Part 12

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.

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.”

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

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

Clay— from Virginia (Plymouth), 92 from the Cherokee Indians, (Bow), 51 Lowestoft, used at Worcester, 114

Cleopatra, death of (Chelsea vase), 32

Coalport, =135-147= Billingsley at, 165 Chelsea, Dresden, Sèvres marks imitated at, 143 illustrations— plate (modern), after Sir Joshua Reynolds, 145 two-handled cup and saucer, 135 vase, 141 marks, 140, 142, 143 Nantgarw and Swansea incorporated with, 140 Sale Prices, 147 service made for Emperor of Russia, 142

Colebrookdale, 136-8

Cook, Captain, friend of Cookworthy, 92

Cookworthy, William (Plymouth), 91-96

“Cooper, John,” name on Lowestoft china, 127

Copeland— discovery of Parian ware by, 21, =156-158= excellence of ware of, 151, 158 illustration, plates, 157 marks, 156 Sale Prices, 161

Copeland & Garrett, marks of, 156

Copeland, W. T. & Sons, marks of, 156

Copper Lustre Ware— best period of, 225 illustrations of, 221, 222, 223, 225, 226

Courtney (late Bloor), Derby china, 20

Cradle, old English earthenware, 207

Crescent as a mark— Bow, 54 Caughley, 140, 143 Lowestoft, 130 Worcester, 70, 71, 78

Cross as a mark— Bow, 53, 60 Bristol, 100 Caughley, 140 Lowestoft, 130

Crossed daggers, Derby mark, 8, 9, 11

Crown Derby— illustrations of, 3, 11, 13, 17 marks, 7, 8, 16, 20 peculiarities in crown mark, 8 Sale Prices, 23

“C. S. N.” as a mark, 142, 143

Cumberland, Duke of, contributes annual sum to Chelsea, 33

“Curtis, James and Mary,” names on Lowestoft mug, 118