Note: For a similar example see Diana Edwards and Rodney Hampson, White Salt-glazed Stoneware of the British Isles, (2005), p.105, pl.73 Lot: 33 - Staffordshire Salt Glazed Earthenware Figure of Lohan and a Polychromed Leaf Shaped Dish Kitty Clive spent her later years living on Horace Walpole's Strawberry Hill estate.
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The figure is modelled after a mezzotint by Charles Mosley after a drawing by Thomas Worlidge published in 1750 and is considered one of the earliest full length portrait figures in English porcelain. Riot from David Garrick's farce 'Lethe', Clive appeared in this role in 1749 at Drury Lane. Note: This rare figure of Kitty Clive dressed as Mrs. Lot: 32 - Bow White Glazed Porcelain Figure of Kitty Clive Lot: 31 - Group of White Glazed Porcelain Tea Wares, Possibly St. Lot: 30 - Chelsea Porcelain Strawberry Leaf Shaped Sauceboat The larger tureen and cover 5 1/2 x 10 x 7 in., (6 pcs). The pair of tureens with impressed marks.Ī pair of melon form sauce tureens and covers on fixed standsĪ larger melon form sauce tureen on fixed stand Lot: 27 - Large Staffordshire Model of St. Lot: 26 - Staffordshire Salt Glazed Stoneware 'Cast House' Teapot and Cover Lot: 25 - Two Staffordshire Pearl Glazed Models of Lions Lot: 24 - Staffordshire Glazed Earthenware 'Cauliflower' Teapot and Cover Lot: 23 - Staffordshire Pearl Glazed Earthenware Rooster Form Vessel and Cover Lot: 22 - English Green Glazed Creamware Teapot with Heart-Shaped Gallery and a Rectangular Tea Caddy Lot: 21 - Group of Three Staffordshire Tortoiseshell Glazed Earthenware Plates Lot: 20 - English Salt Glazed Model of a Dog Lot: 19 - English Whieldon Ware Part Tea Service Lot: 18 - Pair of Staffordshire Models of Recumbent Lions Lot: 17 - Pair of Porcelain Models of Flintlock Dueling Pistols, Probably English Lot: 16 - English Quail Form Box and Cover Lot: 15 - Wedgwood Enameled 'Queen's Ware' Pyramidal Jelly Mold Core Lot: 14 - Staffordshire Pearl Glazed Earthenware Castle Form Spill Vase Lot: 13 - Pair of English Polychromed Earthenware Models of Flowers in Urns Lot: 12 - English Creamware Armorial Plate Lot: 11 - Staffordshire Pearl Glazed Earthenware Watch Holder Lot: 10 - Pair of White Glazed Figures of Musicians, Probably Bow Lot: 9 - Pair of Staffordshire Red Stoneware Small Flower Pots and Stands Lot: 8 - Staffordshire Polychrome Salt Glazed Stoneware Reticulated Octofoil Dish Lot: 7 - English Polychromed Creamware Centerpiece Lot: 6 - Staffordshire Enameled Creamware Shaped Circular Domed Jelly Mold Core, Attributed to Neale & Co. Lot: 5 - Pair of English Creamware Artichoke Form Boxes Lot: 4 - Pair of Staffordshire Pearl Glazed Models of Recumbent Hounds Lot: 3 - Pair of Wedgwood Black Glazed Stands Lot: 2 - Barr, Flight and Barr Porcelain Crested Fruit Cooler, Cover and Liner Source: "Pages 21 and 44, Creamware by Donald Towner"įor any collector just starting out, I would highly recommend this book as a great investment.Lot: 1 - Pair of Chelsea Kakiemon Octagonal Plates The difficulty of attribution is further increased by the similarity of both body and glaze of the creamware made by a number of potteries as well as by the interchange and copying of ideas. Other factories were for the most part content to leave their wares unmarked, largely due, no doubt, to the practice of supplying each other with wares to supplement exhausted stocks. In 1772, however, Wedgwood wrote to Thomas Bentley proposing that all his ware should be marked, but even after that date a considerable quantity of his ware seems to have missed being stamped. The attribution of pieces of creamware to a particular factory has always been a difficulty, as virtually no creamware was marked prior to Josiah Wedwood's manufacture of it in Burslem. This not only produced a much paler creamware but also gave it a lightness and brilliance which was wholly new.By 1770 other Staffordshire potters were producing the light-coloured creamware to which Wedgwood had given the name, "Queen's ware".A letter from Wedgwood.shows that the creamware potteries, at this time at any rate, made either the deeep or pale creamware, but were unable for practical reasons to make both simultaneously.īy 1778 he transformed this ware into virtually a “new substance of great beauty, which combined lightness with strength and was capable of the greatest delicacy of workmanship. "Between 17, Wedgwood made a great many changes not only in the body and glaze of the creamware but also in the methods of its manufacture.The most important change, however.was the incorporation of Cornish china-clay and china-stone from Cornwall into both body and glaze.
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