Dish
1657 (made)
| Artist/Maker | |
| Place of origin |
Object Type
This is a typical delftware (tin-glazed earthenware) display dish of the mid-17th century. The wide rim painted with an elaborate floral border serves as a frame for the comparatively small central well, which depicts an imaginary urban landscape.
Collectors & Owners
Collectors did not take delftware seriously until the supply of slipware (wares of coarse red clay decorated with a white liquid clay known as slip) and other pre-industrial earthenware began to dry up in the early 20th century. This neglect was partly because delftware was completely unrelated to fashionable Staffordshire pottery. Its status continued to rise, especially after the publication of ProfessorFrederick Horace Garner's English Delftware in 1948. Even as late as the 1960s, however, it was still plentiful and fairly inexpensive. This enabled obsessive collectors such as the architect and ceramic historian Louis Lipski (1914-1979) to amass huge collections with a comparatively small outlay.
From that time onwards, collectors began to search for early pieces made for the mass market that had descended through families and been long forgotten. This dish, for example, was bought by a dealer at a country sale in 1970 and initially offered to the V&A for œ80. The Museum declined, after which it passed through Sotheby's auction house and was later acquired by the V&A for a somewhat higher market value. Since then, research into the early London potteries has firmly placed this unpretentious dish at the heart of a group of delftwares. They were probably made at the first Southwark pottery at Pickleherring Quay, when it was under the management of Richard Newnham (between about 1645 to about 1684), whose initials this dish bears. The various forms and types of decoration encompassed by this group now provide an invaluable repertoire of clues for the identification of other Pickleherring products.
This is a typical delftware (tin-glazed earthenware) display dish of the mid-17th century. The wide rim painted with an elaborate floral border serves as a frame for the comparatively small central well, which depicts an imaginary urban landscape.
Collectors & Owners
Collectors did not take delftware seriously until the supply of slipware (wares of coarse red clay decorated with a white liquid clay known as slip) and other pre-industrial earthenware began to dry up in the early 20th century. This neglect was partly because delftware was completely unrelated to fashionable Staffordshire pottery. Its status continued to rise, especially after the publication of ProfessorFrederick Horace Garner's English Delftware in 1948. Even as late as the 1960s, however, it was still plentiful and fairly inexpensive. This enabled obsessive collectors such as the architect and ceramic historian Louis Lipski (1914-1979) to amass huge collections with a comparatively small outlay.
From that time onwards, collectors began to search for early pieces made for the mass market that had descended through families and been long forgotten. This dish, for example, was bought by a dealer at a country sale in 1970 and initially offered to the V&A for œ80. The Museum declined, after which it passed through Sotheby's auction house and was later acquired by the V&A for a somewhat higher market value. Since then, research into the early London potteries has firmly placed this unpretentious dish at the heart of a group of delftwares. They were probably made at the first Southwark pottery at Pickleherring Quay, when it was under the management of Richard Newnham (between about 1645 to about 1684), whose initials this dish bears. The various forms and types of decoration encompassed by this group now provide an invaluable repertoire of clues for the identification of other Pickleherring products.
Object details
| Categories | |
| Object type | |
| Materials and techniques | Tin-glazed earthenware, painted |
| Brief description | Tin-glazed earthenware dish depicting landscape with buildings and an inscription, Britain, 1675. |
| Physical description | A landscape with buildings, trees and a prominent fence in the foreground painted in blue green, ochre and manganese-purple. The building at the left appears to be a church. The central spire has a statue at its apex. The initials and date N/R E 1657 appear at the top. The border has a pattern of leaves and leaf-scrolls in similar colours. Three stilt marks on the front (9 cms point to point). On the back the date 1657 is painted boldly in blue within the foot-rim and again just outside it. Body colour: Mid buff. Glaze: White. Dull pinkish white tin-glaze, possibly over a pale slip, covers the entire back. The foot-rim has been wiped virtually entirely clean of glaze. Shape: Shape A. The flange warped upwards in the firing at one point. (Alphabetic shape codes as used in appendix to Archer. Delftware. 1997) |
| Dimensions |
|
| Marks and inscriptions |
|
| Gallery label |
|
| Object history | Mr N.W. Podmore. Sothebys. 22:10:1970. Lot 210. Purchased from Messrs Jellinek and Vermoutier, Kensington, 1971. Exhibited: Rijksmuseum, No: 28. |
| Subjects depicted | |
| Summary | Object Type This is a typical delftware (tin-glazed earthenware) display dish of the mid-17th century. The wide rim painted with an elaborate floral border serves as a frame for the comparatively small central well, which depicts an imaginary urban landscape. Collectors & Owners Collectors did not take delftware seriously until the supply of slipware (wares of coarse red clay decorated with a white liquid clay known as slip) and other pre-industrial earthenware began to dry up in the early 20th century. This neglect was partly because delftware was completely unrelated to fashionable Staffordshire pottery. Its status continued to rise, especially after the publication of ProfessorFrederick Horace Garner's English Delftware in 1948. Even as late as the 1960s, however, it was still plentiful and fairly inexpensive. This enabled obsessive collectors such as the architect and ceramic historian Louis Lipski (1914-1979) to amass huge collections with a comparatively small outlay. From that time onwards, collectors began to search for early pieces made for the mass market that had descended through families and been long forgotten. This dish, for example, was bought by a dealer at a country sale in 1970 and initially offered to the V&A for œ80. The Museum declined, after which it passed through Sotheby's auction house and was later acquired by the V&A for a somewhat higher market value. Since then, research into the early London potteries has firmly placed this unpretentious dish at the heart of a group of delftwares. They were probably made at the first Southwark pottery at Pickleherring Quay, when it was under the management of Richard Newnham (between about 1645 to about 1684), whose initials this dish bears. The various forms and types of decoration encompassed by this group now provide an invaluable repertoire of clues for the identification of other Pickleherring products. |
| Bibliographic references |
|
| Other number | A56. - <u>Delftware</u> (1997) cat. no. |
| Collection | |
| Accession number | C.57-1971 |
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 | January 29, 2000 |
| Record URL |
Download as: JSONIIIF Manifest
