Heritage Products - Page 4
Prestige Wares
Josiah Wedgwood's Black Basalt ornamental ware was intended for a sophisticated, affluent market. Ornate and beautifully decorated vases were the main fare; indeed Josiah was credited with creating a passion for vases among 18th-century society, which he found it difficult to satisfy. In fact, Josiah Wedgwood wrote to Bentley on 1st May 1769 - 'Mys Byerley is just return'd from London & brings a strange acct. of their goings on in Newport Street, No getting to the door for Coaches, nor into the rooms for Ladies & Gentn., & Vases she says, Vases was all the cry'.
Wedgwood used various sources for vase shapes, many being copied from antique forms, particularly those in the collection of Sir William Hamilton. One of Josiah's most successful pieces was the so-called Bedford Vase, with very ornate bas-relief ornamentation. Wedgwood reported after it had first been shown to potential customers, 'The Bas-relief upon the Medalion of the Bedford Vase is universally admir'd which I look upon as a propitious omen for that species of ornamenting, we have about a dozen of them ordered. Mr Cox has been running about with one (by desire) to several Noblemen this evening & says I must order 1000.' This comment on the bas-reliefs is particularly interesting when one looks forward to Wedgwood's next development, Jasper.
One of the most recent prestige pieces in Black Basalt made by Wedgwood is 'Master of the Universe', a small size reproduction of the original bronze statue by Sir Eduardo Paolozzi which was unveiled outside the British Museum in 1997. Issued in a limited edition of 50, this masterly study is in a direct line of descent from the magnificent and prestigious Black Basalt pieces created in Josiah Wedgwood's lifetime.
Rosso Antico
Despite its refined qualities, Rosso Antico (old red) was one of Josiah Wedgwood's least favourite bodies, so much so that he never listed it in his catalogues. The reason for this lack of enthusiasm may lie in the fact that it was the only body developed at the request of Bentley rather than by Josiah's choice. He even went so far as to write, in 1776, 'I am afraid where one spectator thinks of Antico Rosso a hundred will be put in mind of a Red Teapot.'
Nevertheless, extant examples, particularly those dipped in Black Basalt slip and patterned using Wedgwood's engine-turning lathe are very handsome. They demonstrate Josiah's passion, even in this instance, for making only the finest bodies and wares.
Jasper
Jasper has been described as the most significant innovation in ceramic history since the Chinese discovery of porcelain a thousand years before. It was certainly a unique body, described by Josiah Wedgwood as, 'a white porcelain biscuit of exquisite beauty and delicacy...receiving colours throughout its whole surface, in a manner which no other body, ancient or modern has been known to do.' Josiah had every reason to feel proud. In the years leading up to the successful production of the fine-grained unglazed stoneware to which he gave the name Jasper (after the hard natural stone), Josiah had frequently despaired of attaining his goal. Thousands of trials proved fruitless.
Samples cracked, others bubbled, blistered or discoloured in the kiln. However, by 1776, when several colours of Jasper were already in production, Wedgwood was - more or less - satisfied. He was to continue improving the ware for many years to come.
The Many Colours of Jasper
You would be forgiven for thinking that Jasper in Josiah Wedgwood's time was either pale or dark (Portland) blue, for these are the most famous colours of this magnificent ware. In the 18th century, as today, Jasper was available in a range of colours, including lilac, yellow, green, crimson, black, grey and even brown. As early as January 1775, Wedgwood wrote of a white and a blue body, adding, 'I have likewise a beautiful Sea Green, & several other colours for grounds'. Then, as today, Wedgwood also offered Jasper in both a solid colour where Jasper of one colour was dipped in a Jasper clay solution of another colour.
A Bewildering Array
From the time that Josiah Wedgwood became confident of the quality of his Jasper until his death in 1795, he enthusiastically offered a bewildering array of items in his favourite ware. Beginning with tablets and cameos, he progressed to candlesticks, vases, tea sets, jewellery, buckles, snuff boxes, plant pots, busts, statuettes, door and sword handles and many more pieces.
Wedgwood even offered Jasper chests of drawers, coach panels and, most astonishing of all, grand pianos.
The Portland Vase
The shape of the Portland Vase is instantly identifiable; it has become the symbol of Wedgwood, seen in backstamps, on presentation boxes...wherever the Wedgwood name appears.
Josiah Wedgwood's 18th-century reproductions of the Portland Vase are considered by many to be the highpoint of his career. The original Roman vase, dating from the 1st century AD and a chef d'oeuvre of cameo glass-cutting, was purchased in 1785 by the third Duke of Portland, who agreed to lend it to Josiah so that he might attempt to reproduce it in Jasper.
The task was laborious and time-consuming, with two of the chief difficulties being achieving the blue-black colour of the original vase, and also the greyish tinge of the glass cameos where the base colour shone through.
Wedgwood's invention of the pyrometer helped with the first problem, and careful application of grey to the white Jasper ornaments solved the second. The first perfect reproduction was sent to Erasmus Darwin in September 1789, and more than 20 further examples were produced. The most perfect of these first-edition Portland Vases can be seen at the Wedgwood Museum in Barlaston.
