Wedgwood

Jasperware with applied white classical relief, the two-handled vase with trophy drops to neck above classical Muses within foliate frames, ht. 14 5/8; the base with fruiting grapevine festoons terminating at lion masks with ribbons below a palmette border and with laurel and berries surrounding foot, ht. 9 1/2 in.; impressed marks.

Black Jasper with applied white classical relief with floral festoons terminating at ram's heads to neck above Bacchus heads mounted among running laurel to shoulders, each side with a framed classical medallion bordered with fruiting grapevine festoons above foliate borders.

Black Jasper with applied white classical relief with floral festoons terminating at ram's heads to neck above Bacchus heads mounted among running laurel to shoulders, each side with a framed classical medallion bordered with fruiting grapevine festoons above foliate borders.

Egret from the celebrated English ceramic firm, modelled by Ernest Light and completed in black basalt with distinctive glass eyes in the early 20th century. Josiah Wedgwood introduced into production a black stoneware body in 1768. The first trials for Wedgwood's new black body had begun by July 1766, even before the move to Etruria. By September 1767 his experiments were at an advanced stage, ready for production, and less than twelve months later black basalt wares were on the market. He called it ‘Black Basaltes'; we know it as black basalt. Made from reddish-brown clay which burned black in firing, this ceramic body was superior in its appearance to the local 'Egyptian Black' wares produced in the area prior to that date. Provenance: Property of the Saint Louis Art Museum, Sold to benefit the acquisition fund.

Elephant from the celebrated English ceramic firm, modelled by Ernest Light and completed in black basalt with distinctive glass eyes in the early 20th century. Josiah Wedgwood introduced into production a black stoneware body in 1768. The first trials for Wedgwood's new black body had begun by July 1766, even before the move to Etruria. By September 1767 his experiments were at an advanced stage, ready for production, and less than twelve months later black basalt wares were on the market. He called it ‘Black Basaltes'; we know it as black basalt. Made from an umber clay which burned black in firing, this ceramic body was superior in its appearance to the local 'Egyptian Black' wares produced in the area prior to that date.