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Spiral jasper vase designed by Nick Munro - After 2000

Spiral vase designed by Nick Munro
    Spiral vase designed by Nick Munro

In 2000 Wedgwood collaborated with designer Nick Munro to develop a new Jasper range, entitled The Nick Munro Collection. On sale in 2000 until 2002, twenty items made up the collection ranging from traditional table ware such as cup & saucer, to more unusual items like dog and cat bowl.

In 2000 Wedgwood collaborated with designer Nick Munro to develop a new Jasper range, entitled The Nick Munro Collection. On sale in 2000 until 2002, twenty items made up the collection ranging from traditional table ware such as cup & saucer, to more unusual items for example dog and cat bowls. Colour theme for this collection was black or stone. Body for this spiral vase is made from jasper, stone in colour, with a matt glaze applied to the exterior and a clear glaze applied to the interior. Swirl design starts at the bottom and gradually radiates upwards ending before final plain section of vase, giving this piece a very unique look, as we can see from the photograph. Spiral vase available in two sizes, this example is the 180 mm small version; large version was 240 mm in height. At launch in 2000 this small spiral vase retailed at £55.00, this can be seen from sales label on vase base dated 2008, price and date have been hand written. Also on base above manufacturers mark is small circular yellow label, with IN SP printed on it. The larger 240 mm version retailed at £80.00.

  • Type of object: Useful ware/spill jar or vase
  • Mark: [Nick Munro signature device]
    FOR
    WEDGWOOD®
    MADE IN ENGLAND
    © 1990
    [printed in black ink]
  • Year produced: After 2000
  • Body: Jasper
  • Glaze: clear glaze, unglazed
  • Material: ceramic
  • Decoration: glazed
  • Accession number: 11414
  • Dimensions: 145 mm (diameter), 180 mm (height)

Other images

Related people

  • Nick Munro

    Nick Munro

    Nick Munro studied engineering and design at Nottingham University, Imperial College of Science and Technology and The Royal College of Art. He won young Entrepreneur of the Year 1988 by turning bed springs into egg cups. Many companies have commissioned work including Wedgwood, P&O, John Lewis, Spode, The V&A Museum and Bugatti in Italy. This designer works with a wide range of material ranging from glass, stainless steel, furniture, ceramics and pewter. Nick has a store in Chester and a website which includes an online store.

Glossary

  • Jasper

    Jasper

    A fine-grained stoneware body developed by Josiah Wedgwood I in the mid 1770s, and the ceramic ware most associated with the name. The most famous colour combination known today is the traditional blue and white, which is usually decorated with classical bas reliefs.

    With changes in architectural styles and the rise in popularity of neo-classical styles of interior decoration Josiah Wedgwood began a series of experiments to create a new ceramic material that would complement the new fashions. Thousands of meticulously recorded experiments were carried out to make a stoneware body that was capable of taking a mineral oxide stain throughout. The search for the jasper body absorbed much of Wedgwood's energy and time, the result being his most important contribution to ceramic history.

    The majority of the actual trials were carried out between December 1772 and December 1774, Josiah writing on the 17 March of the latter year: ‘have for some time past been reviewing my experiments, & I find such Roots, such Seeds as would open & branch out wonderfully if I could nail myself down to the cultivation of them for a year or two'.

    By January 1775 he was ‘absolute' in the production of jasper with coloured grounds. He was also in a position to advertise that he could manufacture bas reliefs, ranging from large plaques to small cameos for mounting as jewellery. The range of colours steadily increased, and by March 1776 Josiah was sending his first specimens of yellow to London. By September experiments were in hand for black jasper. Certainly by Spring of 1777 he was carrying out further experiments to perfect a surface ‘dip' to provide deeper coloured grounds for his cameos; and by the middle of December 1777, he was able to offer Bentley a choice of ‘Green - yellow - lalock [lilac] etc. to the colour of the rooms', referring to the tones favoured by their mutual acquaintance the architect Robert Adam.