By the 19th century, Limoges was so popular in Victorian England that so-called Limoges ware was being made in Worcester. But this sort of cross-fertilization was not the mere plagiarism that it might at first seem. Indeed, Limoges factories also borrowed freely from their influencers. In the 19th century, for example, Limoges potteries copied the styles and patterns produced by Japanese and Indian makers; much of this “Oriental” Limoges ware was made for the new U.S. market.

In the Edwardian era, when dainty gilded tea sets were a common Limoges product, a similar homage was paid to Meissen, Sèvres, and Viennese porcelain makers, whose 18th-century vases were routinely produced by Limoges factories for their high-end customers. Some Limoges pieces featured copies of famous paintings by J.M.W. Turner on their sides. Later, in the 20th century, the Japanese porcelain manufacturer Noritake would base many of its designs on those made by companies based in Limoges a century earlier.

One group of Limoges pieces that are more particular to Limoges are the blanks that, in the 1800s, were sent to the U.S. to be decorated by members of amateur china-painting guilds. Painters in these guilds would typically follow the instruction manuals and patterns that came with the unfinished plates and vases. These pieces are not especially collectible today, but many are lovely, which means a handsome collection can be put together rather inexpensively.

Finally there were the Limoges bonbonnières, or small porcelain boxes in which women would keep strong sweets eaten to disguise bad breath. Antique Limoges bonbonnières from the 19th century are quite collectible, and they made a reputation for Limoges firms. That’s probably one reason why in postwar France, just about every gift shop catering to tourists did a respectable business selling novelty Limoges miniatures. Today these dollhouse size porcelain pianos, beds, tables, and chairs make charming collectibles.

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