This inkstand and bottle (C.54 -2015) were made by Samson & Cie., Paris, about 1870- 90, when many European ceramic manufacturers were taking inspiration from highly prized antique Islamic wares. Samson & Cie. was established in 1845 by Edmé Samson in Paris. The intention of the firm was to reproduce ceramics from museums and private collections, and it claimed that all such reproductions would be distinctly marked to avoid confusion with the originals. In 1864 the factory was moved to Montreuil by Samson's son, Emile Samson. The range of wares included copies of 18th-century porcelain from such factories as Sèvres, Meissen and Derby, Chinese export-wares, Delftware, maiolica and faience. The factory is known to have referenced historic ceramics in exhibitions, publications and a number of collections, including those of the South Kensington Museum.
From the 1860s there was a resurgence of interest in the Islamic world, particularly for ceramics, and by 1873, C. Drury E. Fortnum had written the first catalogue of 'Maiolica, Hispano- Moresco, Persian, Damascus and Rhodian Wares in the South Kensington Museum'. In 1870, the Art Journal reported ‘the imitations . . . of the various kinds of pottery classed as Persian, which have issued lately from the manufactories of Minton in England and Collinot and Deck in France, have done much to popularise this beautiful ware.’ Museums and collectors were acquiring both the historic and new contemporary examples.
The shapes and designs of this bottle and inkstand are both based on Iranian ceramics, interpretations and amalgamations of models rather than true copies. The bottle derives from 17th-century Iranian bottles which are usually moulded and monochrome e.g. 1339A-1876. The inkwell is based on a candlestick form, usually made from inlaid brass, dating from 12th century onwards. The design has incorporated a star shaped tile for the base. The colour scheme of black under turquoise on both references so-called ‘silhouette wares’ of the late-12th to early-13th century, e.g.C.461-1928. Interestingly, contrary to the factory’s claims, these pieces are marked with a pseudo Islamic symbol no doubt to enhance the authenticity.