Vase
ca. 1755-57 (made)
| Artist/Maker | |
| Place of origin |
Object Type
This vase was probably purely decorative. Sets of three, five, seven or even nine vases were known as 'suites of vases' in the 18th and early 19th centuries. They were commonly set out on mantelpieces, with the largest one in the middle, much as today.
Materials & Making
This type of printing in more than one colour is only found on porcelain made or decorated at the Vauxhall porcelain factory. The polychrome effect was probably achieved by using animal glue transfers together with a pouncing technique. The printer first took a copper printing plate engraved with the design and oiled the surface. He then wiped it clean, so that the oil remained only in the engraved lines of the design. He then printed this design in oil onto a pliable sheet of animal glue. This was then laid onto the curved surface of the vase, transferring the design. A workman then 'pounced' (dusted) finely-ground enamel pigments onto the surface. These adhered only to the printed design and the rest was brushed away. Finally, parts of the design were then strengthened by a painter using a brush and the design was fused to the glaze by firing the vase in a small kiln.
This vase was probably purely decorative. Sets of three, five, seven or even nine vases were known as 'suites of vases' in the 18th and early 19th centuries. They were commonly set out on mantelpieces, with the largest one in the middle, much as today.
Materials & Making
This type of printing in more than one colour is only found on porcelain made or decorated at the Vauxhall porcelain factory. The polychrome effect was probably achieved by using animal glue transfers together with a pouncing technique. The printer first took a copper printing plate engraved with the design and oiled the surface. He then wiped it clean, so that the oil remained only in the engraved lines of the design. He then printed this design in oil onto a pliable sheet of animal glue. This was then laid onto the curved surface of the vase, transferring the design. A workman then 'pounced' (dusted) finely-ground enamel pigments onto the surface. These adhered only to the printed design and the rest was brushed away. Finally, parts of the design were then strengthened by a painter using a brush and the design was fused to the glaze by firing the vase in a small kiln.
Object details
| Categories | |
| Object type | |
| Parts | This object consists of 2 parts.
|
| Materials and techniques | Soft-paste porcelain, transfer-printed in colours |
| Brief description | C C |
| Dimensions |
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| Gallery label | British Galleries:
The Vauxhall factory was run by Nicholas Crisp (about 1704-1774). He was a member of the Society of Arts, which was established in 1754 to encourage British industries faced with foreign competition. Crisp was representative of the commercially-minded entrepreneurs who founded the English porcelain industry.(27/03/2003) |
| Credit line | Given by Mrs Newman Neild, in memory of Dr Newman Neild, through the English Ceramic Circle |
| Object history | Made at the Vauxhall porcelain factory, London |
| Summary | Object Type This vase was probably purely decorative. Sets of three, five, seven or even nine vases were known as 'suites of vases' in the 18th and early 19th centuries. They were commonly set out on mantelpieces, with the largest one in the middle, much as today. Materials & Making This type of printing in more than one colour is only found on porcelain made or decorated at the Vauxhall porcelain factory. The polychrome effect was probably achieved by using animal glue transfers together with a pouncing technique. The printer first took a copper printing plate engraved with the design and oiled the surface. He then wiped it clean, so that the oil remained only in the engraved lines of the design. He then printed this design in oil onto a pliable sheet of animal glue. This was then laid onto the curved surface of the vase, transferring the design. A workman then 'pounced' (dusted) finely-ground enamel pigments onto the surface. These adhered only to the printed design and the rest was brushed away. Finally, parts of the design were then strengthened by a painter using a brush and the design was fused to the glaze by firing the vase in a small kiln. |
| Bibliographic reference | For a similar vase, see The English Ceramic Circle, Ceramics of Vauxhall (2007), cat. 28, where dated ca. 1755-57 |
| Collection | |
| Accession number | C.5&A-1935 |
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| Record created | March 27, 2003 |
| Record URL |
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