atkins
10
-38- GARRY ATKINS This year’s Eight Days in June now encompasses oriental ceramics and many of our exhibits have a Chinese theme which mirrors the originals. Tin-glazed earthenware blue dash chargers were produced for about 100 years from the mid 1600s, and provincial pottery centres such as Bristol carried on the tradition long after metropolitan taste had moved on. George II is depicted on No. 1, with full regalia for his coronation in October 1727, surrounded by sponged trees, typical of the later, rather formulaic treatment of this type of subject. Both Dutch and English delftwares of the 17th century were hugely influenced by imported Ming wares, and the blue and white patterns have been skilfully adapted on the flower bowl, No. 2, and the posset pot No. 3. The birds among foliage have been painted by an expert hand and serve to draw the eye away from the ponderous shapes of the pottery which is so remote from the fragility of the porcelain being copied. Drug jars were important objects in the 17th century, and much attention was devoted to the decorative potential of the label. No. 4 is unusually large with a fine ‘pipe smokers’ design advertising Conserve of Chicory, a mild laxative which was no doubt in great demand. A whiff of scandal attaches itself to the electioneering plate, No. 5, in support of Thomas Cresswell, MP for Wootton Bassett, who was involved in a law suit due to a bigamous marriage. He was described at the time as “base and unmanly”, something which could not possibly happen today! The early 18th century London tin-glazed plate, No. 6, is amusingly decorated with an alluring mermaid and the marine theme is continued by No. 7, two delightful Liverpool wall pockets in the shape of fish. The few that are known all face the same way, so were not, strictly speaking, manufactured in pairs. Also from Liverpool are a rare chinoiserie plate, No. 8, with exquisite famille rose decoration, and four tiles, No. 9, with whimsical oriental figures, surrounded by ‘fish roe’ borders and ‘michaelmas daisy’ corners. Continuing the chinoiserie theme, the Elers brother in the 1690s developed an imitation Chinese redware which perhaps surpasses its precursor. The tiny tea canister No. 13, is perfect in its execution, and includes a seal mark on the underside. The saltglazed stoneware jug, No. 10, makes use of bright enamels for its appeal, but the two spoon trays, Nos. 11 and 12, use the colour of the clay. Various decorative techniques are used on the creamware pieces. The charming model of a hare, No. 14, is brought to life with soft underglaze tones, whilst the caddy, No. 15, is ornamented in relief with the fable of ‘The Fox and the Stork’ from Aesop’s fables, highlighted in enamel colours. Improving subject matter also features on the extremely rare Greatbatch coffee pot and cover, No. 16, with printed scenes from ‘The Prodigal Son’. The late 18th century pearlware jug, No. 17, is also printed with a humorous caricature of Signor Gruntinelli playing the latest instrument called a ‘Swinetta’, in reality a live pig with its tail being pulled. The dial, No. 18, from the same period, is an extremely rare and somewhat impractical survivor from a long case clock, which would generally have a painted or enamelled face.
-
Upload
seb-andujar -
Category
Documents
-
view
216 -
download
0
description
-38- 1. Tin-glazed earthenware George II charger c. 1727. Diam: 13” -39- 2. Tin-glazed earthenware flower bowl, London c. 1690. Diam: 6 ¾” 3. Tin-glazed earthenware posset pot, London c. 1700. Height: 10” -40- 4. Tin-glazed earthenware drug jar, Southwark c.1650-60. Height 8 ¾” 5. Tin-glazed earthenware ‘cracked ice’ electioneering plate, Bristol c.1768. Diam: 9” -41-
Transcript of atkins
-38-
GARRY ATKINS
This year’s Eight Days in June now encompasses oriental ceramics and many of ourexhibits have a Chinese theme which mirrors the originals.
Tin-glazed earthenware blue dash chargers were produced for about 100 years fromthe mid 1600s, and provincial pottery centres such as Bristol carried on the traditionlong after metropolitan taste had moved on. George II is depicted on No. 1, withfull regalia for his coronation in October 1727, surrounded by sponged trees, typicalof the later, rather formulaic treatment of this type of subject. Both Dutch andEnglish delftwares of the 17th century were hugely influenced by imported Mingwares, and the blue and white patterns have been skilfully adapted on the flowerbowl, No. 2, and the posset pot No. 3. The birds among foliage have been paintedby an expert hand and serve to draw the eye away from the ponderous shapes of thepottery which is so remote from the fragility of the porcelain being copied.
Drug jars were important objects in the 17th century, and much attention wasdevoted to the decorative potential of the label. No. 4 is unusually large with a fine‘pipe smokers’ design advertising Conserve of Chicory, a mild laxative which wasno doubt in great demand. A whiff of scandal attaches itself to the electioneeringplate, No. 5, in support of Thomas Cresswell, MP for Wootton Bassett, who wasinvolved in a law suit due to a bigamous marriage. He was described at the time as“base and unmanly”, something which could not possibly happen today!
The early 18th century London tin-glazed plate, No. 6, is amusingly decorated withan alluring mermaid and the marine theme is continued by No. 7, two delightfulLiverpool wall pockets in the shape of fish. The few that are known all face thesame way, so were not, strictly speaking, manufactured in pairs. Also fromLiverpool are a rare chinoiserie plate, No. 8, with exquisite famille rose decoration,and four tiles, No. 9, with whimsical oriental figures, surrounded by ‘fish roe’borders and ‘michaelmas daisy’ corners. Continuing the chinoiserie theme, theElers brother in the 1690s developed an imitation Chinese redware which perhapssurpasses its precursor. The tiny tea canister No. 13, is perfect in its execution, andincludes a seal mark on the underside.
The saltglazed stoneware jug, No. 10, makes use of bright enamels for its appeal,but the two spoon trays, Nos. 11 and 12, use the colour of the clay. Variousdecorative techniques are used on the creamware pieces. The charming model of ahare, No. 14, is brought to life with soft underglaze tones, whilst the caddy, No. 15,is ornamented in relief with the fable of ‘The Fox and the Stork’ from Aesop’sfables, highlighted in enamel colours. Improving subject matter also features on theextremely rare Greatbatch coffee pot and cover, No. 16, with printed scenes from‘The Prodigal Son’. The late 18th century pearlware jug, No. 17, is also printedwith a humorous caricature of Signor Gruntinelli playing the latest instrumentcalled a ‘Swinetta’, in reality a live pig with its tail being pulled. The dial, No. 18,from the same period, is an extremely rare and somewhat impractical survivor froma long case clock, which would generally have a painted or enamelled face.
-39-
GARRY ATKINS
1. Tin-glazed earthenware George II charger c. 1727. Diam: 13”
-40-
GARRY ATKINS
2. Tin-glazed earthenware flower bowl, London c. 1690. Diam: 6 ¾”
3. Tin-glazed earthenware posset pot, London c. 1700. Height: 10”
-41-
GARRY ATKINS
4. Tin-glazed earthenware drug jar, Southwark c.1650-60. Height 8 ¾”
5. Tin-glazed earthenware ‘cracked ice’ electioneering plate, Bristol c.1768. Diam: 9”
-42-
GARRY ATKINS
6. Tin-glazed earthenware mermaid plate, London c. 1715. Diam: 8 ½”
7. Two tin-glazed earthenware wall pockets, Liverpool c. 1765. Length: 7”
-43-
GARRY ATKINS
9. Set of four tin-glazed earthenware tiles, Liverpool c.1750-70. Each 5” square
8. Tin-glazed earthenware plate, probably Liverpool and enamelled in Staffordshirec.1755. Diam: 8 ½”
-44-
GARRY ATKINS
10. Salt glazed stoneware jug, Staffordshire c. 1760. Height: 7”
11. Agateware spoon tray, Staffordshire c. 1750. Width: 6 ¾”
12. Salt glazed stoneware spoontray,Staffordshire c. 1760. Width: 6”
-45-
GARRY ATKINS
13. Elers red stoneware tea canister, Staffordshire c. 1695. Height: 2 ¼”
14. Creamware hare, Staffordshire c. 1750. Height: 3 ¼”
-46-
GARRY ATKINS
15. Creamware caddy, Staffordshire c. 1780. Height: 6”
16. Creamware Greatbatch coffee pot, Staffordshire c. 1770. Height: 9”
-47-
GARRY ATKINS
17. Pearlware jug c. 1790. Height: 8”
18. Tin-glazed earthenware clock dial, probably London c. 1760-80. Diam: 9 ¾”
