Vase
ca. 1770-1775 (made)
| Artist/Maker | |
| Place of origin |
Object Type
The vase is a purely decorative one, and would have been displayed in a domestic interior, possibly on a mantelpiece, where it might have been set out with others.
Design & Designing
Josiah Wedgwood's move into vase production coincided with the fashionable world taking up the vase as a symbol of the new 'antique' style. The demand for 'antique' vases was so great that, in addition to copying surviving Classical antiquities, manufacturers copied designs from prints of the 17th and 18th centuries. Some of these prints were highly fanciful inventions, which were not seriously intended for production. Wedgwood (1730-1795) adapted the design here from a vase print by Friedrich Kirschner (1748-1789), a German painter of miniatures.
Materials & Making
The decoration imitates the veining of agate and other hardstones. This effect was achieved by 'wedging' (blending) coloured clays together. Pottery made in this way is described as 'solid agate ware.' There are no mould seam lines, and the spiralling of the clays inside the vase suggest that it was thrown on a wheel. It was then turned on a lathe and fired and glazed. The marble foot is a replacement.
People
The vase was formerly in the collection of the Victorian statesman W. E. Gladstone.
The vase is a purely decorative one, and would have been displayed in a domestic interior, possibly on a mantelpiece, where it might have been set out with others.
Design & Designing
Josiah Wedgwood's move into vase production coincided with the fashionable world taking up the vase as a symbol of the new 'antique' style. The demand for 'antique' vases was so great that, in addition to copying surviving Classical antiquities, manufacturers copied designs from prints of the 17th and 18th centuries. Some of these prints were highly fanciful inventions, which were not seriously intended for production. Wedgwood (1730-1795) adapted the design here from a vase print by Friedrich Kirschner (1748-1789), a German painter of miniatures.
Materials & Making
The decoration imitates the veining of agate and other hardstones. This effect was achieved by 'wedging' (blending) coloured clays together. Pottery made in this way is described as 'solid agate ware.' There are no mould seam lines, and the spiralling of the clays inside the vase suggest that it was thrown on a wheel. It was then turned on a lathe and fired and glazed. The marble foot is a replacement.
People
The vase was formerly in the collection of the Victorian statesman W. E. Gladstone.
Object details
| Categories | |
| Object type | |
| Parts | This object consists of 2 parts.
|
| Materials and techniques | Solid agate ware, with creamware handles and traces of gilding, on a replacement marble plinth |
| Brief description | Agate-ware vase |
| Dimensions |
|
| Gallery label | Vase and cover
Made at the factory of Josiah Wedgwood, Etruria, Staffordshire, about 1775-80
Earthenware with solid 'agate' decoration, gilded detail and marble base
Circ.1&A-1923 Formerly in the collection of W.E. Darwin (son of Charles Darwin and great grandson of Josiah Wedgwood)
The design is taken from a print by Friedrich Kirschner.(23/05/2008) |
| Object history | Based on a printed design by the engraver and miniaturist Friedrich Kirschner (born in Bayreuth, Germany, 1748, died in Augsburg, Germany, 1789). Made at Josiah Wedgwood's factory, Etruria, Staffordshire. Formerly in the collection of W.E. Darwin (son of Charles Darwin and great grandson of Josiah Wedgwood). |
| Production | Probably 1770-1775 |
| Summary | Object Type The vase is a purely decorative one, and would have been displayed in a domestic interior, possibly on a mantelpiece, where it might have been set out with others. Design & Designing Josiah Wedgwood's move into vase production coincided with the fashionable world taking up the vase as a symbol of the new 'antique' style. The demand for 'antique' vases was so great that, in addition to copying surviving Classical antiquities, manufacturers copied designs from prints of the 17th and 18th centuries. Some of these prints were highly fanciful inventions, which were not seriously intended for production. Wedgwood (1730-1795) adapted the design here from a vase print by Friedrich Kirschner (1748-1789), a German painter of miniatures. Materials & Making The decoration imitates the veining of agate and other hardstones. This effect was achieved by 'wedging' (blending) coloured clays together. Pottery made in this way is described as 'solid agate ware.' There are no mould seam lines, and the spiralling of the clays inside the vase suggest that it was thrown on a wheel. It was then turned on a lathe and fired and glazed. The marble foot is a replacement. People The vase was formerly in the collection of the Victorian statesman W. E. Gladstone. |
| Collection | |
| Accession number | CIRC.1&A-1923 |
About this object record
Explore the Collections contains over a million catalogue records, and over half a million images. It is a working database that includes information compiled over the life of the museum. Some of our records may contain offensive and discriminatory language, or reflect outdated ideas, practice and analysis. We are committed to addressing these issues, and to review and update our records accordingly.
You can write to us to suggest improvements to the record.
Suggest feedback
You can write to us to suggest improvements to the record.
Suggest feedback
| Record created | March 27, 2003 |
| Record URL |
Download as: JSONIIIF Manifest
