ware was made in seven colours: blue, lilac, pink, sage-green,
olive-green, black, and yellow. Specimens of this last colour are very
rare.
[Illustration: WEDGWOOD BLUE AND WHITE JASPER VASE.
_In Museum at Etruria._]
“Future ages may view the productions of the age of George III.
with the same veneration that we now behold those of Alexander
and Augustus,” writes Wedgwood of his cameo portraits, with fine
enthusiasm.
[Illustration:
_Reproduced by kind permission of Messrs. Wedgwood & Sons._
WEDGWOOD PLAQUE (designed by Flaxman).
L’ENTENTE CORDIALE.
Mercury uniting the hands of England and France.]
Having dealt with the biographic side of Wedgwood ware, and of the
genius of the great Josiah Wedgwood, and having enumerated the various
classes of ware originated by him, we come now to the consideration of
his classic wares, of which the wonderful replica of the Portland Vase
stands as the most notable example.
[Illustration: THE BARBERINI OR PORTLAND VASE.
(Copied by Josiah Wedgwood.)
_In British Museum._]
In passing, we mention the celebrated service of Wedgwood made for the
Empress Catherine II. of Russia, which took eight years to complete.
It consisted of 952 pieces, of which the cost was about £3,000. This
splendid service had upwards of 1,200 views of the seats of noblemen
and gentlemen in various parts of England. A large service for Queen
Charlotte of views in black enamel of palaces and seats of the nobility
took three years to execute.
To his celebrated “Jasper” ware, Wedgwood devoted immense and
never-ending skill to bring it to its final perfection.
The use to which he put this jasper is well illustrated in his series
of beautiful portrait medallions. We reproduce a design of a plaque
by Flaxman, representing the hands of France and England being joined
together by the god Mercury.
Wedgwood was enabled, by the patronage of noblemen who possessed fine
classic examples and gladly lent them to the great potter, to copy
some of the finest specimens of the old art of the Greeks. He was thus
enabled to produce the celebrated “Dancing Nymphs” and the “Head of
Medusa” from Sir William Hamilton’s collection; and to other great
collections he was similarly indebted.
In 1787, the collection of the Duchess of Portland came under the
hammer. The sale included the celebrated Barberini Vase, which was dug
up by order of the Pope Barberini, named Urban VIII., about the first
quarter of the seventeenth century. This urn contained the ashes of the
Roman Emperor Alexander Severus and his mother, and had been deposited
in the earth about the year 235 A.D.
The body of this vase, now known as the Portland Vase, which was
composed of glass, is a rich dark blue, approaching black. The
snow-white figures which appear on it are in bas-relief. It is a
magnificent example of ancient art.
At the sale above alluded to, the Duke of Portland and Wedgwood were
contesting hotly for possession of the vase. The price had reached a
thousand guineas. At this moment the Duke, crossing to Wedgwood, asked
him why he wished to possess the vase, to which the potter replied that
he was desirous of copying it. The Duke immediately offered the loan of
the piece, and the vase was thus knocked down to the Duke of Portland,
and Wedgwood borrowed it from the owner for a twelvemonth.
The subsequent history of the vase is interesting. The Duke of
Portland, as one of the trustees of the British Museum, allowed it to
be exhibited there. In 1845 a fanatic dashed this priceless gem to
pieces with a stone. Owing to the defective state of the law he escaped
with a very slight punishment. But so great a sensation did the affair
cause that an Act was at once passed by Parliament making similar
offences punishable by terms of imprisonment. The pieces of the vase
were skilfully joined, but the fractures are still visible, as will
be seen from our illustration. It is now in the “Gold medals room” of
the British Museum, and by its side is one of the fifty copies which
Wedgwood made for subscribers at fifty guineas apiece. The vase itself
once changed hands for eighteen hundred guineas, and one of Wedgwood’s
copies fetched two hundred and fifteen guineas in 1892.
The body used for this vase was black jasper, a body used on but three
other occasions. The figures on it were worked up and cut to the utmost
degree of sharpness and finish, by the seal and gem engraver—a striking
piece of reproduction. The original moulds are still in existence, and
Messrs. Wedgwood still produce copies both in black and in a deep blue
ground. But the price is in shillings and not in guineas nowadays.
Among the various catalogues issued by Wedgwood, some were issued in
Dutch and in French. There is one, dated 1775, which contains a perfect
little essay to the possible buyer of his ware. From the point of view
of the potter and artist, he gives reasons for the genuine work of art
costing more money than an unworthy and feeble imitation.
Wedgwood writes so simply and naturally that it is worth the perusal
of all who love china for china’s sake, to ponder over what the master
potter says:—
“The proprietors of this manufactory hope it will appear to all those
who may have been pleased to attend to its progress, that ever since
its establishment it has been continually _improving_ both in the
variety and in the perfection of its productions.
“A competition for _cheapness_, and not for _excellence of
workmanship_, is the most frequent and certain cause of the rapid decay
and entire destruction of arts and manufactures.
“The desire of selling much in a little time without respect to the
_taste_ or _quality_ of the goods, leads manufacturers and merchants to
ruin the reputation of the articles which they manufacture and deal in;
and whilst those who buy, for the sake of a fallacious saving, prefer
mediocrity to excellence, it will be impossible for manufacturers
either to improve or keep up the quality of their works.
“This observation is equally applicable to manufacturers and to the
productions of the Fine Arts; but the degradation is more fatal to the
latter than the former, for though an ordinary piece of goods, for
common use, is always dearer than the best of the kind, yet an ordinary
and tasteless piece of ornament is not only _dear_ at any price, but
absolutely _useless_ and _ridiculous_.
“All works of art must bear a price in proportion to the skill, the
taste, the time, the expense, and the risk attending the invention and
the execution of them. Those pieces that for these reasons bear the
highest price and, which those who are not accustomed to consider the
real difficulty and expense of making _fine things_ are apt to call
_dear_, are, when justly estimated, the _cheapest_ articles that can be
purchased; and such as are generally attended with much less profit to
the artist than those that everybody calls _cheap_.
“There is another mistake that gentlemen who are not acquainted with
the particular difficulties of an art are apt to fall into. They
frequently observe that a handsome thing may be made as cheap as an
ugly one. A moment’s reflection would rectify this opinion.
“The most successful artists know that they can turn out ten ugly and
defective things for one that is beautiful and perfect in its kind.
Even suppose the artist has the true idea of the kind of beauty at
which he aims, how many lame and unsuccessful efforts does he make in
his design, and every part of it, before he can please himself? And
suppose one piece is well-composed and tolerably finished, as in vases
and encaustic paintings, for instance, where every succeeding vase, and
every picture, is made not in a mould or by a stamp, but separately
by the hand, with the same attention and diligence as the first, how
difficult must it be to preserve the beauty of the first model.
“It is so difficult that without the constant attention of the master’s
eye, such variations are frequently made in the form and taste of the
work, even while the model is before the workman, as totally to change
and degrade the character of the piece.
“_Beautiful forms_ and _compositions_ are not to be made by chance; and
they never were made nor can be made in any kind at a small expense;
but the proprietors of this manufactory have the satisfaction of
knowing, by a careful comparison, that the prices of many of their
ornaments are _much lower_, and of all of them as _low_ as those of
any other ornamental works in Europe, of equal quality and bisqué,
notwithstanding the high price of labour in England, and they are
determined rather to give up the making of any article than to degrade
it. They do not manufacture for those who estimate works of ornament
by their _magnitude_, and who would buy pictures at _so much a
foot_. They have been happy in the encouragement and support of many
illustrious persons who judge of the works of Art by better principles;
and so long as they have the honour of being thus patronised, they
will endeavour to support and improve the quality and taste of their
manufactures.”
Such were Wedgwood’s ideals, and he raised the making of pottery
in England into a fine art. The inscription on his monument at
Stoke-upon-Trent shows the esteem with which his contemporaries held
him.
Sacred to the Memory of
JOSIAH WEDGWOOD, F.R.S. & S.A.,
Of Etruria, in this County,
Born in August, 1730, died January 3rd, 1795,
Who converted a rude and inconsiderable manufacture
into an elegant art and an important
part of national Commerce.
By these services to his country he acquired an
ample fortune,
Which he blamelessly and reasonably enjoyed,
And generously dispensed for the reward of merit
and the relief of misfortune.
His mind was inventive and original, yet perfectly
sober and well regulated;
His character was decisive and commanding, without
rashness or arrogance;
His probity was inflexible, his kindness unwearied;
His manners simple and dignified, and the cheerfulness
of his temper was the natural reward of the
activity of his pure and useful life.
He was most loved by those who knew him best,
And he has left indelible impressions of affection
and veneration on the minds of his family, who
have erected this monument to his memory.
The marks used by the Wedgwoods have been few. It is usually the
name Wedgwood, occurring in various sized type from time to time. In
passing, we may say that the manufacture of china was never attempted
by the great Josiah. _His work was earthenware and not porcelain._ But
some of it had many of the qualities of china, the more delicate ware
being nearly semi-transparent, as is china. About the year 1808, and
only for a few years, was china made at Etruria, and then not to any
extent; consequently specimens are very scarce. The mark on this china
is the name WEDGWOOD in small capitals printed in red or blue.
[Illustration]
On all other wares the name WEDGWOOD is impressed, in some specimens in
large capitals, in others in small capitals, WEDGWOOD.
Sometimes, though rarely, the name occurs in ordinary type, Wedgwood.
On other pieces the name occurs thus:—
WEDGWOOD
ETRURIA.
During the period when Bentley was associated with Etruria the
following were impressed:—
WEDGWOOD
& BENTLEY.
or
Wedgwood
& Bentley.
The general mark used during this period was a circular one, the
letters on which were raised and not sunk as in the others.
The marks WEDGWOOD & CO., or simply the word WEDGEWOOD, are both
spurious, and were used by Messrs. William Smith and others of
Stockton, against whom the firm at Etruria obtained an injunction
restraining the imitators from using the name “Wedgwood,” or
“Wedgewood” with an additional _e_. This was in 1848.
Of the varying vicissitudes of the Wedgwoods since the days of the
great Josiah, we have had no space to allude. But it is sufficient
proof that he laid a very sure foundation to a fine business, inasmuch
as the firm is in flourishing condition at the present day, and from
1870 have made splendid porcelain.
His Queen’s ware, which he made for the Queen Consort of George III.,
was the prototype of the ordinary dinner ware of to-day. We reproduce
a quaint old Wedgwood teapot with queer design upon it, representing
the mill to grind old folks young.
It is a far cry from Queen Charlotte to President Roosevelt, but it is
surely a singular record of a great firm that the Wedgwoods made the
new service of china to be used on State occasions at the White House.
The design has been copyrighted, thus ensuring its exclusive use. It
is of simple gold pattern, bearing the great seal of the United States
enamelled in colours upon it. The set consists of over a thousand
pieces, and was ready early last year.
In the conclusion of the journey round the china shelf in this series
of “Chats,” the writer trusts that they have stimulated the interest of
the readers in their old china and have helped to solve certain dark
riddles, and to give pedigree to “family jars.”
[Illustration: OLD WEDGWOOD TEAPOT.
The Mill to grind Old Folks young.]
SALE PRICES.
WHIELDON. £ s. d.
Box and cover, formed as a melon.
Sotheby, February 24, 1902 3 0 0
Teapot and cover, hexagonal in shape,
with Chinese figures in panels, the
whole decorated in translucent
colours. Sotheby, February 24, 1902 5 15 0
Group, “Summer Arbour,” with two
seated ladies, top surmounted by a
bird, unusual colour. Edwards, Son &
Bigwood, Birmingham, May 13, 1902 28 0 0
Group, small, two figures, “The Lovers,”
rare colours. Edwards, Son & Bigwood,
Birmingham, May 13, 1902 11 10 0
Diamond-shaped teapot and cover,
painted with buildings, figures, and
scale ornament in brilliant green
and lake; and a pair of double
sauce-boats, painted with figures
and flowers in blue in the Chinese
taste. Christie, January 12, 1903 17 17 0
WEDGWOOD.
Bust, black basalt, nearly life size, David
Garrick. Christie, February 4, 1902 37 16 0
Cabaret, blue jasper, with reliefs of
Nymphs and Cupids, consisting of
teapot and cover, two basins, cup
and saucer and oval plateau; and a
black basalt copy of a lamp.
Christie, February 4, 1902 6 6 0
Chatelaines, three old English cut steel
and seven ditto clasps, set with blue
and white Wedgwood plaques, in
oval frame. Christie, February 4,
1902 81 18 0
Pendants and clasps, nine, cut steel,
set with Wedgwood plaques, with
Nymphs and Cupids; and one other
piece. Christie, February 4, 1902 36 15 0
Plaque, oblong, blue jasper, with figures
sacrificing at an altar, festoons of
flowers above, 4-1/2 in. by 10-1/2 in., in
gilt frame. Christie, February 4,
1902 8 18 6
Portrait medallions, eight, of Addison,
Hon. W. Hastings, &c., in octagonal
frame, and eight smaller plaques
with classical subjects. Christie,
February 4, 1902 71 8 0
Teapot and cover, light blue jasper
ground, with white relief subjects.
Sotheby, February 24, 1902 4 4 0
Vase, of classical design, the front
ornamented with a group of Cupids
dancing, in relief; Wedgwood & Bentley.
Sotheby, February 24, 1902 15 10 0
Vases and covers, pair, two-handled, light
blue and white, with raised figures
and other emblems, representing
Music and Dancing, having mask-head
handles, 18 in. high. Alexander,
Daniel & Co., Bristol, May 7, 1902 13 0 0
Vase, the Portland, or Barberini, a fine
example, and one of the earliest, in a
dark slate-blue body, the reliefs
harmonising in tone with the field,
on revolving stand, with metal tripod,
mirror, &c. Christie, June 11, 1902 399 0 0
Vase and pedestal, the vase of granulated
ground, with reliefs of Flaxman’s
Muses, leafage, &c., scroll handles,
a figure of Pegasus on cover; the
pedestal of square form, fluted, with
reliefs of the Four Seasons; vase
15 in., pedestal 8-3/4 in. high. Christie,
June 11, 1902 33 12 0
Vase, on triangular base, supported by
three Atlas figures, reliefs of arabesque
scroll, festoons, &c., figure of
Cupid on cover, 13 in. high. Christie,
June 11, 1902 63 0 0
Medallions, three, Venus and Adonis,
and Cupid riding upon a swan;
black ground, white relief; Wedgwood
& Bentley. Christie, June 11,
1902 54 12 0
Medallion, large oval tri-coloured: The
Triumph of Achilles at Troy, green
ground, border on black. Christie,
June 11, 1902 24 3 0
Portraits or Heads of Illustrious Moderns.
Portraits, framed singly:—Hippocrates
and Terence, Wedgwood
& Bentley, metal frames;
Frederick the Great, Wedgwood &
Bentley; and Prince Charles Stuart,
metal frames; Marie Antoinette,
Prince Paul of Russia, and Mrs. Barbauld,
one Wedgwood & Bentley,
metal frames; Inigo Jones, black
basalt, high relief, and Alexander,
an early terra-cotta portrait, in
colour; Joseph II., and Dr. Benjamin
Franklin, in white biscuit; Sir
Isaac Newton, Admiral Keppel, and
a male portrait, looking left, in white
jasper, &c., one Wedgwood & Bentley;
General Eliott (Lord Heathfield),
circular, white, and J. P. Elers,
in a copper-lustred frame; Joseph
Priestley, Unitarian Minister, a portrait,
in glazed pottery, and Dr. Black, in
blue and white. Christie, June 11,
1902[3] 1,500 0 0
Figures, pair, large black. Foster,
December 23, 1902 19 8 6
Teapot and cover, sage-green, and basin,
with groups of classical figures,
Nymphs, Cupids, and foliage in
relief. Christie, December, 1902 16 5 6
Vase and cover, oviform, blue jasper,
decorated with rams’ heads in relief,
and cameo figured panels, on
plinth, 13-1/2 in. Foster, November
27, 1902 7 10 0
Vase and cover, campana-shaped, blue
jasper, with a frieze of Cupids
sacrificing, masks, laurel-branches,
and a wreath of vines under the lip;
on octagonal-shaped pedestal, with
figures of griffons at the corners,
with classical frieze, 20 in. high.
Christie, July 10, 1903 210 0 0
Wedgwood lustre ware wall ornament,
in shape of a nautilus shell and a
lustre plate, both marked. Sotheby,
May 17, 1920 10 10 0
Black and white jasper copy of the
Portland vase, numbered 60, 10-1/2 in.
high, on bronze stand, with hoof feet,
and marble pedestal with mirror top.
Sotheby, May 17, 1920 21 0 0
Black basalt bust of Newton, on circular
pedestal, 12 in. high; another,
of the same, 6-1/4 in. high; and a bust
of Seneca, 10-1/4 in. high. Sotheby,
May 17, 1920 5 5 0
Blue and white jasper copy of the Portland
vase, 10-3/4 in. high. Sotheby,
May 17, 1920 3 3 0
Dessert service, modelled as leaves, outlined
with green, and with gilt borders,
comprising an oval centre dish
and stand, two sauce tureens, covers
and stands, a sauce ladle, twelve
dishes in four shapes, and twelve
plates, impressed mark, 33 pieces.
Puttick & Simpson, July 9, 1920 8 18 6
Blue jasper oval jardinière, decorated
with acanthus foliage and honeysuckle
ornament, 10 in. wide; and
a figure of Britannia, 9-1/2 in. high,
on gilt-wood plinth. Christie, July
12, 1920 8 8 0
Three blue jasper candlesticks, with
figures of Nymphs holding cornucopia-shaped
nozzles, 10 in. and 10-1/2 in. high.
Christie, July 12, 1920 8 8 0
Blue jasper oval plaque, by Wedgwood
and Bentley, 11-1/4 in. by 8 in.; and
three smaller ditto, with Bacchanalian
and amatory trophies in relief.
Christie, July 12, 1920 50 8 0
Two blue jasper plaques, with Muses
in relief, 5 in. by 7 in., in metal-gilt
frames; a plaque, with Hebe, by
Wedgwood and Bentley; and two
others. Christie, July 12, 1920 12 12 0
Oval blue jasper plaque, with the Infant
Academy, in gilt frame; an oblong
plaque, with the Marriage of Cupid
and Psyche, 5-3/4 in. by 8-1/2 in.; and a
circular plaque, with Cupid sharpening
his arrow. Christie, July 12, 1920 19 19 0
[Illustration:
_Designed by Lady Diana Beauclerk._
_By kind permission of Mr. F. Rathbone._
WEDGWOOD PLAQUE. THE YOUNG PAN.]
FOOTNOTES:
[3] This collection of portraits, by Josiah Wedgwood, is undoubtedly
the most important one ever gathered together. Many are unique—all are
of interest, as faithful _facsimiles_ in a permanent material that
cannot be affected by time or climate.
INDEX
Abbey and Graham, “Herculaneum” (Liverpool), 200
Absolon, potter, Yarmouth, 200
Allen, Robert (Lowestoft), 117
America, clay from, used at—
Bow, 51
Plymouth, 92
“Amherst, Japan,” as a mark, 182
Anchor as a mark—
Bow, 54
Caughley, 137
Chelsea, 34, 35
Liverpool, 241
Venice, 30
Worcester, 73
Angoulême sprig pattern imitated by Derby, 22
Arms, coats of, on china—
Lowestoft, 115
Oriental china, 115, 120
Aubrey, Lady, designs on Derby painted by, 12
“B” as a mark, 53
“B. A. E.,” initials on Liverpool bowl, 246
“Ballades in Blue China,” quoted, 4
Bamboo ware (Wedgwood), 257
Banks, Sir Joseph—
friend of Cookworthy, 92
letter concerning Billingsley and Walker, 169
Barberini Vase (Wedgwood), 260, 261, 263
Basaltes (Wedgwood), 256
Bath, Camden Place, view on Worcester vase, 80
Batons, crossed, as a mark, 7
Battersea, 29
printing, Horace Walpole on, 240
Baxter (painter), Swansea, 172
“B B” as a mark, 182
Beauclerk, Lady Diana, design for Wedgwood plaque, 277
Beddoes (painter), Swansea, 174
Bee and goats jug—
Bow, 62, 63
Chelsea, 35
Bellarmine—mugs thus named (Low Countries), 197
“Benbow, Francis,” name on Caughley mug, 137
Bentley, Thomas, partner with Wedgwood, 253
Bethnal Green Museum—
Minton majolica fountain at, 186
pieces reproduced from collection at—
Bow, 49, 50
Chelsea, 29
Crown Derby, 3
Plymouth, 91
Spode, 152
Staffordshire delft mug, 206
Wedgwood Puzzle-jug, 212
Worcester, 80 (removed to Victoria and Albert Museum)
Billingsley, flower painter, 140, 165
at Nantgarw, 169
at Swansea, 170
Bird (as a mark), Liverpool, 241
Biscuit, definition of, xxiii
Biscuit ware (Derby), 21
Biscuit, white porcelain (Wedgwood), 257
Bloor, Robert (Derby), 15
Bloor Derby—
illustrations of—
tea-pot, v
vase, 17
marks, 16
Sale Prices, 24
Blue dragon, introduced at Caughley, 138
Blue-printed table service, the first made in England, 138
Bone-ash porcelain, definition of, xxv
Bone, Henry (Plymouth), 94
Böttcher, J. F. (Dresden), 196
Bow, =49-65=
characteristics of Bow china, 61
discovery of fragments of china, 57
marks, 53, 54, 60
paste, 59
printed wares at, 60
Sale Prices, 63
Bow china illustrations of—
figure, 50
ink-stand, 49
Boyle, John (Minton), 182
Brameld (Rockingham), 118
Brislington, copper lustre at, 221
Bristol, =97-109=
blue delft, 97
characteristics of, 106
end of factory, 104
Sale Prices, 107
Bristol china, illustrations of—
cup and saucer, 102
“Mandarin” decorated, 97
vase, 103
delft bowl, 213
pottery, 201
St. Vincent’s Rock, view on Worcester vase, 80
British Museum—
Portland vase, 264
recent Lowestoft acquisitions at, 124
specimen reproduced from collection at (Chelsea), 32
Browne, Robert (Lowestoft), 115
Brunel, portrait of, on mug, 214
Buckingham, Duke of, connection with Chelsea, 30
“Buckle, Elizabeth,” name on Lowestoft china, 117
“Burges, William and Elizabeth,” names on delft mug, 206
Burke, Edmund—
cup and saucer from service ordered by, 102
encouragement of Richard Champion by, 105
Bust, copper lustre, 227
“C” as a mark (Caughley), 140
“Calder, M. and E., Norwich,” names on Lowestoft, 116
“Cambrian” as a mark, 171
“Cambrian-Argil” as a mark, 216
Cambrian Pottery (Swansea), 170, 171
Camelford, Lord, clay on estate of (Plymouth china), 91
“C and G” as a mark, 156
Carlyle quoted on Worcester china, 72
Carpenter, with tools, figure of (Chelsea), 29
Case, Mort & Co. (Liverpool), 242
Catherine II. of Russia, Wedgwood’s service for, 263
Caughley, =135-147=
marks, 140, 143
old blue mug, 137
Sale Prices, 147
Cave, Edward, of Worcester, 69
“C. B. D.” as a mark, 142
“C. D.” as a mark, 140
Chaffers, Richard, Liverpool, 240
mark of, 240
Chamberlain—
marks of, 78
scent-bottle, 80
Worcester, 78
Chamberlain, Lilley & Kerr, Worcester, 79
Champion, Richard—
Bristol, 97-106
his death in America, 105
Wedgwood’s opinion of, 104
Chantilly sprig pattern (Derby), 22
Charlotte, Queen, Wedgwood’s service for, 253, 263
Chelsea, =29-47=
best period of, 33
characteristics of china, 40
decline of, 35
illustrations of—
figure of carpenter, 29
“Foundling” Vase, 38
openwork vase, 27
Vase in British Museum, 31
marks, 34, 35, 39
marks imitated at Coalport, 143
Sale Prices, 42
Cherokee Indians, clay from, used at Bow, 51
“Chesterfield” Vase (Chelsea), 37
China, definition of, xxiii
Christening cup, 208
Christian, Liverpool, 241