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White jasper lidded vase with Etruria blue dip - c.1898

White jasper lidded vase with Etruria blue dip, © Wedgwood Museum
    White jasper lidded vase with Etruria blue dip
    © Wedgwood Museum

Vase; sgraffito and tube-lined decoration. White jasper, Etruria blue dip c.1898

Vase; sgraffito and tube-lined decoration. White jasper, Etruria blue dip c.1898

  • Type of object: Ornamental ware/vase
  • Mark: WEDGWOOD
    [Impressed on base]
    [Impressed on base]
    [Impressed on base]
    H Barnard
    [Inscribed on base and lid]]
  • Year produced: c.1898
  • Body: Jasper
  • Decoration: dipped, sgraffitto
  • Accession number: 4020, 4020a

Other images


  • Sgraffito


    Sgraffito is a technique in ceramics where two successive layers of contrasting 'slip' (liquid clay) are applied to an unfired ceramic body and then scratched to produce an outline drawing. The technique can also apply to wall decor where layers of plaster are tinted in contrasting colours.


  • 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.