|Aesthetic Period Transferware|
The oval lidded tureen, stand and ladle--of straightforward form--is enlivened with Wedgwo...
The oval lidded tureen, stand and ladle--of straightforward form--is enlivened with Wedgwood & Co.'s "Louise" pattern--brown transfer against a warm ivory ground. Edges are finished with a narrow border of two tightly composed geometric bands. Tucked into the border are leafy sprigs--some with blossoms, some with berries--and, more whimsically, a descending song bird and a scrapbook style cluster of Japanese motifs. The latter is the only overt Japanese reference in this aesthetic pattern, except of course for the entire composition (see comment).
|Mark:||Backstamp and Registry Marks|
|Dimensions:||Height 8 3/4 in.; length (stand) 14 5/8 in.; width (stand) 10 1/4 in.|
The influence of foreign design traditions like the Japanese had the effect of explo...
The influence of foreign design traditions like the Japanese had the effect of exploding the center/border composition formula that previously dominated European tableware. One compositional strategy that resulted was the placement of motifs in a broad but loose and irregular band around the empty center--rather like a very open wreath. As a result, plates ceased to have a top and botttom, and patterns could easily be adapted to the shapes of serving pieces since there were no large scenes to accommodate. "Louise" is one of those patterns in which the needle has been removed from the compass, and the decoration of holloware like this tureen is particularly successful.
Wedgwood & Co. (not to be confused with Wedgwood) was founded at Tunstall in 1860 (in time to be well underway when the Japanese mania arrived) as a producer of earthenware. The pottery operated until 1965.