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The Wedgwood Museum − Collections

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Plaque of the Young Seamstress from Domestic Employment series, white jasper with pale green dip and white relief - no date

Plaque of the Young Seamstress from Domestic Employment series, white jasper with pale green dip and white relief, © Wedgwood Museum
    Plaque of the Young Seamstress from Domestic Employment series, white jasper with pale green dip and white relief
    © Wedgwood Museum

Plaque of the Young Seamstress from Domestic Employment series. White jasper with pale green dip, white relief. Modelled by Hackwood after Lady Templetown 19th century

Plaque of the Young Seamstress from Domestic Employment series. White jasper with pale green dip, white relief. Modelled by Hackwood after Lady Templetown 19th century

  • Type of object: Plaques and medallions/plaque
  • Mark: WEDGWOOD [IMP]
    'C'
    [painted]
  • Year produced: no date
  • Body: Jasper
  • Glaze: unglazed
  • Material: ceramic
  • Decoration: ornamented
  • Accession number: 0000

Related people

  • William Hackwood

    William Hackwood (1753 - 1836)

    Josiah Wedgwood first took on Hackwood at the Wedgwood Etruria factory in 1769. Wedgwood described him as an 'ingenious boy' - he was ultimately destined to become the chief modeller of the ornamental range at the Etruria factory. His forté was the production and modelling of portrait medallions - and he was particularly indispensable in the work of adapting busts, reliefs and designs that Wedgwood obtained from various sources. Many of the 18th-century portrait medallions are by his hand and include portraits of Josiah Wedgwood I, George III and Queen Charlotte. A few signed works also exist - the portraits of Garrick and Shakespeare were signed on the truncation, or just under the shoulder. Wedgwood disapproved of this practice and Hackwood was instructed not to repeat this.In 1774, Wedgwood wrote 'Hackwood is of the greatest value and consequence in finishing fine small work, and of this kind we have and shall have enough to employ him constantly'. Two years later he was further wishing that he had '....half a dozen more Hackwoods'. Hackwood continued working for Wedgwood at Etruria for 63 years and produced many bas reliefs and works that can be authenticated.

  • Lady Elizabeth Templetown

    Lady Elizabeth Templetown

    One of a circle of English noblewomen, along with Emma Crewe and Lady Diana Beauclerk whose designs for Josiah Wedgwood were made into bas-reliefs on jasper ornaments in the Eighteenth century.

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.

     

  • Dip

    Dip

    A layer applied to the surface of the white jasper body using coloured slip - as opposed to a ‘solid' jasper body where the same colour permeates throughout the entire ceramic medium.