‡ A WEDGWOOD BLACK JASPER PORTLAND VASE PROBABLY CIRCA 1790 Of typical form and after the Antique original, the handles with bearded mask terminals, sprigged in relief with a continuous frieze among trees and columns, the base with a portrait of Paris with a Phrygian cap, impressed WEDGWOOD to the side of the foot rim, 27cm high Note: The Portland Vase, now in the British Museum, is believed to have been made around 27 BC. The superb example of cameo glass-cutting inspired Josiah Wedgwood to try to match the skill of the ancient craftsmen but using black jasperware, the unique clay material developed by Josiah Wedgwood himself. He persuaded the third Duke of Portland to lend the glass original to him for modelling and began five years of trials to perfect his version. The vase was thrown on a potter's wheel with the handles and hand-formed figures and architecture were added in white before firing. The 'oven book', of the factory details the many challenges he experienced; the first attempts show air bubbles had formed on the surface where gases from inside the clay expanded in the heat. Later attempts show the reliefs failing to adhere correctly to the base vase.
‡ A WEDGWOOD BLACK JASPER PORTLAND VASE PROBABLY CIRCA 1790 Of typical form and after the Antique original, the handles with bearded mask terminals, sprigged in relief with a continuous frieze among trees and columns, the base with a portrait of Paris with a Phrygian cap, impressed WEDGWOOD to the side of the foot rim, 27cm high Note: The Portland Vase, now in the British Museum, is believed to have been made around 27 BC. The superb example of cameo glass-cutting inspired Josiah Wedgwood to try to match the skill of the ancient craftsmen but using black jasperware, the unique clay material developed by Josiah Wedgwood himself. He persuaded the third Duke of Portland to lend the glass original to him for modelling and began five years of trials to perfect his version. The vase was thrown on a potter's wheel with the handles and hand-formed figures and architecture were added in white before firing. The 'oven book', of the factory details the many challenges he experienced; the first attempts show air bubbles had formed on the surface where gases from inside the clay expanded in the heat. Later attempts show the reliefs failing to adhere correctly to the base vase.
/668/1228668.jpg "Quelle: Bonhams | Skinner")
/618/1228618.jpg "Quelle: Bonhams | Skinner")
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