Posted By: Tim
Posted on: 2010-03-28 22:08:27

Featured Items:
Wedgwood Crimson Jasper Dip Lidded Boxes

At antiques shows, when Wedgwood collectors ask "Do you have any crimson?" there is often a tentative note in their voices as if they expect to be disappointed. Likewise, when we are lucky enough to have examples of crimson jasperware on display, the most frequent comment we hear is "I never knew Wedgwood made that color." No wonder. Crimson is generally considered the rarest jasperware color.
 
The presence of two crimson trinket boxes in our inventory seems a good reason to take a look at the crimson jasper phenomenon. For historical context we will depend on the indispensible writings of Robin Reilly, our go-to source whenever we want to test or confirm common perceptions about Wedgwood and its products.
 
                     

Wedgwood Crimson Jasper Dip Square Lidded Box                                                               /products/3394

Dimensons:  4 in. Square, Height 1 7/8 in.

Price $1550.00

Wedgwood Crimson Jasper Dip Scalloped Box                                                                          /products/3401

Dimensions:  Diameter 5 in., Height 2 in.

Price $1750.00 

  The "look" of Wedgwood jasperware is so firmly rooted in its eighteenth century origins that it is easy to assume that its developmental phase ended with the pioneering work of Josiah I and to imagine that since his time the company has happily turned out our beloved jasperware with a clockwork consistency. Robin Reilly's account of production in the nineteenth century, however, reveals that the continuity of jasperware, post Josiah, was really quite tenuous, marked with technical failures, uncertainty over technique, and long lapses when the jasperware tradition might have disappeared.  This period of trial and error continued into the eighteen sixties with a vigorous level of output established in the eighteen seventies. Jasper development in the subsequent decades focused on the introduction of new colors. In 1910 Wedgood introduced two new colors: dark olive green and crimson.
 
  Both new colors represent a response to the Edwardian interior with their deep, rich, almost jewel-like tones. Both products also shared a serious flaw--a tendency for the ground color to "bleed through" and spoil the whiteness of the white applied relief. In frustration Wedgwood cut short the production of both color lines; although judging by quantities available today, a good bit more of the dark olive must have been made than the crimson. Additional attempts at crimson manufacture were made between 1925 and 1932.
 
  Although that is all Reilly reports of crimson's failings, our personal observations suggest to us that more problems may have existed. We note more relief loss on crimson pieces than with other colors, as well as more "misses" in the coverage of the white clay body with the crimson jasper dip. Could the specific coloring agent have somehow reduced the jasper's ability to adhere? (We would welcome comments from others who may have made the same observation.)
 
    Because of coincidental changes in Wedgwood's marking system, it is possible--with some pieces--to determine whether they date from the first or second production period. Sometime around 1910 the WEDGWOOD ENGLAND mark changed to MADE IN ENGLAND; thus pieces marked only ENGLAND must date from this time. In 1929, in the midst of the second period, Wedgwood abandoned its serif typeface for the more modern block letters used to this day. If a crimson vessel bears a sans serif mark it must date from this later period. (Another personal observation: some of the brightest, clearest, most beautiful crimson exampes we have seen bear the later mark.)
 
   Let's end this background with a warning. In recent years Wedgwood has produced a solid purplish wine colored jasper which we have seen presented on internet sales sites as crimson. Whatever its virtues may be, the value of this contemporary cannot match that of true crimson. Luckily, the distinction is easily made. The recent pieces are solid jasper; crimson is always jasper dip with white bases and interiors.
 
Now, I think, you know everything about jasper that we do. Onto the boxes.
 
  There is a tradition of of boxes made of precious materials, and while crimson jasper may not compare to malachite or gold, the richness of their color removes these from the category of everyday catch-alls. Certainly these are not the most appropriate receptacles for the coins we clear from our pockets at the end of the day. The design of each of the boxes leaves a good bit of the ground exposed without decoration. The color is left to be enjoyed for its own sensuous beauty. Maybe the boxes are best left empty. Whatever is inside is likely to come as a disappointment once the lid is lifted.

    While the decoration of the lids may be elegantly spare, the side walls of both boxes are given over to detailed scenes of cupids in various activities. The well defined reliefs depict their diminutive characters--mostly winged--at play, in mock battle, even riding in a trumphal chariot. The curved edges of the scalloped box allow for the generous application of eight of these scenes.
 
     We have observed in our booth how a single crimson piece draws the eye, even when part of a large display. It can add the same spark in a home setting. At its best the color suggests light passing through a glass of fine red wine. Crimson may stand as one of Wedgwood's failures, but it is a delightful one.

Regards, Tim
 
P.S. It would be wrong not to mention two other fine crimson examples currently in stock.
 
      

Wedgwood Crimson Upright Jug                                                                       /products/3410 

Wewdgwood Crimson Creamer                                                                                 /products/3138

For Robin Reilly's full account of the ups and downs of jasper production see the "Jasper" entry in his Wedgwood: The New Illustrated Dictionary (1995) or the "Modern Production" section of the second volume of his enormous  Wedgwood (1989).
 
 

Posted By: Mark
Posted on: 2010-02-02 19:46:03

Featured Item:
Dark Blue Transferware Bowl
Clews "Wilkie's Designs" Series, "The Valentine"

Perhaps it it a bit too obvious, however as we started thinking about a February "Featured Item" listing, Clews "The Valentine" bowl seemed like the right choice.  
 
 
In the canon of English transferware manufacturers, James and Ralph Clews play a major role for their American patterns, both historical and scenic.  However, there is another vein to the Clews production based on the popular literary and artistic trends of the day.  Clews "Wilkie's Designs" series, of which "The Valentine" is one of the listings, exemplifies this second more universal (and romantic) vein.   

 

 http://seekersantiques.com/products/1954

Dimensions:  Diameter 8 3/4 in., Depth 1 5/8 in.
 
Price:  $395.00

Dates:  1820's
 
The body of this luncheon size soup plate is earthenware with a pearlware glaze.  The overall effect is that deep,shimmering dark blue which American consumers and collectors have admired since its first appearance in the 1820's.  In fact, this example is especially rich in that wonderful, lustrous dark blue --- as we discovered when photographing it.  

"The Valentine" finds its basis in genre painting (scenes taken from everyday life) which was enjoying a heyday in early nineteenth century England.  In the narrative, a portly, bald seated man seems to be trying to hold back the impending chaos of the scene. His extended arms and legs fill the center of the tableau.  He does not look out at us.  His gaze leads us to the purloined letter headed "Sweet Valentine."  The viewer is left to deduce that this note was probably taken from the purse lying beneath his chair.  Judging by the struggles of the woman he holds at bay off to his left, its a good bet she is the "Sweet Valentine" of the missive.  Standing next to her, a handsome, exotic, moustachioed man (who is also holding a note) seems to try to calm, comfort , bribe or possibly blackmail her, but at any rate stop her desparate attempts to get at the letter.  In the traditions of genre art, we, as viewers are left to piece the narrative together.  This drama is only enhanced by an underlying sense of chaos created by a series of additional somewhat unrelated elements.  First, a child with her back to us is trying to climb up on the seated man's lap as he tries to peruse the note.  Off to his right, a boy, totally detached from the scene stares out at us with a vacant grin (or is that a smirk) as he pours something from his jug. Beneath the boy's chair, a dog (possibly a dachshund?) stares out in an eerie way aping the vacant expression of the boy or is that a cynical expression on his dachshund face?  (We have known some masterful dachshunds.)  

 Background
 
Sir David Wilkie (1785-1841) found his voice in painting with scenes based on images of everyday peasant life.  His success was such that shortly after William IV became king, he appointed Wilkie Painter-In-Ordinary to the King.  While we generally associate the decorative trends of the day with Neoclassicalism, one must remember that the very accessible narrative vein of Wilkie's works would have found a ready market among the newly wealthy, less sophisticated shoppers active in the marketplace, particularly in the form of inexpensive prints.   

James and Ralph Clews (1819-1836) were starting their business in 1819.  In the next seventeen years, they would produce a load of pottery, the significance of which would guarrantee their name in the history of English ceramics.  As canny marketers, they would naturally have been attracted by Wilkie's rising popularity. 

Then we have the world at large in which these men lived.  In 1819, the direction of English transfer ware ceramics is wide open.  Up to this point, transferware designs have been based mostly on either traditional continental decoration, derived from the florals of Meissen,  illustrations copied from scholarly travel portfolios, or chinoiserie designs derived from the wares that had been imported from the orient for almost a century.  Being part of that breed of savvy, aggressive Staffordshire businessmen, the Clews look for new markets in two directions.  First, they look to the American market with views running the gamut from battle views of the War of 1812 to views, real and symbolic, reflecting the prosperity of the new world.  For the home market, they look to more fashionable literary or artistic sources.  Toward this end, the Clews produced three series, Dr. Syntax, Don Quixote and Wilkie's Designs, introducing a strong narrative element into their offerings.  The first two are based on literature popular in the day. The third, "From Wilkie's Designs" capitalizes on Sir David Wilkie's artistic success with the English public.  Sometime in the late 1820's into the 1830's, the Clews would add a third vein of romantic idylls to their production--romantic scenes, mostly fantasy, printed in the new pastel shades afforded by developing technology.  

The Wilkie Series
 
The series "From Wilkie's Designs" appears to be a full dinner service based (according to our resources) on seven ceramic genre views framed by a border of scrolls and large flowers.  Views include "Christmas Eve", "Playing at Draughts", "The Escape of The Mouse", "The Letter of Introduction", "The Rabbit on The Wall", "The Errand Boy", and of course "The Valentine". 

   Extra Detail
 
Ellouise Baker Larsen in American Historical Views on Staffordshire China (1939, 1950, 1975) gave the Clews series wares a special section under "Literary Series by Clews."  Ms. Larsen pointed out that while the series were in no way related to American historical views, they were held in such high esteem by American collectors that she felt they should be included among the various views important to the American market.  
 
In the September 1949 issue of The Magazine Antiques, Ms. Larsen authored an article, "The Wilkie Views on Staffordshire" in which she revealed that part of the series was actually by Wilkie's contemporary John Burnet, including "The Valentine."  She went on to identify an 1820 painting by Burnet as the source for "The Valentine." Since Burnet was also Wilkie's engraver, it is easy to imagine how their works became lumped together. The Clews version is almost certainly derived from a popular print rather than from exposure to the original painting. 

 A Perhaps Extraneous Note 

If you enter "Wilkie" on our new search engine, you will be surprised to be confronted by a bunch of "Robinson Crusoe" series ABC plates. Why? As it turns out, we tend to view Defoe's hero through the lens of the obsessive and comical treatment of the character in one of our favorite novels, The Moonstone by Wilkie Collins. We couldn't resist mentioning the connection in our discussions of the Brownhills Pottery series. But we'll save "Robinson Crusoe" and the Wilkie Collins connection for another day. 

 One other coincidental connection--Sir David Wilkie was Wilkie Collins's godfather, for whom he was named.  
 
Later,  Mark
 
(Ellouise Baker Larsen, American Historical Views On Staffordshire China is always our first source for American historical views and we are immensely grateful for her little detour into Clews "literary" views which provided us with most of the insights for this listing.)