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Encaustic-painted teapot and cover - 1780

Encaustic-painted teapot and cover, side, photography M.Coupe
    Encaustic-painted teapot and cover, side, photography M.Coupe

This Black Basalt teapot is decorated with a blue and red encaustic enamel border. The cover's knob, or finial, is in the form of a shrouded woman, and is known as a widow finial. The shape of the raised rim that this teapot displays is known as a parapet edge.

This Black Basalt teapot is decorated with a blue and red encaustic enamel border. The cover's knob, or finial, is in the form of a shrouded woman, and is known as a widow finial. The shape of the raised rim that this teapot displays is known as a parapet edge.

  • Type of object: Teaware/teapot
  • Mark: Wedgwood
    5 M
    [impressed]
  • Year produced: 1780
  • Body: Black Basalt
  • Glaze: unglazed
  • Material: ceramic
  • Decoration: moulded, encaustic painted
  • Accession number: 1058
  • Dimensions: 150 mm (height), 240 mm (width, handle to spout), 160 mm (depth)

Other images

Glossary

  • Finial

    Finial

    The decorative handle or knob on the cover of a vase, teapot, coffeepot or similar. Finials appear in a wide range of decorative forms including animals, flowers, fruits, simple shapes such as a ball, and even in the style of a seated female figure wearing a shawl, which is known as the ‘widow’ finial.

  • Black Basalt

    Black Basalt

    A fine-grained black stoneware body, composed of ball clay, calcined ochre and manganese oxide. Josiah Wedgwood developed black basalt in 1768 to replace the earlier ‘black Egyptian’ ware produced in Staffordshire in the mid-eighteenth century. 

     

    Basalt was described by Josiah Wedgwood as ‘A fine black Porcelain, having nearly the same properties as the Basaltes i.e., the mineral rock', resisting the Attack of Acids; being a Touch-stone to Copper, Silver and Gold, and equal in Hardness to Agate or Porphyry'. It was the result of his experiments to perfect fine-grained stoneware suitable for the production of ornamental pieces, one that would complement the neo-classical styles then coming into vogue. It is probable that Wedgwood was experimenting with a basalt body in September 1767. He wrote to Bentley, ‘I am still going on with my tryals, & want much to shew you some of them'. Certainly within 12 months Basalt was generally available. From 1773 Wedgwood's plain-black body became universally known as ‘basaltes'. Both ornamental and useful wares were produced in this versatile body and it was used to make virtually anything the public required. Wedgwood placed great confidence in his material, predicting that ‘Black is Sterling and will last for ever'.

    Black clay was derived from ‘Carr', an oxide of iron suspended in the water that had flowed through coal seams and mines. This was drained and dried and then sold by the cartload to potters for use in the production of basalt pottery. Wedgwood made no secret of his recipe for Basalt, which he recorded on page 236 of ‘Common Place Book I. The entry is dated 1777, and reads:

    ‘Our Black Basalt Body. 80 of ball clay sifted 80 of Carr [ochre] calcined & ground 9 of manganese. The above is one Blending.'

    When these ingredients were fired together at a high temperature they vitrified into a fine-textured black body. The distinctive colour of Wedgwood's basalt, which has a deep purplish-black hue, is due to the high proportion of manganese included in the formula.