Images
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An 18th century view of the relics of classical antiquity
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An illustration from Robert Adam's 'Works in Architecture' (1773) showing classical columns to be incorporated into neo-classical buildings
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Decorative elements from classical antiquity, as surviving in the 18th century
© Wedgwood Museum
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An illustration from an 18th century design manual showing the 'Chinese' forms favoured in chinoiserie decoration
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A page from an 18th century design manual illustrating the naturalistic forms and swags favoured in rococo decoration
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A Wedgwood creamware vase, c. 1765, with naturalistic decoration and swags, typical of rococo decoration
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Queen's ware teapot, made by Wedgwood c. 1775, painted with figures to appeal to the fashion for Chinoiserie
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The title page from d'Hancarville's publication of Sir William Hamilton's vase collection
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Black basalt vase with encaustic enamelling, made in the 1780s by Wedgwood to satisfy the market for ornamental products replicating objects from antiquity
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Tourists participating in the opening of an antique tomb in Italy, an illustration from d'Hancarville's publication of Sir William Hamilton's collection
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Sir William Hamilton, Wedgwood portrait medallion, c.1779, pale blue jasper with dark blue dip. Original model attributed to Joachim Smith
© Wedgwood Museum
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A building by Robert Adam, demonstrating neo-classical features
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London's Adelphi, designed by the Adam brothers
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Wedgwood Devonshire garden pots shaped like barrels, c.1785. Josiah named them for the Duchess, hoping this would lend social standing to his wares
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Plant holder, called a myrtle pan, made of white terra cotta with a dark brown slip, c.1785
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Marbled bulb pot
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A pair of D-shaped bulb pots, sponged to imitate porphyry, 1780–85
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Two square pedestal bulb pots in jasper, c.1785
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Caneware hyacinth bulb pot made to satisfy the taste for Chinoiserie. This style was available to hold one, two or three individual bulbs, c.1785
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Bulb pot in the form of a hedgehog, created especially for crocus and snowdrops. These were made from the 18th century until the 1950s
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White jasper architectural plaque or tablet with five figures from the Muses, Terpsicore, Melpomene, Calliope, Thalia and Urania, attributed to John Flaxman Jr, c.1778
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A neo-classical interior with fireplace - a typical design by Robert Adam
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Flat, linear compositions like this became fashionable among artists, inspired by Greek vase painting and giving inspiration to Wedgwood for his jasper relief decoration
© Wedgwood Museum
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Flat, linear compositions like this became fashionable among artists, inspired by Greek vase painting and giving inspiration to Wedgwood for his jasper relief decoration
© Wedgwood Museum
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Sir William Chambers, portrait by Sir Joshua Reynolds
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Wooden block mould for a giffin candlestick, probably by John Coward; remodelled for production by William Hackwood after the design by Sir William Chambers
© Wedgwood Museum
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The Michaelangelo lamp, c.1785, produced by Wedgwood in black basalt. The three supporting figures were illustrated by Chambers in his 'Treatise on Civil Architecture'. The figures were copied from models by Michaelangelo
© Wedgwood Museum
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Drawing of a candlestick with a triton holding a conch shell in the Wedgwood factory book. It was described in the 1773 catalogue as 'after Michael Angelo' and suggested by Chambers to Josiah
© Wedgwood Museum
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Biscuit version of the triton candlestick
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James 'Athenian' Stuart, portrait medallion by Wedgwood, in white jasper, green dip, with white relief, 1785
© Wedgwood Museum
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Josiah Wedgwood's medallion, probably made to be set into the top of boxes containing pyrometers, denoting his fellowship of the Royal Society. 1784
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A section of an Adam architectural design
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Joseph Wright of Derby presented his View of Dovedale in Derbyshire, painted in 1787, to Josiah Wedgwood as a mark of friendship and as 'Patron and Encourager of living Artists'
© Wedgwood Museum
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Chess pieces by John Flaxman Jr, A pen, ink and wash drawing, c.1785
© Wedgwood Museum
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John Flaxman Jr, portrait by John Jackson; early 19th century
© Wedgwood Museum
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Matthew Boulton's innovatory Soho factory
© Wedgwood Museum
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Wedgwood's Etruria factory, inspired by Boulton's Soho works
© Wedgwood Museum
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A cut glass candelabra with a Wedgwood jasper drum, mounted in ormolu as produced by Boulton, c.1790
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Adam designed interiors down to the last detail and Wedgwood produced plaques to embellish his schemes and furnishings
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Sir William Hamilton, Portrait medallion by Wedgwood, c. 1779. Pale blue jasper with dark blue dip, original model attributed to Joachim Smith, 1772
© Wedgwood Museum
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Dedication page from d'Hancarville's publication of Sir William Hamilton's vase collection
© Wedgwood Museum
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Classical vase, part of Hamilton's collection, which Wedgwood sought to imitate with his encaustic painted black basalt wares
© Wedgwood Museum
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Thomas Hope was a subscriber to the first edition of the Portland Vase, made in 1793. His copy, considered one of the finest surviving, is in the Wedgwood Museum
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Wedgwood jasper portrait medallion of Sir Joseph Banks, member of the Society of the Dilettanti
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Wedgwood portrait medallion of Benjamin Franklin, 1777–80
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Dr Erasmus Darwin, portrait medallion by Wedgwood, c.1780, modelled by William Hackwood after a portrait by Joseph Wright of Derby
© Wedgwood Museum
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Wedgwood's canopic vase, presented to Darwin by Josiah. The vase's form was taken from an illustration in Montfaucon's 'L'Antiquité expliquée...' and made in black basalt with encaustic decoration, c.1780
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Wedgwood portrait medallion of Linnaeus, c.1777
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Shell-shaped sauce tureen, with lid and stand, c.1782, reflecting Josiah's interest in conchology
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Wedgwood factory book showing designs for shell-shaped wares
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Dovedale in Derbyshire, favoured haunt of the Lunar Society members
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Wedgwood portrait medallion of the Swedish botanist Dr Daniel Charles Solander, modelled by John Flaxman Jr ormolu frame by Matthew Boulton. c.1778
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Medallion marking the French Revolution. France, holding a staff topped with a cap of liberty on the right is holding hands with Minerva, goddess of wisdom, arts and crafts. Concordia stands between them. 1789
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The Sydney Cove medallion, the first versions of which were made from clay sent back by the first fleet on its arrival in Sydney Cove, Australia. It shows Hope encouraging Art and Labour and is inscribed 'Etruria 1789', modelled by William Hackwood after Henry Webber
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Wedgwood's anti-slavery medallion, a white terra cotta large-size version with an integral black basalt frame.
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Wedgwood portrait medallion of George Washington, 1777–80, modelled after a medal by Voltaire, struck in Paris
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Pen and ink drawing of the water ewer, described as Sacred to Neptune, by John Flaxman Sr. Invoiced to Wedgwood on 25 March 1775
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Black basalt water ewer, Sacred to Bacchus, 1778–80. After John Flaxman Sr
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The Apotheosis of Homer vase, c. 1790
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Plaque depicting the Apotheosis of Homer, made of solid blue jasper with white reliefs, designed by John Flaxman Jr, 1779–80
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The Apotheosis of Homer vase, as drawn in the Wedgwood factory book
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Dancing Hours plaque, adapted from an Italian marble chimneypiece then at Moor Park in Hertfordshire, now in the Lady Lever Art Gallery, Port Sunlight. Made of solid pale blue jasper with a darker blue surface wash, with white relief figures. Attributed to John Flaxman Jr, 1778–80
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Dancing Hours plaque, adapted from an Italian marble chimneypiece then at Moor Park in Hertfordshire, now in the Lady Lever Art Gallery, Port Sunlight. Made of solid pale blue jasper with a darker blue surface wash, with white relief figures. Attributed to John Flaxman Jr, 1778–80
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A pair of drum-shaped salt cellars, decorated with the Dancing Hours motif. White jasper, pale blue surface dip with white relief figures and lapidary polished interiors. 1786–90
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A black basalt engine-turned rum kettle with bail handle, its body ornamented with relief figures of the Dancing Hours, c.1785
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A jasper ruined column vase, reflecting the Grand Tourists' passion for reminders of the classical world, 1786–95
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Wax model for The Feast of the Gods, after a bronze by della Porta. The plaque was in production by 1773
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Wax model of a reclining infant, after a set by Della Robbia. The wax was produced c. 1785; figures in black basalt were made 1785–90
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Wax classical heads on white glass, James Tassie, c.1769
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Wax on slate, modelled by John Flaxman Jr in 1782 in response to Josiah's request for 'some groups of children, proper for bas reliefs'
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Wax on slate, modelled by John Flaxman Jr in 1786–7 to mark the Commercial Trade Treaty between England and France
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Black basalt plaque depicting the Feast of the Gods with traces of original gilding. After bas reliefs by Guglielmo della Porta. c.1785
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White stoneware plaque with classical figure
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The Young Seamstress plaque, from Lady Templetown's designs Domestic Employment, modelled by Hackwood
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Charlotte mourning at the Tomb of Werther. Biscuit plaque by Lady Templetown, modelled by Hackwood c.1787
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A typical neo-classical fireplace design, by Robert Adam
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A typical neo-classical interior design, by Robert Adam
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Cream-coloured earthenware vase with conical lid, decorated with rococo swags, lion's-head masks and acanthus leaves, 1765–67, one of Josiah's early vases which were soon adapted to neo-classical styles.
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Rosso antico vase with black ornament, showing the Procession of the Deities. Modelled in Rome, 1788–90
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Porphyry vase with lid which could be reversed to use as a cassolette
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Two-handled encaustic vase
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Plate from D'Hancarville's publication from which Wedgwood took his design
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The Portland Vase
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Side view of the vase
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Aquatint published in Hamilton's volume of engravings of the Barberini vase, commemorating his transportation of the vase to England
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The sale catalogue of the Duchess of Portland's museum, depicting the vase
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Wax model on slate for the Portland Vase
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Wax model on slate for the Portland Vase
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Jasper trials for the Portland Vase
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Plaster mould of the Portland Vase
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A trial copy of the Portland Vase showing firing problems
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The circular jasper disc featuring the Phrygian cap from the base of the Portland Vase
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The admission ticket to Josiah's exhibition of his Portland Vase, issued in April 1790
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Shoe buckle with a jasper cameo of the Bourbonnais Shepherd in a cut steel mount
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Dress buckle with a jasper cameo of Poor Maria with her dog Sylvio, after a painting by Joseph Wright of Derby, in a cut steel mount
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Jasper 'vase' teapot with scenes from Domestic Employment, 1787–95
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Jasper teapot with the Young Seamstress from Domestic Employment
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Brewster shape teapot, decorated with scenes from Domestic Employment
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The Dancing Hours plaques, 1778–80
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A jasper salt cellar with lapidary-polished interior, decorated with the Dancing Hours, 1786–90
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The dining room at Monticello, showing the jasper tablets in the mantelpiece
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One of a pair of candlesticks representing Autumn and Winter, in green jasper. Modelling attributed to Hackwood, 1785–90
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Plaque depicting the Triumph of Bacchus, modelled by Hackwood in 1776
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Bust of Mercury, modelled by Flaxman in 1781
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Elizabeth, Lady Templetown, by John Downman, 1790
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Coffee pot decorated with Domestic Employment, 1785–90
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Glass paste cameos by James Tassie, c.1769
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A Wedgwood jasper cameo, with a classical subject depicting Venus, mounted in an ormolu frame by Matthew Boulton, c.1780
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A Wedgwood jasper cameo, probably by Lady Templetown, depicting a child mounted as a shoe buckle in cut-steel by Matthew Boulton, 1785–90
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Red waxes depicting classical subjects, probably acquired on a Grand Tour, used by Wedgwood as a source for cameos and intaglios
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Portrait medallion of Josiah Wedgwood. modelled by William Hackwood in 1782
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Portrait medallion of John Flaxman Jr, modelled by himself
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Portrait medallion of Admiral Keppel, produced at speed to meet popular demand
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Neo-classical border pattern used on useful wares
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Neo-classical border pattern used on useful wares
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Cream tureen enamelled in red and white with pattern 42, the Etruscan design. Attributed to the modelling of JohnFlaxman Jr, 1785–90
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Jug, part of a cabaret set, in black basalt with encaustic decoration of 'running anthemions', a stylised form of honeysuckle commonly used as neo-classical decoration on Wedgwood wares
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Flower vase with classical form
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Black basalt vase with handles terminating in human heads, 1785–95
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Teapot with encaustic decoration, with widow finial, 1780–85
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The First Day's Vases
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The illustration in D'Hancarville's catalogue from which the First Day's Vases were copied
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The illustration in D'Hancarville's catalogue from which the First Day's Vases were copied
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Jasper vase with snake handles, 1786–89
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Jasper vase with Etruscan scroll handles, c.1790
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A tray of Wedgwood jasper trials, showing the range of colours he achieved
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Vase with scroll handles and pendant laurel swag, made of terra cotta stoneware with surface agate decoration, 1770–75
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