands out among others the ceramists: Francisco Elias recognized as a miniaturist which

work had a quality which was better to be done in silver or gold than in clay; Avelino Belo as the most qualified; the two

masters of Fábrica Bordalo Pinheiro, José Carlos dos Santos and Acelino de Carvalho; Eduardo Mafra Elias with valuable items

of religious inspiration.

João Coelho César (1858 - 1905)

Figure 12: Fruit bowl; glazed red clay; João Coelho César; 1876 - 1902; height: 13 cm; diam.: 26 cm; © Matriz Net.

Between 1876 and 1902 César had a mist production of common ware and artistic items that were made in a small pottery of

familiar type in the nowadays Rua Heróis da Grande Guerra and sold in a shop at the actual Largo Frederico Pinto Basto.

10 In fact Arroja could be seen as Cunha's successor due to his production be mostly based in the molds of António Alves da

Cunha.

8

Herculano Elias (1864 - 1939)

Herculano Elias done his professional apprenticeship in the FFCR under the artistic direction of Rafael Bordalo Pinheiro where

he had the functions of molding, glass painting and the production of creamware. Following his departure from the factory he

established an workshop having used after 1900 molds and materials that had belong to the factory of Manuel Cipriano Gomes

Mafra.

Figure 13: Herculano Elias; Fábrica de Herculano Elias. a) Dish; glazed red clay; 1884 - 1939; height: 4 cm; diam.: 34 cm; © Matriz Net. b) Altar

jars; glazed white clay; 1884 - 1939; height: 15 cm; © Best Net auctioneers.

Most of his work are pieces of small dimension such as toothpicks, ashtrays and cups that were sold in markets and shops. His

brother, Francisco Elias, and his homonymous grandson were also recognized miniaturists.

Eduardo Augusto Mafra (1865 - 1926)

He becomes the director of his father, Manuel Cipriano Gomes Mafra, factory in 1887 keeping the privilege of being a royal

supplier and to use the crown in his mark.

Figure 14: Eduardo Augusto Mafra; Fábrica de Manuel Cipriano Gomes Mafra; Jar; glazed white clay; 1887 - 1890; height: 38 cm; © Matriz Net.

Although his generally recognized that he also produced pieces with a elevate artistic level his commitment to social and

political live11 possibly interfered in the factory's management and in 1894 it was transferred to Augusto Baptista de Carvalho.

Adelino Soares de Oliveira (1866 - 1935)

Between 1886 and 1892 Adelino Soares Oliveira nicknamed o Adelino dos Burros was a student of Bordalo Pinheiro in Fábrica

de Faiança das Caldas da Rainha. When he left the factory started a workshop of familiar type that stayed in activity until 1920

producing mostly items in red clay without enamels.

11 He was the mayor of Caldas between 1897 and 1898.

9

Figure 15: a) Ewer with snakes; red clay; attributed to Adelino Soares de Oliveira; 1892 - 1920; © Matriz Net. b) Water container; red clay;

Adelino Soares de Oliveira; 1892 - 1920; height: 21 cm, diam.: 22 cm; © Matriz Net.

Manuel Gustavo Bordalo Pinheiro (1867 - 1920)

In 1905, after his father death, Gustavo took the complete direction of FFCR but in 1907 the factory bankrupted and was sold in

auction. In the following year he founded a new factory, first named Fábrica de San Rafael, later Fábrica Bordalo Pinheiro Lda.,

for which, with the help of a legal dispute, he was able to transfer the molds and the pieces that had belonged to his father. T

his new factory was characterized by the alliance between the traditional models and the stylistics tendencies of Art Nouveau,

staying nowadays in activity under the designation of Faianças Artísticas Bordalo Pinheiro, Lda.

Figure 16: Manuel Gustavo Bordalo Pinheiro; ; Fábrica Bordalo Pinheiro; © Matriz Net. a) Dish; glazed red clay; 1908 - 1922; diam.: 19 cm. b)

Sculpture "O milagre da bilha"; glazed white and red clay; 1912; height: 49 cm. c) Dish; glazed red clay; 1908 - 1920; height: 3 cm, diam: 26.5.

d) Dish; glazed clay; 1908 - 1916; diam: 27.5. e) Inkstand; glazed white clay; Fábrica de Faianças das Caldas da Rainha; 1916; height: 18.1 cm.

Francisco Elias (1869 - 1937)

Figure 17: Franscisco Elias; © Matriz Net. a) Arcade; white clay; early 20th century; height: 52 cm. b) Miniature "Os Bêbados" over the 1907's

painting of José Malhoa; white clay; 1922; height: 5 cm.

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Francisco Elias dos Santos was a recognized miniaturist modeler and decorator that is regarded as the most capable disciple of

Rafael Bordalo Pinheiro. His aptitude started early and like Avelino Belo take part in the sculpting of the more qualified pieces

that FCCR produced such as the figures of Christ's penitence. In fact, it was during the elaboration of a model for this work

when he discover the vocation for miniature, a vocation that made he left the factory in 1916 to made a exclusive career in

miniature where he put his mark as for the quality as for the amount of his production with the most diversified subjects.

Avelino António Soares Belo (1872-1927)

With only thirteen years he and Francisco Elias were the principal sculptors working for Rafael Bordalo Pinheiro at FCCR

sharing the sculpting of the most difficult pieces such as the figures of Christ's penitence in Buçaco and Beethoven's Jar. Due to

his strong character Belo never forgive Bordalo the omission of his and Francisco Elias names at the Brazilian presentation of

the jar and left FCCR in 1888 to start a joint venture with the Viscount of Sacavém at Atelier Cerâmico.

Figure 18: Avelino Soares Belo; Fábrica de Avelino António Soares Belo; © Matriz Net. a) Flask; terracotta; 1898; height: 25.5 cm. b) Corbel;

glazed white clay; 1899; height: 42 cm. c) Pluck figure, caricature of Rafael Bordalo Pinheiro; red clay; 1899 - 1927; height: 22 cm. d) Pluck

figure, caricature of Visconde de Sacavém; red clay; 1899 - 1927; height: 16.3 cm.

After one year and half he also left the Atelier allegedly due to questions related with the division of profits. With only the help

of his recent wife establishes a workshop where he was able to full fit all the production's process being in 1900 the only

Portuguese that received a medal in Paris. This workshop prospered and in 1904 he built a shop in Caldas for selling its

products. After Belo's death in 1927, his son, José Avelino Soares Belo, modernized the factory that stayed in activity until 1962

under the designation of Fábrica Belo.

António Augusto Costa Motta (Sobrinho) (1877 - 1956)

Figure 19: António Augusto Costa Motta (Sobrinho); Fábrica de Faianças das Caldas da Rainha; © Matriz Net. a) Jar; glazed red clay; 1908 -

1916; height: 27 cm. b) Tiles' panel; glazed white clay; 1908 - 1916; 30.5 x 30.5 cm. c) Jar; glazed red clay; 1912; height: 31 cm. d) Bust;

terracotta; 1908; height: 30 cm.

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After the auctioneer of the FCCR following the death of Rafael Bordalo Pinheiro and its buying by Manuel Godinho Leal the

sculptor António Augusto da Costa Motta (Sobrinho) stayed as artistic director from 1908 until 1916. With an exquisite taste

and being a faithful follower of Art Nouveau that received several medals in international exhibitions the sculptor revealed as a

precursor in design’s innovation with the introduction of new models and textures being some of his molds reproduced by

other factories such as the Fábrica José Alves Cunha Sucessores, Lda.

João Duarte Angélico (1878 - 1926)

The father of Afonso Duarte Angélico drove a small workshop of familiar type that after his death was handled by his son.

Figure 20: João Duarte Angélico. a) Dish; glazed red clay; late 19th century; diam.: 26 cm; b) Aquamil; late 19th century; © BestNet

Auctioneers. c) A pair of boars; faience; 1906 - 1926; height: 22cm; © The saleroom.

Eduardo Mafra Elias (1880-1949)

Eduardo Mafra Elias made his apprenticeship in the potteries of his father, António Elias dos Santos, and uncle, Herculano

Elias, during eight years and in 1896 becomes a modeler at the factory of José Alves Cunha, Sucessores, where he stays during

12 years as modeler and other seven as the factory artistic director. Finally in 1917 he dedicate exclusively to miniature with a

preponderance of religious subjects a production which gets him the general recognition and the awarding of medals and

honored mentions.

Figure 21: Eduardo Mafra Elias. a) Sculpture Nazaré; white clay; early 20th century; © Invaluable. b) Sculpture Nossa Senhora da Conceição;

white clay; height: 15.5 cm; © The Saleroom.

Germano Luís da Silva (1890 - 1957)

An apprentice of Bordalo Pinheiro that have started his own workshop in unknown date. In a 1926's newspaper Gazeta das

Caldas he appears listed as a ceramist being know other reference to his workshop activity in 1938.

Atelier Cerâmico (1892-1896)

Located in the Viscount of Sacavém's propriety, where nowadays is the Museu da Cerâmica, was a small workshop built by the

Viscount with the purpose of producing artistic pieces and architectonic elements to ornate the palace's facades. It was

12

directed by the Austrian sculptor, Joseph Füller12, and counted with the collaboration of ceramists like Avelino Belo. In 1896 it

was closed and transferred to Lisbon to accomplish the same purpose, but this time for the Viscount’s palace in the capital

being active until 1899.

Figure 22: Atelier Cerâmico. a) Guitar; faience; 1892 - 1896; © Matriz Net. b) Dish; glazed white clay; Joseph Füller; 1892 - 1896; height: 9 cm,

diam.: 40 cm; © Matriz Net. c) Bust; glazed red clay; Joseph Füller; 1892 - 1896; height: 48.5 cm; © Matriz Net.

Francisco Frazão (1906 - 1978)

Figure 23: a) Small dish with chetnuts; glazed clay; Germano Luís da Silva; © Mercado Antigo. b) Small dish with fishes; glazed clay; Germano

Luís da Silva; © Mercado Antigo. c) Decorative plate with fruits; faience; Francisco Frazão; 24 x 21 cm; © Mercado Antigo. d) Bull head; faience;

Francisco Frazão.

He learn his office at the workshop of Avelino Soares Belo circa 1920 and in 1930 he built his own workshop.

Afonso Duarte Angélico (1912-1977)

At the age of twelve he obtained the note 16/20 in sculpting at the Industrial School Rafael Bordalo Pinheiro and in 1926 after

the death of his father13 started to direct the family's workshop with the help of his mother. He is taken as a creative

professional, with a good understanding of the techniques needed for the different production phases. Always open to

innovations and new ideas, in 1958 gave assistance to Luís Ferreira da Silva when the ceramist left the factory SECLA after a

disagreement with the owner.

Álvaro José (died 2006)

In 1946 he inherited from his grandfather the family's workshop. Staying always faithful to the traditional style he was able to

profit of the eighties' ceramics boom to developed his business.

12 Josef Füller was born in 1861 and became to Portugal to teach first in Tomar and later in Lisbon where he published a book entitled the

Manual do Formador e Educador before entering the Atelier Cerâmico. He also moved to Lisbon when the workshop closed in Caldas and after

the closing of Lisbon he returned to education to teach Desenho Ornamental e Modelação in the Escola Industrial Afonso Domingos. 13 The ceramist João Duarte Angélico.

13

Figure 24: a) Jar; faience; Afonso Angélico; 1926 - 1970; height: 21 cm; © Mercado Antigo. b) Plate with a cabbage's sheet shape; glazed white

clay; Afonso Angélico; 1926 - 1970. c) Small dish with olives; faience; Aires C. Leal. d) Sculpture "Fiado! Toma"; faience; Álvaro José.

Aires Constantino Leal (?)

With more or less ten workers he have started a workshop in 1910 to manufacture artistic dishes and small pieces such as

toothpick holders with the shape of animals. Circa 1930 the production was drastically increased and the factory become one

of the biggest in the region.

Faianças Artísticas Bordalo Pinheiro, Lda. (1920-nowadays)

Still in activity, its artistic production is mainly based in the legacy of Rafael and Gustavo Bordalo Pinheiro as the factory’s

website strongly suggest. In fact, after the 1920's death of Gustavo, the factory workers and a group of Caldas citizens

purchased the Fábrica Bordalo Pinheiro Lda. and its artistic inheritance becoming legally able to reproduce when they want

the Bordalo's models. Nowadays, after a financial crisis in 2008, the factory belongs to a private group that have also show the

intention of innovate establishing partnerships with Portuguese and foreign designers.

Fábrica Belo (1927-1962)

Figure 25: a) Basket; glazed white clay; José Avelino Soares Belo; Fábrica Belo; 1930 - 1950; © Matriz Net. b) Fluted jar; glazed clay; José

Avelino Soares Belo; Fábrica Belo; 1930 - 1950. c) Small cup; faience; Fábrica Belo; 1950 - 1960.

Seen as a specialist in oil painting, glazes and terracotta, José Avelino Soares Belo, the son of Avelino Soares Belo founded his

own workshop in 1920 at the age of 27. After his father death, he returned and modernized the family's workshop maintaining

however the production of his father's models.

Being successful in the commercialization of products he follows the innovations that Fábrica SECLA had brought during the

fifties and also developed modern decorations in accordance with the new tendencies of post-war ceramics.

Fábrica SECLA (1947-2008)

Founded in 1947, the factory was built in a time of economic growth with the purpose of providing the international market,

specially the North American, whose commercial orders the small industries of familiar type were unable to satisfy. It was an

innovative plant capable of allying the traditional style with the imperatives of a modern industry with the innovations done in

the production line, with the substitution of the wood stoves first by electrical and later by gas and the adoption of a feldspar

14

paste for tableware. The traditional forms were also stylized and new ones were introduced, becoming to be used an atypical

color palette in the decoration.

Figure 26: Fábrica SECLA. a) Saucer; 1947 - 1950. b) Fruit bowl; 1960 - 1970. c) Medal from the first Feira Nacional da Cerâmica; Francisco

Furriel; 1979. d) Jar; Hansi Staël; 1950 - 1957. e) Ornate dish from "Motivos Portugueses"; stoneware; Hansi Staël. f) Plate; glazed clay; Luís

Ferreira da Silva; 1960 - 1967. g) Jar "Touro"; glazed red and black clay; José Aurélio1960; height: 32 cm; © Matriz Net.

In the beginnings of the fifties was created the Estúdio SECLA an art studio that was managed until 1959 by Hansi Staël which

had among others the collaboration of invited artists such as Júlio Pomar, Alice Jorge, Thomaz de Mello, Martins Correia or

Jorge Vieira. In fact, the Hungarian artist, that came to Portugal after the 2nd World War has done a cultural breakthrough in the

factory, directing its production to new designing concepts. From her collaboration in the industrial production, stands out the

series Motivos Portugueses that was developed between 1953 and 1957 portraying scenes from the quotidian existence of

Nazaré and rural areas in the neighborhoods of Caldas da Rainha.

After her departure the studio becomes directed the sculptor José Aurélio and the ceramist Luís Ferreira da Silva, the previous

responsible of the painting section between 1954 and 1957, starts in 1960 another atelier, dedicated to the experimentation

with refractory clays and surplus, named “O Curral”. Ferreira da Silva had several passages in the factory, working with Hansi

Staël in the initial period of her collaboration, was the Curral director between 1960 and 1967 after an interregnum of almost

two years when he worked in the workshop of Afonso Duarte Angélico.

Bibliography

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doutoramento; http://repositorio.ul.pt/handle/10451/11311; 2014.

Natacha Narciso; Investigador revela que Maria dos Cacos foi a primeira empresária da cerâmica caldense; Gazeta das Caldas,

22 de Junho de 2016; http://gazetacaldas.com/cultura/investigador-revela-maria-dos-cacos-primeira-empresaria-da-

ceramica-caldense/; 2016.

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http://www.citi.pt/cultura/artes_plasticas/caricatura/Bordalo_pinheiro/fabric.html; visited in January 2015.

15

Cristina Ramos Horta; A Cerâmica de Manuel Gustavo Bordalo Pinheiro: Inovação e Continuidade (1884-1905); coord. ed.

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http://museudaceramica-exppermanente.blogspot.pt/; visitada em janeiro 2015.

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16

Appendix A - Marks

António Sousa Liso Fábrica de António Sousa Liso 1855 - 1860

Manuel Cipriano Gomes Fábrica de Manuel Cipriano Gomes "Mafra" 1864

Manuel Cipriano Gomes "Mafra" Fábrica de Manuel Cipriano Gomes "Mafra" 1860 - 1870 1860 - 1870

Manuel Cipriano Gomes Mafra Fábrica de Manuel Cipriano Gomes "Mafra" 1870 - 1887 1888

José Francisco de Sousa Fábrica de José Francisco de Sousa 1860 - 1903

José Francisco de Sousa Filho Fábrica de José Francisco de Sousa Filho 1903 - 1907

Rafael Bordalo Pinheiro Fabrica Faianças das Caldas da Rainha 1890 1897

Rafael Bordalo Pinheiro Fabrica Faianças das Caldas da Rainha 1897 1905

Francisco Gomes de Avellar Fábrica de Francisco Gomes de Avellar 1875 - 1899

José Alves Cunha Fábrica de José Alves Cunha 1862 - 1901

José Alves Cunha Sucessor Fábrica de José Alves Cunha Sucessor 1901 - 1910

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Salvador Cunha Fábrica de José Alves Cunha Sucessores 1913

António Moreira da Câmara Fábrica de António Moreira da Câmara ?

António Alves Cunha Fábrica de António Alves Cunha 1902 - 1925

João Coelho César Fábrica de João Coelho César 1876 - 1902

Herculano Elias Fábrica de Herculano Elias 1900 - 1939

Eduardo Augusto Mafra Fábrica de Manuel Cipriano Gomes "Mafra" 1887 - 1890

Manuel Gustavo Bordalo Pinheiro Fabrica Faianças das Caldas da Rainha 1906

Adelino Soares de Oliveira Fábrica de Adelino Soares de Oliveira 1892 - 1920

Manuel Gustavo Bordalo Pinheiro (monograma) Fabrica Faianças das Caldas da Rainha 1908 - 1920

Manuel Gustavo Bordalo Pinheiro Fabrica Bordalo Pinheiro 1908 - 1920

Avelino António Soares Belo Fábrica de Avelino António Soares Belo 1898 1906 - 1927

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António Augusto Costa Motta (Sobrinho) Fábrica de Faianças das Caldas da Rainha 1908 - 1916 1912

João Duarte Angélico Fábrica de João Duarte Angélico 1906 - 1926

Germano Luís Silva Fábrica de Germano Luís Silva 1926 - ?

Josef Füller Atelier Cerâmico 1892 - 1896

Francisco Frazão Fábrica de Francisco Frazão 1930 - ? Afonso Angélico Fábrica de Afonso Angélico 1926 - 1970

José Avelino Soares Belo Fábrica Belo 1930 - 1950

Fábrica SECLA 1947 - 2008 1960 - 1967

Hansi Staël Fábrica SECLA 1950 - 1957