"outset, Josiah Wedgwood worked with the established potter Thomas Whieldon until 1759, when relatives leased him the ""Ivy House"" in Burslem, Stoke-on-Trent, which allowed him to start his own pottery business. His marriage to Sarah Wedgwood, a distant cousin with a sizable dowry, helped him launch his new venture. In 1765, Wedgwood created a new form of creamware, a fine glazed earthenware, which impressed the then British Queen consort Charlotte of Mecklenburg-Strelitz, who gave official permission to call it ""Queen's Ware"". This new form sold extremely well across Europe. In 1766, Wedgwood bought ""Etruria"", a large Staffordshire estate, as both"
"development of creamware. Wedgwood rebelled against the use of coloured glazes, declaring as early as 1766 that he was clearing his warehouse of coloured ware as he was ‘heartily sick of the commodity’. Wedgwood improved creamware by introducing china-clay into both the body and glaze and so was able to produce creamware of a much paler colour, lighter and stronger and more delicately worked, perfecting the ware by about 1770. His superior creamware, known as ‘Queen's ware’, was supplied to Queen Charlotte and Catherine the Great and later became hugely popular. There were few changes to creamware after about 1770"
"his creamware to Queen Charlotte and Catherine the Great and used the trade name ""Queen's ware"". The Leeds Pottery (producing ""Leedsware"") was another very successful producer. Wedgwood and his English competitors sold creamware throughout Europe, sparking local industries, that largely replaced tin-glazed faience. and to the United States. One contemporary writer and friend of Wedgwood claimed it was ubiquitous. This led to local industries developing throughout Europe to meet demand. There was also a strong export market to the United States. The success of creamware had killed the demand for tin-glazed earthenware and pewter vessels alike and the spread of"
"master potter Thomas Whieldon with coloured stains under the glaze. It served as an inexpensive substitute for the soft-paste porcelains being developed by contemporary English manufactories, initially in competition with Chinese export porcelains. It was often made in the same fashionable and refined styles as porcelain. The most notable producer of creamware was Josiah Wedgwood, who perfected the ware, beginning during his partnership with Thomas Whieldon. Around 1779, he was able to lighten the cream colour to a bluish white by using cobalt in the lead overglaze. Wedgwood sold this more desirable product under the name ""pearl ware"". Wedgwood supplied"
"cheap, good-quality, mass-produced creamware to Europe had a similar impact on Continental tin-glazed faience factories. By the 1780s Josiah Wedgwood was exporting as much as 80% of his output to Europe. Creamware is made from white clays from Dorset and Devonshire combined with an amount of calcined flint. This body is the same as that used for salt-glazed stoneware, but it is fired to a lower temperature (around 800 °C as opposed to 1,100 to 1,200 °C) and glazed with lead to form a cream-coloured earthenware. The white clays ensured a fine body and the addition of flint improved its"
"its figures. He thus combined the benefits of jasperware and pâte-sur-pâte. A stand at the World's Fair 1900 in Paris was the first major public presentation of his work and gained him a gold medal. For this event, two huge wall plates were created with dimensions of 220 cm x 60 cm, each. Jasperware Jasperware, or jasper ware, is a type of pottery first developed by Josiah Wedgwood in the 1770s. Usually described as stoneware, it has an unglazed matt ""biscuit"" finish and is produced in a number of different colours, of which the most common and best known is"
"Jasperware Jasperware, or jasper ware, is a type of pottery first developed by Josiah Wedgwood in the 1770s. Usually described as stoneware, it has an unglazed matt ""biscuit"" finish and is produced in a number of different colours, of which the most common and best known is a pale blue that has become known as Wedgwood Blue. Relief decorations in contrasting colours (typically in white but also in other colours) are characteristic of jasperware, giving a cameo effect. The reliefs are produced in moulds and applied to the ware as sprigs. After several years of experiments, Wedgwood began to sell"
"partnership between Thomas Whieldon and Josiah Wedgwood from 1754 to 1759, moulded creamware in a variety of forms was developed, especially in collaboration with the talented block-cutter William Greatbatch, who produced a variety of Cauliflower, Pineapple, Fruit Basket and other popular wares. There was considerable inventiveness of form and the use of moulds allowed both greater complexity and ease of mass-production. Combined with increasingly sophisticated decorative techniques, creamware quickly became established as the preferred ware for the dinner table amongst both middle and upper classes. Creamware during the 18th century was decorated in a variety of ways: The early process"
"himself, renting a small potworks in the town of Stoke-on-Trent in 1767; in 1776 he completed the purchase of what became the Spode factory until 2008. His early products comprised earthenwares such as creamware (a fine cream-coloured earthenware) and pearlware (a fine earthenware with a bluish glaze) as well as a range of stonewares including black basalt, caneware, and jasper which had been popularised by Josiah Wedgwood. The history and products of the Spode factory have inspired generations of historians and collectors, and a useful interactive online exhibition was launched in October 2010. Josiah Spode I is credited with the"
"in many factories, including by the Naples porcelain factory. The heyday of creamware ran from about 1770 to the rise of painted pearlwares, white wares and stone chinas in the period around 1810 to 1825. Although creamware continued to be produced during the later period, it was no longer pre-eminent in the markets. Given the fickle nature of the consumer, much remarked upon by Wedgwood during his career, it is remarkable how long creamware remained popular in its many forms. Creamware Creamware is a cream-coloured, refined earthenware with a lead glaze over a pale body, known in France as ""faïence"
"Creamware Creamware is a cream-coloured, refined earthenware with a lead glaze over a pale body, known in France as ""faïence fine"", in Germany as ""Engels porselein"" and Italy as ""terraglia inglese"". It was created about 1750 by the potters of Staffordshire, England, who refined the materials and techniques of salt-glazed earthenware towards a finer, thinner, whiter body with a brilliant glassy lead glaze, which proved so ideal for domestic ware that it supplanted white salt-glaze wares by about 1780. It was popular until the 1840s. Variations of creamware were known as ""tortoiseshell ware"" or ""Whieldon ware"" were developed by the"
"and the Wedgwood formula was gradually adopted by most manufacturers. One important ware of note however is pearlware, of which there was an increase around 1779. Pearlware is distinct from creamware in having a blue-tinged glaze produced by the use of cobalt and a body somewhat modified to produce a ware that was slightly greyish in appearance. Pearlware was developed in order to meet demand for substitutes for Chinese porcelain amongst the growing middle classes of the time. By around 1808 a fully whitened version of creamware (known as White Ware) was introduced to meet changing market demand. During the"
"in 1783. The Wedgwood Prestige collection sold replicas of the original designs, as well as modern neo-classical style jasperware. The main Wedgwood motifs in jasperware – as well as in other wares like basaltware, queensware, caneware, etc. – were decorative designs that were highly influenced by the ancient cultures being studied and rediscovered at that time, especially as Great Britain was expanding its empire. Many motifs were taken from ancient mythologies: Roman, Greek and Egyptian. Meanwhile, archaeological fever caught the imagination of many artists. Nothing could have been more suitable to satisfy this huge business demand than to produce replicas"
"Staffordshire, according to one early historian, although this is disputed. The method involved first firing the ware to a biscuit state, and then glazing and re-firing it. Foremost of the pioneers of creamware in the Staffordshire Potteries was Thomas Whieldon. Although he has become popularly associated almost exclusively with tortoiseshell creamware, in fact he produced a wide variety of creamware. He first mentions ‘Cream Colour’ in 1749. The young Josiah Wedgwood was in partnership with Thomas Whieldon from 1754 to 1759 and after Wedgwood had left to set up independently at Ivy House, he immediately directed his efforts to the"
"Delph, Stoke, in 1725, and was the first English manufacturer of what came to be called Creamware. Samuel Astbury, also a potter, a brother of John Astbury, married Elizabeth, the sister of Thomas Wedgwood, father of Josiah Wedgwood, and was in 1744 one of the witnesses to the deed of Josiah's apprenticeship to pottery-making. One of Wedgwood's biographers attributed his success to his adoption of the important inventions described above, with which she credits Samuel Astbury. Possibly Samuel Astbury contributed to John's improvements of his art, but there seems no reason for doubting that it was John and not Samuel"
"by charters and other sealed documents, were at least as keen on using seals as the ancient world, now creating them for towns and church institutions, but they normally used metal matrices and signet rings. However some objects, like a 13th-century Venetian ""Seven Sleepers of Ephesus"", mimicked the engraved gem. Another offshoot of the mania for engraved gems is the fine-grained slightly translucent stoneware called jasperware that was developed by Josiah Wedgwood and perfected in 1775. Though white-on-blue matte jasperware is the most familiar Wedgwood ceramic line, still in production today and widely imitated since the mid-19th century, white-on-black was"
"a home and factory site. Wedgwood developed a number of further industrial innovations for his company, notably a way of measuring kiln temperatures accurately and the new ware types ""Black Basalt"" and ""Jasper Ware"". Wedgwood's best known product is jasperware, created to look like ancient cameo glass. It was inspired by the Portland Vase, a Roman vessel which is now a museum piece. The first jasperware colour was Portland Blue, an innovation that required experiments with more than 3,000 samples. In recognition of the importance of his pyrometric beads (pyrometer), Josiah Wedgwood was elected a member of the Royal Society"
"of these potteries would have been producing creamware. Whilst Staffordshire had taken the lead, creamware came to be developed in a number of large potting centres where stoneware was already being produced, eventually replacing stoneware entirely. These included Derbyshire, Liverpool, Yorkshire (including the Leeds pottery) and Swansea. Attribution of pieces to particular factories has always been difficult because virtually no creamware was marked prior to Josiah Wedgwood's manufacture of it in Burslem. At the time manufacturers frequently supplied wares to one another to supplement stocks and ideas were often exchanged or copied. In addition, factories usually sent out their wares"
"Alias, Queen Ware, Alias, Ivory, still increases -- It is amazing how rapidly the use of it has spread all most [sic] over the whole Globe."" He first opened a warehouse at Charles Street, Mayfair in London as early as 1765 and it soon became an integral part of his sales organization. In two years his trade had outgrown his rooms in Grosvenor Square. In 1767 Wedgwood and Bentley drew up an agreement to divide decorative wares between them, the domestic wares being sold on Wedgwood's behalf. A special display room was built to beguile the fashionable company. Wedgwood's in"
"by Josiah Wedgwood in his contemporary ""Experiment Book"" where there is a wealth of manuscript material on the partnership. Here Wedgwood explains that by 1759 there was an urgent need to improve the quality of lead-glazed creamware which was the principle ware being produced by Whieldon at the time. Prices for this type of ware were rapidly declining and the quality of production was suffering as a result. It is likely that Wedgwood's work with Whieldon was largely experimental and concerned with improving the factory's wares and looking to the future. This set Wedgwood on a course of experimentation that"
"jasperware in the late 1770s, at first as small objects, but from the 1780s adding large vases. It was extremely popular, and after a few years many other potters devised their own versions. Wedgwood continued to make it into the 21st century. The decoration was initially in the fashionable Neoclassical style, which was often used in the following centuries, but it could be made to suit other styles. Wedgwood turned to leading artists outside the usual world of Staffordshire pottery for designs. High-quality portraits, mostly in profile, of leading personalities of the day were a popular type of object, matching"
"printers to Josiah Wedgwood by 1763, for example. By 1760 creamware was often enamelled for decoration, using a technique adopted from the early porcelain industry. This consisted of painting overglaze on the ware with pigments made from finely powdered coloured glass and then firing again to fuse the enamel to the ware. The varied enamel colours did not fuse at the same temperature so several firings were generally needed, adding to the expense. There were approximately 130 potteries in North Staffordshire during the 1750s, rising to around 150 by 1763 and employing up to 7,000 people – a large number"
"Crown of Queen Elizabeth The Queen Mother The Crown of Queen Elizabeth The Queen Mother, also known as The Queen Mother's Crown, is the crown made for Queen Elizabeth, the wife of King George VI, to wear at their coronation in 1937 and State Openings of Parliament during her husband's reign. The crown was made by Garrard & Co., the Crown Jeweller at the time, and is modelled partly on the design of Queen Mary's Crown, though it differs by having four half-arches instead of eight. As with Queen Mary's Crown, its arches are detachable at the crosses pattée, allowing"
"the great majority of biscuit figures (other than dolls) are entirely in white, there are a number of ways of using colour in the technique. The Jasperware developed by Wedgwood in the 1770s, and soon very popular all over Europe is usually classed as stoneware rather than porcelain, but the style of using two contrasting colours of biscuit was sometimes used in porcelain. The Real Fábrica del Buen Retiro in Madrid made a porcelain room in the Casita del Principe, El Escorial decorated with 234 plaques in the style, with a ""Wedgwood blue"" ground and the design in white biscuit"
"most of it by giving his pottery the name of its patron; Queensware, Royal Pattern, Russian pattern, Bedford, Oxford and Chetwynd vases for instance. Whether they owned the original or merely possessed a Wedgwood copy mattered little to Wedgwood's customers. In 1773 they published the first ""Ornamental Catalogue"", an illustrated catalogue of shapes. A plaque, in Wedgwood's blue pottery style, marking the site of his London showrooms between 1774 and 1795 in Wedgwood Mews, is located at 12, Greek Street, London, W1. In 1773, Catherine the Great of Imperial Russia ordered the Green Frog Service from Wedgwood, consisting of 952"
"in the scientific advances of his day and it was this interest that underpinned his adoption of its approach and methods to revolutionize the quality of his pottery. His unique glazes began to distinguish his wares from anything else on the market. His matt finish jasperware in two colours was highly suitable for the Neoclassicism of the end of the century, imitating the effects of Ancient Roman carved gemstone cameos like the Gemma Augustea, or the cameo glass Portland Vase, of which Wedgwood produced copies. He also is credited with perfecting transfer-printing, first developed in England about 1750. By the"
"on public display along with the other Crown Jewels in the Jewel House at the Tower of London. Crown of Queen Elizabeth The Queen Mother The Crown of Queen Elizabeth The Queen Mother, also known as The Queen Mother's Crown, is the crown made for Queen Elizabeth, the wife of King George VI, to wear at their coronation in 1937 and State Openings of Parliament during her husband's reign. The crown was made by Garrard & Co., the Crown Jeweller at the time, and is modelled partly on the design of Queen Mary's Crown, though it differs by having four"
"sufficient. Just as he felt that his flowerpots would sell more if they were called 'duches of Devonshire flowerpots', his creamware more if called Queensware, so he longed for Brown, James Wyatt, and the brothers Adam to lead the architect in the use of his chimney pieces and for George Stubbs to lead the way in the use of Wedgwood plaques. Wedgwood hoped to monopolize the aristocratic market, and thus win for his wares a special distinction, a social ""cachet"" which would filter to all classes of society. Wedgwood fully realized the value of such a lead and made the"
"experiment with Jasperware, but he did not advertise this new product for a couple of years. Sir George Strickland, 6th Baronet was asked for advice on getting models from Rome. Gilding was to prove unpopular, and around 1772 Wedgwood reduced the amount of 'offensive gilding' in response to suggestions from Sir William Hamilton. When English society found the uncompromisingly naked figure of the classics 'too warm' for their taste, and the ardor of the Greek gods too easily apparent, Wedgwood was quick to cloak their pagan immodesty - gowns for the girls and fig leaves for the gods were usually"
"moulded and colour-glazed wares such as the cauliflower wares. Pearlware was also produced from around 1775. This is closely related to creamware (but not used synonymously by experts). Pearlware uses a ""china glaze"" which is a lead glaze with a blue tint resulting from the addition of a minute quantity of cobalt to the recipe. Often the same designs were used in production of both creamware and pearlware. Wares could also be decoratively turned by lathe, or rouletted for effect; sponged or painted with colour either under-glaze or over-glaze or slip decorated (at this period this would mean marbled). Applied"
"a creamware that is decorated under the glaze by painting or sponging with metallic oxides. During the glost firing, the colours flow to produce the tortoiseshell effect. Tortoiseshell wares were first mentioned by Thomas Whieldon in his ""Account and Memorandum Book"" of 1749. In his ""Experiment Book"", Josiah Wedgwood states that in 1759 tortoiseshell ware was the second most important ware at the Whieldon factory, but the market was declining:“[…] But as no improvement had been made in this branch for several years, the country was grown weary of it; and though the price had been lowered from time to"
"with a small amount of colouring oxide, with decoration over it in white tin-glaze. The development of a very white earthenware by Wedgwood spelled the end of English delftware. Decoration could be applied to the bisque ware from printed transfers, white pottery could be produced with a clear lead-glaze, and the result was pottery lighter and more durable than tin-glazed ware. The north Staffordshire potteries also introduced new wares and industrial techniques that disadvantaged the delftware makers, and by the 19th century tin-glazed earthenware almost died out until its revival in the form of art pottery a hundred years later."
"Elizabeth Upton, Baroness Templetown Elizabeth Upton, Baroness Templetown (1746/47 - 1823) was an English artist whose designs were used by Josiah Wedgwood the potter. She specialised in detailed cut-paper work which adapted well to Wedgwood's jasperware with white bas relief scenes on coloured backgrounds. He first chose one of her designs in 1783, and his 1787 catalogue referred to her ""exquisite taste"" and ""charming groups"". Several of the designs Wedgwood used have a feminine or domestic theme. She also painted in watercolours and sculpted in clay. Of particular note were her sculptures of family, including grandchildren. A famous bust was"