World at Hand

Ceramics in 18th and Early 19th Century Britain

The objects in this exhibition represent the tastes, ideas, commerce, and technologies prevalent in the manufacture of ceramics over two hundred years ago. Artisans in England and China made wares shaped like cabbages and camels to grace tables and mantelpieces in British homes; they depicted busy Chinese ports, botanical specimens, or family crests on special objects for serving tea, alcohol, or food. Viewed together, the pieces tell stories of social activities at home, innovation in the industrial workplace, and exploration throughout the British Empire. Admired, used, and treasured, ceramics brought the world to hand.

The World At Hand was curated by students in the Department of Art History at the University of Wisconsin-Madison, under the direction of Professor Ann Smart Martin. It was exhibited at the Chazen Museum of Art in Madison, Wisconsin.

EXOTICISM in 18th Century Britain

Throughout this collection you will find various examples of exotic influences on eighteenth century British ceramics. The eighteenth century in Britain marked an increased interest in non-western art and a more global economy, inspiring design based upon Eastern motifs and cultures such as China, Egypt and India. Further awareness of the unknown resulted from exploration, trade, and colonization around the world. The exploration movement in Britain was lead by Captain James Cook, who piloted several expeditions around the world, colonizing new lands and amassing foreign influence. In the early eighteenth century, the British obtained control of the East India Company and established a dominant position in global trade with eastern lands, thereby strengthening connections with China and other foreign markets.

Increased travel and trade brought about a strong taste for the exotic in Britain. While European goods aimed for commercial novelty, the arts of the East were considered aesthetically superior and uncorrupted by capitalism. British consumers came to associate exotic motifs and styles with sophistication and knowledge. Publications on explorations outside England, such as Napoleon’s campaign in Egypt, fueled the general public’s understanding and desire for the unknown.

There are a number of decorative objects with exotic motifs in this collection that illustrate this fascination. Exotic teas were the fashion in eighteenth century Britain, and the ceramic wares used to serve them began to mimic the locations in which the teas were grown. The camel-shaped teapot is decorated with a howdah, an ornate Indian carriage designed to carry a wealthy person atop a camel or elephant’s back. Imitation is the strongest form of flattery, and the English porcelain plate exemplifies England’s desire to discover the secret formula for Chinese porcelain by placing Chinese leaves and motifs on their own versions. The alligator teapot demonstrates the spillover of Napoleon’s obsession with Egypt onto British teatime. The use of Egyptian motifs in the home could be a comment on Britain’s victory over Napoleon and their claim over the most exotic empires.

VIRGINIA FEIND, TIERRA MCLEAN, GINA RYTHER, JEANNE TRULASKE

Teapot

2006_48a-b

English, Staffordshire, ca. 1745

Stoneware with salt glaze

Gift of Charles W. Vaughn 006.48a-b

This camel-shaped pot for brewing exotic tea reveals how exploration and trade brought representations of foreign places into British households 250 years ago. Staffordshire potters developed this light-colored stoneware to compete with imported Chinese porcelain ceramics that were prized for their translucent, white, hard clay.

Plate

1977_577

Spode Factory

English, ca. 1792–1794

Porcelain

The Ethel and Arthur Liebman Collection, Gift of Mr. and Mrs. John C. Cleaver, 1977.577

Teapot, Covered Sugar Bowl, and Milk Jug

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Wedgwood Factory

English, 1805-1815

Rosso Antico ware

Gift of Otto V. Pawlisch M.D., 1991.163.1a-b; 2a-b; and 3

The Chazen Museum of Art owns a Wedgwood teapot, creamer and sugar bowl from ca. 1800-1815. The tea service, created in rosso antico , literally “antique red”, has various Egyptian motifs, including hieroglyphics and alligators. Josiah Wedgwood I (1730-1795) developed his rosso antico stoneware body in the mid-to-late 1760’s and its production continued into the 19 th century. The original inspiration for the red color stems from the red stoneware tea services that were being exported by the Chinese in as early as the 1660’s. Other potters, including John Dwight, experimented with red stoneware, but according to the Wedgwood Museum’s website, Wedgwood brought it to a degree of perfection not known before and utilized in the production of decorative items.

Egyptomania swept across much of Europe after Napoleon’s invasion of Egypt in 1798. Bonaparte brought one hundred and fifty artists and scientists with his army, and when they returned to Europe they brought with them the first accurate depiction of Egyptian monuments. The alligators and Egyptian motifs on Wedgwood’s teapot, sugar bowl and creamer reveal how Napoleon’s discoveries inspired European consumers. Under the direction of Josiah Wedgwood II, the manufacture of Egyptian ornaments continued, culminating in the decade of 1805-1815 with the production of objects collectively referred to as the “hieroglyphic group” because of the presence of pseudo-hieroglyphics in the decoration. The discovery of the Rosetta stone by the French in 1799 created a desire for hieroglyphics and other Egyptian symbols. Briton Thomas Young did not successfully translate the hieroglyphics until 1814, thus explaining the presence of pseudo-hieroglyphics in Josiah Wedgwood II’s tea service.

Josiah Wedgwood II must have been aware of the discoveries of the Bonaparte expedition and had desired to translate those artistic endeavors to his pottery. He may have read the Description de l’Egypte , the French catalogue of artistic and scientific discoveries of Egypt, printed in 1809. Egypt’s luxurious past, as well as its spectacularization of death, would have been alluring and intriguing to a tea-drinker in the domestic setting of the British Romantic period.

LAURA HAERTEL

Saucer

1991_521_1

Chinese (manufactured for English market), ca. 1765

Porcelain with blue underglaze

The Ethel and Arthur Liebman Collection, Bequest of Mr. and Mrs. John C. Cleaver, 1991.521.1

A significant percentage of Chinese export porcelain featured armorial decoration. European patrons often sent a print or drawing of their coat of arms to Chinese potteries where they were copied onto ceramic forms. This service features the arms of Glover of Norfolk and possibly belonged to a commander in the British East India Company named Captain Adolphus Glover.

JEANNE TRULASKE

Punch Bowl

1974_92

Chinese (manufactured for European market), ca. 1785

Porcelain

The Ethel and Arthur Liebman Collection, Gift of Mr. and Mrs. John C. Cleaver, 1974.92

Continuous depiction of the hang (warehouses) in Guangzhou , with the flags of Prussia, France, Sweden, England, Holland and Denmark. In foreground: Chinese and European merchants and Chinese vessels in the harbor; in background: pagodas, trees, and mountains. All in famille rose colors. At footrim: gold spearhead border; iron-red band with gold fret pattern. On interior rim: wide apple-green band with gold husks edged by black and gold bands; gold fret pattern on iron-red band. Festoons of flowers connect alternating baskets of flowers suspended from ribbons and cartouches of gold scrollwork and purple network. Above each festoon, gold scrollwork on an iron-red ground and purple leaves. In center: an elaborate and varied leaf-and-floral border in famille rose colors and gold; apple green banded medallion with gold darts edged by black and gold bands enclosing an iron-red vase of famille rose flowers.

Although the initials MT which appear on the Austrian Imperial flag stand for Maria Theresa, who died in 1780, the bowl itself was probably made five years after that date. It was copied from a drawing made between 1770 and 1781, when the Austrian imperial flag flew in Guangzhou for two seasons as a front for a Hungarian-licensed French ship.

The interior border of the bowl is based on Meissen borders of 1725-50, popular from 1775-1800 on China trade porcelain. A bowl with a similar basket border was brought home on the Empress of China by the ship’s carpenter in 1785.

JEANNE TRULASKE

Jug and Tepot

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Wedgwood Factory

English, early 19th century

Black basalt ware with polychrome enamel

Gift of Otto V. Pawlisch M.D., 1991.156; 1991.157a-b

Josiah Wedgewood’s innovation and creativity shine in this mid-nineteenth century jug and teapot from the Wedgewood Factory. At first glance, one notices their surface, which is lustrous and smooth, with a black sheen. Next, you can’t help but admire the decorative use of peonies on this pair, which expresses the ideas of wealth, prosperity, spring and fertility. The peonies also suggest an interest in the exotic, which, in this case, is China. The use of foreign motifs was a popular theme in the ceramic decoration of Britain during this time.

In the eighteenth century, Josiah Wedgwood was exceedingly famous for his blue and white styled pottery, which bears his name, and his incredible replication of the Portland Vase. However, he also developed the material for these pieces, which he called black basalt. He did this by working extensively with the already available method for Egyptian Black ware that had been produced locally for many years. With this newly developed fine-grained form of stoneware, he was able to produce copies of the recently excavated Etruscan pottery from Italy. Other objects he created using black basalt were typically decorated with matte fired colors in order to resemble the popular trend of imitating the engravings on red-figure Greek vases. These items gained an incredible popularity as soon as they hit the market; the Wedgwood factory was barely able to keep up with the demand.

LAUREN BAKE

NATURALISM in 18th Century Britain

The influence of naturalism can be seen throughout most of the pieces in the collection. The interest in naturalism as applied to the arts and decorative arts became apparent in 18 th century Britain and peaked in the 19 th century in France. Inspired by the tales of British explorers and the exotic botanical and animal items brought back from expeditions around the world, British artists and even common people became more aware of their surrounding environments. Their interest in nature is evident in both the shapes and decoration of many of the ceramics in the niche case.

The adaptation of naturalistic elements to ceramics takes its form in plates, teapots, sauceboats, and even chimney ornaments. In the current collection, prime examples of pieces inspired by naturalism include: a salt glazed camel teapot, salt glazed leaf form pickle dish with a bird, porcelain sauce boat with raised leaf and butterfly decoration, and an agateware cat figure. The teapot in the shape of a camel represents the British interest in exotic animals from far away lands. The camel teapot is represented as it would be seen in its native environment, being used as a mode of transportation. It wears a harness and seat on its back and is prepared for its rider to mount. While the form of a camel may not have been new to the average Britain, seeing it represented as a functional form of transportation may have seemed exotic and whimsical. The salt glazed leaf pickle dish lends an air of the natural to the dinner table as a condiment vessel. While neither exotic nor fanciful, this dish simply displays the interest in naturally occurring shapes. The plate follows the 18 th century British garden designs which emphasized natural formations and gardens created without the intervention of the human hand. The porcelain sauce boat shows a more controlled version of the British garden ideal. The raised leaf form of the sauceboat is more intricate while the pickle dish is embellished with butterflies. The agateware cat figure represents a common animal seen Britain, a contrast to the more exotic animal species. Its exoticism lies in its decoration. Agateware is a ceramic form created to imitate the agate stone, which was valued for its varied colors and patterns and was used to decorate cat figures because of its similarity to the tabby cat’s natural patterning.

Naturalism in 18th century Britain can be seen beyond just ceramic pieces. It inspired new forms of private gardens and public parks, making them less planned and more natural. Landscape painting grew in popularity and even portraits were often set outdoors. Botanical gardens opened to the public as a means of displaying exotic and new plants to those who ordinarily would not travel outside of Britain. Exotic animals found their way into homes as pets, onto the illustrations of books, and into the first zoos. As a whole, Britain was becoming more aware of both their surrounding natural environment and of the world around them.

Bowl

1977_547

Chelsea Factory

English, 1752-1758

Porcelain

The Ethel and Arthur Liebman Collection, Gift of Mr. and Mrs. John C. Cleaver 1977.547

This white cabbage leaf bowl is most highly noted for the amazing sense of realism that was used in the modeling and decorating of it. On the outside of the bowl the white leaves are accented with green edging and purple veins. The inside of the bowl is finely decorated with a group of brightly colored peonies, expressing the 18 th century’s fascination with naturalism.

On the bottom of the bowl is a small painted red anchor with each fluke double barbed; indicating that the bowl was a product of the Red Anchor Wares, This type of ware was produced from 1752-1758 and is considered to be one of the finest bodies of ware ever produced by Chelsea manufacturers. The bowl is a member of a series of wares that include bowls and tureens in the form of fruits, vegetables, animals and birds. The prominence of these wares in catalogues and the terms by which they were described indicated that these wares were tremendously popular. However, a great number of these wears have survived over time, suggesting that they were not always regarded as useful wares and were therefore less likely to be broken.

COLLEEN GAVIN

Sauceboat

1995_119_15

Worcester Porcelain Company

English, ca. 1755-1770

Porcelain

Bequest of Mary Woodard Lasker in honor of her parents, Mr. and Mrs. Frank E. Woodard 1995.119.15

Fascinated with the natural world both at home and abroad, eighteenth-century Britons used animal and botanical motifs to decorate the new English-manufactured porcelain ceramics, as on this sauce boat decorated both inside and out with leaves, flowers, and butterflies.

JOHANNA PISTELL

Pickle Dish

2007_6_1

English, Staffordshire ca. 1750-1760

Stoneware with salt glaze

Gift of Charles W. Vaughn 2007.6.1

This pickle leaf’s sharp detail came from new molding techniques. Increasing interest in refined dining made dishes for candied and pickled delicacies popular.

Figurine of Cat with Kitten

2007_6_3

English, Staffordshire, ca. 1745

Agateware

Gift of Charles W. Vaughn 2007.6.3

This cat gets its ‘agate’ look from folding different colored clays together until they swirl. Depicting a tabby cat in the new technique seemed natural. The kitten on the cat’s back makes this piece rather unusual.

JEANNE TRULASKE

TECHNOLOGY in 18th Century Britain

British potters of the seventeenth and eighteenth century drew upon transcultural influences in materials and technologies. German stoneware, Chinese hard paste porcelain, and tin-glazed Delftware from the Netherlands influenced the production techniques of British ceramicists. International trade and immigrants from the latter countries contributed to the diffusion of these technologies – technologies that were often refined and altered by English artisans.

English potters tried to imitate the translucent white wares developed in China . Potters sought to make their wares thinner and whiter in imitation of Asian porcelain. The first successful attempt at creating a white surface look occurred with the development of tin-glazed earthenwares. Adding tin oxide to a lead glaze resulted in a milky white finish similar to that of porcelain. Yet these wares were very time-consuming, costly to produce, and often chipped. Potters made creamware by adding a lead glaze to the white earthenware body, resulting in a slightly yellow or cream-colored appearance, such as the Wedgwood tureen on display. Creamware became widely popular on the British table.

In 1710, potters began producing white stoneware by refining gray and brown stoneware to remove impurities in the clay. Not only did stoneware offer a vitreous surface, it could be thinly potted like porcelain. The pickle leaf sweetmeat dish and the camel teapot displayed in this exhibition are examples of stoneware that resembles porcelain in color and range of molding capabilities.

European craftspeople recognized Chinese porcelain as the most technologically sophisticated ceramic of the seventeenth and eighteenth centuries. They attempted to duplicate its material composition. Unable to fully replicate porcelain, European potters instead turned to soft paste porcelain as an alternative during the 1700s. Soft paste porcelain lacked the rigidity of Chinese porcelain, did not offer a completely vitreous body, and appeared cream-colored rather than pure white. Yet it still offered a less porous body than earthenware and bore a strong visual resemblance to Chinese porcelain.

Technological advancements in decorations also improved the quality of porcelain and earthenware in the 18th-century. Agateware was the most innovative technique, introduced by Thomas Wedgwood of Staffordshire England in 1730. The process involved mixing colored clays of various colors. After kneading the clays and dying them with oxides, the potter would slice them into sections. The dyes gave the clay a deep veined appearance, resembling the agate stone. This style proved unsuitable for human figures, but was appropriate for rabbits or cats, such as the tabby cat and kitten in this display.

Molding also improved the decorative quality of ceramics. Sprig molding added a added dimensional and ornamental quality to pottery. Molded clay ornaments of contrasting color were attached to a piece of pottery before firing. Josiah Wedgwood II’s tea service of 1815 uses sprig molding to adorn the Rosso Antico teapot, creamer and sugar bowl with Egyptian motifs.

Around 1770, potters began to use engine turning to create intricate decorations on pottery. The process began when the surface of the pottery was leather hard. As the piece of pottery moved slowly in the machine, turners produce various designs with remarkable precision. Potters provided further embellishments by adding different colored slips to create contrasting patterns. One can see the advancement of ornamentation that engine turning produced on the black basalt sugar basin in this collection. The engine turning lathe provided a level of detail, precision and intricacy that hand painting and manual throwing could not accomplish.

In the 1750s, British potters began to decorate ceramics with printed images. Potters first engraved images on copper plates. The plates are covered with pigment, often mixed with oil. The image is transferred to a piece of paper and then attached to a piece of pottery for firing, such as the Wedgwood tureen in the exhibition. The paper disintegrates in the kiln, and the image is attached permanently. Transfer print technology allowed for reproducibility of popular imagery on an alternative medium. Overall, this period witnessed a tremendous number of advancements in the technology, form, and materials of European ceramics.

LAURA HAERTEL, STEFAN OSDENE, CHRISTIE WILMOT

Sweetmeat Stand

1984_43

Worcester Porcelain Company

English, ca. 1765-1770

Porcelain with blue underglaze

Gordon and Josephine S. McGeoch Memorial Collection, Bequest of Josephine S. McGeoch 1984.43

Porcelain pieces in 18 th Century Britain were a fusion of many different styles, motifs, and influences; the piece discussed here is a perfect example of this mixture. Ideas are taken from places like China , Germany , and Britain to form a potpourri of motifs and shapes. This sweetmeat stand from ca. 1765 to 1770 is English porcelain with blue underglaze painting. It was produced in one of the leading porcelain factories of the time, the Worcester Porcelain Factory in England. This piece would be used on dining table to display various delights of the time, known as sweetmeats.

The Royal Worcester Porcelain Factory started in 1751, with the buyout of Benjamin Lund’s china factory. Although under new ownership, Lund ‘s molds and styles survived long after his factory was taken over. Dr. John Wall, one of the factory share holders, became the most influential person in producing porcelain in Worcester from 1751 to 1783 (the sweetmeat stand we are looking at is from this era). Dr John Wall was a key person in acquiring the secret recipe for soft-paste porcelain from two men of the Bristol factory, one of Worcester ‘s competitors. They found that Soapstone was the man ingredient for new English porcelain, and thus it became a hot commodity to all porcelain factories. In the Wall period this soft or artificial porcelain that was being produced was a denser texture, harder, thinner, and had a less undulating surface than their competitor’s, like Chelsea or Bow.

Although the sweetmeat stand must be classified as a soft-paste porcelain, like others of its time at Worcester , the body is surprisingly hard, and could withstand boiling water; a unique characteristic for the time. The expansion and contraction of the glaze and the paste of Worcester soft-paste porcelains of this type is so well matched that it is rare to find a piece bearing the disfigurement of fine cracks. Their glaze was also free from blotchiness, but there is a tendency for it to discolor over the centuries since it was manufactured; this piece has kept its color nicely.

This sweetmeat stand is of only two colors: blue and white. These two colors presented in this fashion were very popular in the 18 th Century, and still are today. This type of porcelain decoration, very appropriately came to be known as Blue and White porcelain. Porcelain of this type, was characteristically painted with the oxide of cobalt pigment before glazing, and when fired the blue color raised to the surface glaze, creating the patterns you see on the sweetmeat stand, for example. In the mid-18 th Century, when the Blue and White style was making its debut, porcelain pieces like this sweetmeat stand would have been very popular and quite expensive. The Worcester factory saw this desire from the masses for Blue and White porcelains and started producing large amounts of relatively inexpensive porcelains for the everyday consumer, creating huge success with the factory. Within the Wall period a superb and diverse selection of Blue and White porcelain was made. The wares were extremely neat, well made and finely decorated, as exemplified in the sweetmeat stand.

The decorations, motifs, and form of the sweetmeat stand come from various different influences, as it was characteristic of Worcester to adapt the best decoration from all worlds and combine them with forms borrowed from English silver. The stand is formed of scallop-shells upon a base of small shells and seaweed; this shell motif comes from the Rococo period with its light hearted themes and intricate designs. The term Rococo is actually derived from the word rocaille which actually translates to shell. This form of sweetmeat stand was not exclusively made at the Worcester factory, but also in Plymouth , Bow, and Derby . The underglaze blue flowers are of Meissen origin, which was the first European porcelain manufacturer. Finally, the diapered borders are of Chinese influence; China being the main competitor for Worcester , and other factories like it, in porcelain production.

With its shell motifs and distinct flower pattern, along with the recent discovery of English porcelain production, this Worcester sweetmeat stand exemplifies the commingling of the exotic East and curious England in the 18 th Century.

VIRGINIA FEIND

Covered Sugar Basin

1991_154a-b

Wedgwood Factory

English, 19th century

Black basalt ware

Gift of Otto V. Pawlisch M.D., 1991.154a-b

Sitting at a modest height of 5 3/8 inches this black basalt sugar basin’s exterior sheen catches the light. With a stout rounded shape the container’s widest circumference is at the center. A bottom ridge beneath the bowl sets it up on a pedestal. The lid boasts the most decoration of the piece with a spindle shaped knob providing a convenient handle for easier access to the sweet contents within. Two ornamental handles on either side of the basin suggests heavy contents. The basin, with a smooth surface, uniformity in color, and a lack of ornamentation is a powerfully minimalist piece that stands out and makes a bold statement of independence from decoration.

This mid nineteenth century Wedgwood sugar basin represents the social practice of tea drinking, the technology and prolific industry of British ceramics, international trade with the use of sugar, and an aesthetic harkening neoclassicism of the mid eighteenth century. The black basalt is a cousin to Wedgwood’s Rosso Antico. It is meant to emulate marble with earthenware. To modern sensibilities this style is evocative of an Art Deco or contemporary aesthetic in its sleek, dramatic, and minimal form. Its drama seems fit for a Roman architectural feat and brings an air of grandeur to any tea table.

CAITLIN CRARY

Jug

1991_152

Wedgwood Factory

English, ca. 1775-1795

Black basalt ware

Gift of Otto V. Pawlisch M.D., 1991.152

Josiah Wedgwood pioneered the development of black basalt ware in the late 1760s, creating an exceedingly hard form of vitreous stoneware that required no exterior glazing. This new material improved upon an earlier form of Staffordshire earthenware known as Egyptian Black, which had been stained with iron oxide to create a black finish.Not only did Wedgwood’s new material offer greater durability and sheen than its predecessor, it proved far more suitable for creating finely detailed ornamentation.Black basalt ware consisted of Staffordshire clay, ground glass slag, manganese oxide, and calcined ochre that had been mixed together and fired at a temperature slightly lower than that of hard paste porcelain. Wedgwood accentuated the shiny appearance of this material by applying a varnish, re-firing it, and then polishing it with a cloth dipped in milk.

The black basalt ware jug in the Chazen Museum ‘s collection still exhibits the same lustrous finish achieved through Wedgwood’s latter process. This lends credence to the idea that this piece is in fact an original Pre-Nineteenth Century artifact. According to the Antique British Ceramics Information Resource, many pieces of black basalt ware manufactured after 1800 do not display the same high gloss finish found on this piece. In an effort to reduce the expense of black basalt ware, nineteenth century manufacturers would fire a vessel once without adding varnish. Another element of this piece that gives us a plausible date of roughly 1770-1800 is the existence of a single slug Wedgwood mark that appeared on the earliest black basalt ware Wedgwood pieces.

The most obvious element that situates this object in the period between 1770 and 1800 is its formal appearance. This piece exhibits motifs consistent with the “archaeological” or neoclassical style popular during the last quarter of the eighteenth century. The Bacchanalian Putti – a reference to the Roman cherubs and the God Bacchus – emerged as one of the most popular motifs in this aesthetic. Josiah Wedgwood capitalized on a growing public interest in Roman and Greek archaeological finds by creating ceramics reminiscent of these forms. Though Wedgwood did not always reproduce these archaeological finds in an exacting manner, his company created products that borrowed heavily from the formal and ornamental characteristics of the originals. In essence, Wedgwood created historically based products that could be acquired by middle class consumers without the cost of purchasing authentic pieces of classical ceramic.

Black basalt ware served as a relatively inexpensive material for replicating these classical forms. Black basalt ware was such an important aspect of Wedgwood’s production that he originally built his Etruria factory expressly for its production. Even though Wedgwood is most remembered for his production of Jasperware, Black Basalt Ware constituted one of the largest segments of his product line.

STEFAN OSDENE

Covered Tureen with Stand

1975_161a-c

Probably Leeds Factory

English, ca. 1765-1770

Creamware

The Ethel and Arthur Liebman Collection, Gift of Mr. and Mrs. John C. Cleaver 1975.161a-c

This tureen in a fine piece of creamware commonly used at the dinner table for soups, stews or sauces. Creamware was first made in raised patterns of basket weave and in pierced and perforated leaf. Wedgwood made some of the finest pierced creamware. The pierced creamware of Leeds is considered as fine as or finer than that of Wedgwood. The perforations are made by hand and the hearts, diamonds, ovals, and squares are more interesting than the perforations on Wedgwood’s pieces, but Wedgwood pieces usually have a finer shape and the glaze is creamy, while Leeds has the characteristic greenish glaze.

A tureen is a broad, deep oval vessel with fixed loop handles and a low domed cover with a knob, used for serving foods such as soups, stews, or sauces. Tureens were sometimes created with transfer printing which was commonly presented as anesthetically pleasing addition offering decoration to this table center piece. It is unknown whether transfer-printing was first introduced by Leeds . However, it is known that a considerable amount of transfer printing to creamware was done by Leeds. In the 1770s Leeds , a major producer of creamware, began adding transfer printing to a number of his works. Commonly printed were naturalistic themes, royalty, scenes from ‘The Prodigal Son,’ and various other motifs.

Transfer printing was developed in the 1750s and became popular in the 1760s, adding detail and design to the highly popular creamware. The process of transfer printing began when a flat copper plate was engraved with a desired pattern in much the same way as the plates used to make paper engravings were produced. Once the plate was inked with a ceramic coloring, the design was impressed onto a thin sheet of paper (similar to tissue paper). This inked impression was then transferred onto the surface of creamware, or any other stone wares. After it was transferred to the specific object, the piece was then placed into a low-temperature kiln to fix and seal the pattern. Transfer printing could be done either under or over the glaze on a ceramic piece. However, due to longevity, more pieces with the under printing method were preferred. Since the ink on the overprinted pieces tended to not hold up over time, under printing became the popular method. Once this process was placed into mass production, transfer printing became present in more homes. Not only were the homes of upper class and aristocrats dawned with transfer pressed pieces, but now at a much affordable prices, these items were present in middle class homes.

RONNICA JOHNSON-WALKER

Mug

1997_4_12

Worcester Porcelain Company

English, ca. 1770

Porcelain

Gift of Dr. and Mrs. Leon Rostker 1997.4.12

The cylindrical mug from around 1770 displays a bird and parrot motif. The mug was manufactured by the Royal Worchester Porcelain Company, the oldest producer of porcelain in Britain. It is significant for its utilization of the transfer printing technique and excellent mimicry of Chinese export porcelain, making it a fine example of 18 th century British ceramics.

TIERRA MCLEAN

Plate

1991_205

English, Staffordshire, 19th century

Earthenware with tin glaze

Gift of Otto V. Pawlisch M.D. 1991.205

This press molded leaf dish of the early 19 th century British Empire employs newly surfacing techniques, setting it apart from other items in the exhibition. Embellished with brown majolica, the dish looks to the future with advances in ceramic technology. By drawing on basic principles from earlier wares, the unique style of majolica reaped great success as it united a transitional inter-century period.

Majolica is a typical form of earthenware with a white tin glaze. The application of colors directly to the white slip surface prior to firing creates pattern and color nuances, which remain indicative of this exceptional style. The particular consistency of the glaze thwarts its natural flow during the melting process, resulting in a glossy surface with spats of incongruent colors. Although the myriad colored glazes does not spread evenly across the object, they still allow the object to retain its original details and qualities, possibly even enhancing them.

When juxtaposed with other objects in the exhibition, the ornamentation of the leaf dish appears almost as if it was a successful faux pas; the combination and placement of colors are not organized or allocated as they appear to be in so many other images. However, in many greater realms this new style mirrored the changes that would consume the British Empire upon entrance into the new century.

RACHEL FREEDMAN

Teapot

1991_308a-b

Chinese (manufactured for European market), 18th century

Porcelain

The Ethel and Arthur Liebman Collection, Bequest of Mr. and Mrs. John C. Cleaver 1991.308a-b

This porcelain teapot was made specifically for the Chinese export market in the 18th Century. Created in a decidedly European style, the teapot features ornamentation that would have been considered too crowded and ostentatious for many Chinese, but fit squarely in with the tastes of Europeans at the time. Porcelain, a material first created and mastered by the Chinese, was a source of great envy for the European consumers, who fervently purchased great amounts of the porcelain objects even as they strove to make their own. The true art of Chinese porcelain is in the thin construction and delicate decoration that is matched by the durability of the pieces it is made with.

Ornamentation provided another source for technological innovation. The so-called famille rose style refers to the light pink color of the enamel used to color the large peonies on the front of the teapot. This shade of enamel is created by way of a reaction between small amounts of gold chloride and tin, a breakthrough in porcelain decoration that led to the creation of other colors and greater freedom in ornamentation. The multi-colored peonies surrounding the body of the teapot are a symbol of spring and, sitting on top of the white background, speak to the great efforts and added costs of the enamel advancement. With this innovation came the invention of other colored enamels, leading to the unusually bright appearance of this example.

Perhaps the most striking aspect of this piece, two small Foo dogs sit at the top, one forming the handle as the other resides above the spout. The Foo dog is a symbol of luck in Chinese culture, but gives the teapot an air of whimsy in the European market. The most striking aspect however, is the dogs’ placement. The level of detail, as well as their precarious positioning, shows a great deal of skill and technique in working with such a delicate material as porcelain. Details like these are what made the art of porcelain such a desirable skill for the Europeans at this time.

MALLORIE GORDON

Teapot

1991_181a-b

Rothwell Pottery

Yorkshire, England, ca. 1770

Earthenware

Gift of Otto V. Pawlisch M.D. 1991.181a-b

This teapot is organic in color and form. The handle consists of two crossing blades of grass and the spout’s form is organic in its fluid movement and textured grooves similar to that of the handle. A mushroom-shaped finial sits on top of the lid of the teapot. Sprig-molded foliage is also used as surface decoration around the handle and mushroom finial. The teapot’s glazing is mottled with green and brown colors. This glazing technique is referred to as tortoiseshell glazing since it resembles tortoiseshell patterning.

Tortoiseshell glaze was a popular decorative effect of the 18 th century. The glazing process involved painting under the glaze with metallic oxides that ‘flowed’ during firing giving the ware a tortoiseshell or mottled effect. The use of clouded glazes, like on this teapot, was an innovation first produced by Thomas Whieldon. Hence, tortoiseshell glazed wares are traditionally referred to as ‘Whieldon Ware’ even though he was only one of many potters who manufactured this style. Josiah Wedgwood worked with Whieldon from 1754 to 1759, where together they made improvements in cream-colored earthenwares and colored glazes. It is impossible to definitely ascribe this teapot to either Whieldon or Wedgwood since wares of this type are typical of Wedgwood production from the end of his partnership with Whieldon.

Why was British society so fascinated with ceramic wares similar to this teapot? The 18 th century was a period of trade, exploration, expansion, and new technologies. As a result people became more and more interested in the world around them, especially with nature and the exotic. Through trade and contact with other countries, one of the many discoveries that the British Empire made was the use of tortoiseshell as an ornamental veneer in the Orient. The Orient had be using tortoiseshell for decoration as early as the 8 th century. By glazing pottery to look like the expensive and exotic tortoiseshell, people were able to bring the exotic home and show-off their worldly knowledge. In addition to being imitated on ceramics, tortoiseshell was also used as a decorative inlay in contemporary furniture of the 18 th century. An increased interest in naturalism also explains the popularity of organic forms like the spout and handle of this teapot and mushroom final and foliage decoration.

Colored glazes were also a new development of the 18 th century. Like the tortoiseshell glazing on this teapot, there are many examples of experimental techniques with clouded glazes like the ‘egg and spinach’ glaze effects in yellow and green or the use of single colors in a variety of applications. Finding colors that could be applied under the glaze and withstand the high heat of the kiln was a common problem for potters. Finally, after a solution was achieved, a new pallet of colors was available to be used and was quickly accepted by consumers. Although colored glazing was introduced before Wedgwood came to work at Whieldon, he most likely improved their quality and vibrancy. Wedgwood was especially known for improving brilliant green glaze, much like the green used in this teapot, which became very popular and an effective choice for coloring organic forms.

CHRISTIE WILMOT

Charger

1978_1126

Leeds Factory

English, ca. 1775

Earthenware

The Ethel and Arthur Liebman Collection, Gift of Mr. and Mrs. John C. Cleaver, 1978.1126

This charger, dated from around 1775, exhibits popular cultural ideas as well as new technologies emerging in the later part of the 18 th century in England. Produced in Leeds factory, it rivaled the creamware being produced by Joshiah Wedgwood and his famous Queen’s Ware made for Catherine II of Russia in the same year. The imitations, though resembling creamware, still failed to be as pure and cream-colored as those being produced by Wedgwood. This particular charger is sepia painted. A paint made from the ink sac of the cuttle fish, it became popularized in the late 18 th century. Due to a newly discovered method to chemically extract the ink, it was easy to execute and reliable, making it a popular painting medium of that period. The design depicts Queen Elizabeth I outdoors. She is surrounded by what is considered her most memorable contributions during her reign. She holds an orb and scepter, symbolic of her coronation and status as a well-respected ruler. Behind the Queen are ships representing the East India Company. The Queen began chartering trade excursions in 1600 to create a trade monopoly for England . To her right is a table bearing the Royal Arms Crest, where a book sits on the surface. This could point to either her influence upon literature of her time, or it could be a Bible in reference to her work with religion and her status as the Virgin Queen.

Yet the question remains: why would a Queen who ruled 200 years earlier be on this charger belonging to the Age of Exuberance? The answer lies in the political turmoil of this period. The 18 th century was a time of political instability, where the political thinkers and philosophers were constantly searching for a balance. They believed the period when Elizabeth ruled to demonstrate this desired ideal balance of “English Greatness,” as it is known today to be the English Renaissance.

MALLORY ULASZEK

Charger

1978_1163

English, 1730-1740

Earthenware with tin glaze

The Ethel and Arthur Liebman Collection, Gift of Mr. and Mrs. John C. Cleaver , 1978.1163

This colourful, English earthenware charger dates from around 1720-1740. Chargers were large serving dishes that were a prominent feature of the eighteenth-century dining table. This example, featuring a peacock, is representative of the sorts of designs and colours that were popular in the first half of the eighteenth century. Designs like this one that incorporated references to nature were particularly prevalent. Until cream ware pottery proliferated in the second half of the century, tin-gazed earthenwares, like the peacock charger, would have constituted an important part of the dining ware in middle class British households.

The production of tin-glazed earthenware, often referred to as Delftware, was more complicated than that of the common earthenware. The vessels were first fired unglazed, before being submerged into a liquid glaze and left to dry. A second firing then fused the glaze to the vessel body. Color became a key feature of many tin-glazed vessels, and items like the peacock charger were often decorated using color pigments such as cobalt blue, manganese purple, and antimony yellow. These colors were applied to the body of the vessel after the first kiln firing, whilst the second firing fixed the colors to the fused glaze. Mistakes could not be corrected and this accounts for the crudeness in some of the designs on this sort of pottery.

The Dutch took leadership of the technique in the seventeenth century, but by the early eighteenth century it was popular in France in Britain . Despite attempts to raise the aesthetic qualities of delftware, by the end of the eighteenth century it had begun to disappear. For dining ware, such as the peacock charger, tin-glaze was not ideal. It was thickly glazed and heavy, was not durable and prone to damage. By the 1760s cream ware and transfer ware had become increasingly popular and effectively finished tin glaze production.

PHILIPPA HUBBARD

Tea Bowl and Saucer

1975_109a-b

Chinese (manufactured for English market), ca. 1775-1780

Porcelain

The Ethel and Arthur Liebman Collection, Gift of Mr. and Mrs. John C. Cleaver , 1975.109a-b

Tea Caddy

1975_158a-b

Chinese (manufactured for European market), ca. 1795

Porcelain

The Ethel and Arthur Liebman Collection, Gift of Mr. and Mrs. John C. Cleaver , 1975.158a-b

Punch Pot

2007_6_2ab

English, Staffordshire, ca. 1765

Redware

Gift of Charles W. Vaughn 2007.6.2a-b

Punch-drinking takes an unusual turn in this stoneware form that drew upon the popularity of Yixing Chinese teapots, which were also made from red unglazed clay. The punch pot, as opposed to a punch bowl, is identified with a more refined and civilized crowd. Even so, punch was still mainly rum.

Toby Jug

1978_1168

English, Staffordshire, 18th century

Earthenware

The Ethel and Arthur Liebman Collection, Gift of Mr. and Mrs. John C. Cleaver , 1978.1168

Who is “Toby” and why does he have a jug named after him?

In 1761 a London print shop, Carver and Bowles, published an engraving of a fictional character they called “Toby Fillpot.” The print depicts Toby as a jovial, obese, and intoxicated older man seated at a table enjoying a jug of beer and a pipe. English Staffordshire potter Ralph Wood of Burslem, who has been credited with designing and molding the first Toby jugs may have been inspired by this image. His earliest Toby Jugs, dating to the 1760s, look extremely similar to the engraving. One collector has described the Toby portrayed in Wood’s jugs as “a short, corpulent, unsmiling old man with long, lank hair. He wears a full, long coat…a spacious waistcoat, a solitaire neckcloth left to dangle, knee breeches, stockings, and shoes ornamented with buckles. Sitting on a seat concealed beneath his coat skirts, Toby balances a jug on his left knee while his right hand raises a drink.” Actually this description leaves out the most consistently seen piece of clothing on early Toby jugs, their tricorn hats. These hats acted as spouts and often had a lid seated inside that could be used as a cup.

During the same decade Wood created Toby jugs, ceramic technology improved dramatically, especially with the introduction by Josiah Wedgwood of high quality creamware, a light-colored earthenware with a yellowish lead glaze. Toby jugs came out of an eighteenth century preference for coarse ceramic figures in the shape of humans, animals, and fictional characters called “peasant wares” or “cottage art,” but the quality of the jugs was much higher than these earlier pieces.

The Toby jug featured in the exhibit and pictured here is made from this high-quality creamware. Most of these jugs were painted in bright and startling colors, but the one in the Chazen collection is unusually plain. It is also less typical because Toby is depicted with a pipe as well as a drinking vessel, more like the original image of Toby Fillpot than most Toby jugs.

Toby jugs have never really gone out of style and are still available today. Often the term refers to any jug in the shape of a human, but the preferred term for a non-Toby Fillpot mug is “character jug.” Beginning in the late eighteenth century the Wood pottery began producing mugs depicting famous people. Martha Gunn, the woman who taught King William IV to swim, may have been the first of these. In 1815 the Royal Doulton pottery began making mugs in the shape of people, even an occasional Toby, and has continued to produce these highly-collectible ceramics into the twenty-first century.

LESLIE BELLAIS

Figurine of Man and Dog

1991_391

Pratt Factory

English, ca. 1790-1800

Earthenware with lead glaze

The Ethel and Arthur Liebman Collection, Bequest of Mr. and Mrs. John C. Cleaver, 1991.391

The man and dog are an example of late eighteenth century earthenware and lead glaze toy figurines produced by the Pratt Factory in England. Underglaze colored figures were mass-produced, and a single figurine could have a thousand copies. The toy figures were a model of lower-end ceramic wares (compared to porcelain), and had a certain naïve charm that today one might associate with the Hummel or Precious Moments series.

The figurines were purchased as mementos, or for no other purpose than the joy they brought to family homes. Such figurines decorated the mantelpieces and tabletops as accessories, and served as reminders of travels and family occasions, such as the christening of a new baby. Oftentimes, the toy figures were molded into shapes signifying the four seasons or important military men. Our piece, depicting a man and his dog, represents the pleasure of an insignificant and rather arbitrary idea as an object of affection. In general, pure whimsy drove the production of toy figurines in Britain during the late eighteenth and early nineteenth centuries.

GINA RYTHER