|18th/19th Century Porcelain|
An elaborate Chinese landscape wraps around most of the surface of this baluster shaped va...
An elaborate Chinese landscape wraps around most of the surface of this baluster shaped vase; the remaining space nicely ornamented with a vertical swath of blue florals. Students of early transfer will note the solid light blue ground areas in addition to the engraved details of the scene, an effect achieved by the application of a pigment wash to the printed surface. Two pagoda-like "temple" structures on a promontory bounded by an oriental fence dominate the landscape. In the enclosure, two figures appear to be engaged in animated conversation. Further, as one follows the scene around the body, another couple appears at the tip of the promontory, also engaged in conversation.
At the shoulder of the vase a patchwork border of oriental patterns trimmed in gilt terminates the scene, leaving the neck open for a traditional floral spray. A scaled-down version of the pattern, still featuring tiny conversationalists, decorates the lid which is finished with a button top finial, enhanced with gilt.
|Dimensions:||Height 7 1/4 in., Width 3 1/2 in.|
The execution of this pattern is fascinating. Intuitively one assumes the combinati...
The execution of this pattern is fascinating. Intuitively one assumes the combination of transfer enhanced with blue wash would suggest early production. However the bright hue of the transfer and wash indicates the use of purer agents than were available for the earliest printed wares . Further, this transfer and wash treatment dates from the late 1770's, a time when other potters were able to achieve similar effects with printing. In view of the competition Worcester was facing from the blue wares of Caughley, Lowestoft and oriental trade, the added expense of the blue wash may have been an effort to set their wares apart from the printed wares of their English competitors and the painted wares still coming in from China.
In his work on Worcester porcelain, Henry Sandon identifies this pattern as both "Temple" and "Two Figures in a Temple Landscape." Both Henry Sandon in The Illustrated Guide to Worcester Porcelain (1969; p.52, fig. 139) and Geoffrey Godden in Godden's Guide to English Blue and White Porcelain (2004; pl. 114, p. 423) illustrate this pattern. Based on archaeological evidence gathered at the site of the Worcester works, Sandon dates the pattern as no earlier than 1776 -- which Godden confirms.