Wedgwood dating willow
Following on from last week’s blog, today’s post takes a look at how we date ceramic artefacts, specifically the plates, cups, bowls and saucers we find so often in Christchurch.
Many of the issues I mentioned last week with regard to glass bottle dating also apply to ceramics (and all artefacts, really), but there are some that we encounter more frequently depending on the type of material we’re looking at.
For kids, there’s a Fairyland-lustre themed playroom and a family-friendly dining hall.
For bargain hunters, there’s an outlet store, which includes top-end ranges, such as prestige vases, which you can snap up for £11k, rather than £28k.
The paper is then applied to the unfired clay, be it earthenware or bone china, which absorbs the ink from the paper.
After the paper is removed, the clay is glazed and fired.
Or that leading artists of their day such as Eric Ravilious in the 1930s and Eduardo Paolozzi in the 1970s designed for the brand?
On a new factory tour, you can witness the manufacturing process, from the firing to the handpainting of prestigeware, and even throw your own jasperware pot, under the expert tutelage of Wedgwood artisans.
Most of the developments in ceramic production that occurred prior to the 1820s and 1830s were to do with refining the mixture of the clay and gradually moving from cream coloured wares (left) to whiter pieces (middle).
Some vessels have maker’s marks or ‘backmarks’ stamped or printed on the back with the name of the pottery manufacturer (and these are subject to all the same problems as with bottle marks), but often we may not actually find that piece of the plate or teacup. century ceramics don’t have very much visible evidence for dateable changes in manufacturing technology.
Other times, frustratingly, we find artefacts without any mark at all. Left to right: P B & H, or Pinder Bourne & Hope, a company operating out of Burslem, Staffordshire, from 1851-1862; P B & Co or Pinder Bourne & Co, the successors to Pinder Bourne & Hope, who were in business from 1862-1882; J & G Meakin, who were manufacturing earthenware from the 1850s until 2000, although this particular mark was in use from 1912 onwards. This is thanks to the actual methods of manufacture as well as the fact that most of the notable developments in ceramic manufacturing occurred in the late 1700s and early 1800s, leaving production techniques largely unchanged for most of the 19 century.
He is particularly recognised as having developed the technique for underglaze transfer printing on earthenware c.1784 and to have produced the first printed “Willow” patterns 1784-90s.
He focused his attention on the manufacture of porcelain, a technically more difficult but much finer material than he had previously made, introducing in 1796 a new type of porcelain which he first called “Stoke China” but shortly afterwards renamed “Bone China”, because of the high proportion of calcined ox-bone in its formula.Mums and Dads can browse the wide selection of beautiful Wedgwood pieces in the Flagship Store, Factory Outlet and Museum Shop, or relax and indulge with the ultimate English Afternoon Tea experience or enjoy delicious local produce in The Dining Hall.