This Exquisite Nest of Platters was made by the illustrious Josiah Wedgwood (& Sons Ltd.) factory, Etruria, England. Each platter carries the cartouche mark of the famous Portland Vase. The mark suggests circa 1890-1900.
This is a graduating nest of five stunningly gorgeous deep rich cobalt blue banded oval platters. The wide band of cobalt blue on each platter accentuates the hand applied 24kt. honey gold gilded delicate floral decoration. As well, each platter has a fairly large hand applied lavish two toned 24 Kt. gold gilded triple rose center.
The width of the cobalt bands vary proportionally according to the size of each platter.
The measurements of each platter and its banding of cobalt (from largest to the smallest) are as follows:
(1) Largest: 19’’L x 14 1/4’’W (oval) with 2 1/4’’ wide cobalt band;
(2) Large: 17’’L x 13’’W (oval) with 2’’ wide cobalt band;
(3) Medium: 13 1/8’’L x 10’’W (oval) with 1 1/2’’ wide cobalt band;
(4) Smaller: 10 3/4’’L x 8’’W with 1 1/4’’ wide cobalt band;
(5) Smallest: 9 3/4’’L x 7 1/2’’ (oval) with 1’’W wide cobalt band.
COMMENT: These platters are extremely great examples of Wedgwood at its utmost during the 1890’s period; in essence these are late Victorian.
If we know Wedgwood, we are aware that Wedgwood always was held in high esteem by British royalty and always graced their palaces. Wedgwood items were always prestigious and were commissioned by royalty to be permanent displays throughout their castles/palaces. Whether items be displayed in curio cabinets, on buffets, on hall tables or on dining room tables, Wedgwood objects were visually eminent. In the royal households, it is not uncommon to feast ones eyes upon a great Wedgwood dinner service either on the dining room table or in an open hutch proudly on display for personal enjoyment or for the enjoyment of their guests.
Think for just a moment! These platters were once part of a great dinner service for twelve or twenty four place settings. Breath taking! This lavish rich cobalt is often referred to as “Bleu Royal” or “Royal Blue”, or “Bleu de Roi” or “King’s Blue”. Visualize what a dinner service of this caliber would look like! Wow! Fit for a King/Queen? Well, I guess you will have to just settle for these beautiful platters and have just a little taste of royalty. You too can feel like royalty once you feast your eyes upon these magnificent platters! Definitely a fabulous gift to yourself or to those special friends as a wedding gift!
SHORT NOTE: These platters have given me much pleasure and joy over the years and received many complements on their beauty at my dinner parties, as I am sure, you too will receive.
As you will see there are variations in color of the identifying cartouches, indicating a small variation in years of production of these platters, possibly several years. Some marks did not photograph well due to the variations in color and shades of ink used in each mark. However all platters are well marked.
HISTORY OF WEDGWOOD FACTORIES:
Josiah Wedgwood began in business on his own in 1759 and was the son of Thomas Wedgwood who was the first father of the Wedgwood Factory which began back in early 1600. Josiah died in 1795 and descendants continued with the business with the same high standards that were competitive with the best factories of Europe. He competed with such great factories as those located at Sèvres, France, and at Meissen, Germany. His quality was so high that he threatened some of these great factories in terms of his quality and production.
Wedgwood built a new factory in Etruria, which began operating in 1769, the same year he formed a partnership with Thomas Bently. Wedgwood's most famous set of Queen's Ware, the 1,000 piece "Frog" service, created for Catherine the Great, Empress of Russia, was produced at the Etruria factory in 1774. In 1766 Wedgwood was appointed "Potter to Her Majesty" by Queen Charlotte after which time he named his creamware “Queen’s Ware” in appreciation and honor of her favoritism. By the late 1770’s, the Wedgwood product line included black basalt, creamware, jasperware, pearlware, and redware. Moonlight luster was made from 1805-1815. Bone china was produced from 1812-1822 and was revived in 1878. Fairyland luster was introduced in 1915, but all luster production ended in 1932.
In 1906, a Wedgwood china museum was established at the Etruria pottery. A new factory was built at nearby Barlaston in 1940, and the museum was moved to and expanded at this location. The Etruria works was closed in 1950. During 1960-1970 Wedgwood acquired many English potteries, including William Adams & Sons, Coalport, Susie Cooper, Crown Staffordshire, Johnson Brothers, Mason's Ironstone, J. & G. Meakin, Midwinter Companies, Precision Studios, and Royal Tuscan. Now Wedgwood was known as The Wedgwood Group.
Wedgwood's basalt, a hard, black, stone-like material known also as Egyptian ware or basalt ware, was used for vases, candlesticks, and realistic busts of historical figures. Jasperware was his most successful innovation; it was a durable unglazed ware most characteristically blue with fine white cameo figures inspired by the ancient Roman Portland Vase. Many of the finest designs were the work of the British artist John Flaxman. The most famous artist he employed at Etruria was the sculptor John Flaxman, whose wax portraits and other relief figures he translated into jasperware.
Jasperwares were imitated in biscuit porcelain at Sèvres, and Meissen produced a glazed version which they even called Wedgwoodarbeit.
The factory’s reputation for Jasperware superseded any other factory in England all the way into the Twentieth century. Such factories as Adams and Dudson & Wilcox produced a line of Jasperware that was very attractive and very good quality but could not surmount Wedgwood’s Jasperware.
CONDITION: The condition is exquisite! There are no knife marks, no chips, no cracks, no stains and no restorations. Note condition on large platter – slight or extremely minor rubbing or wear of applied gold on right hand side of border, really unnoticeable if not brought to ones attention. After all, these platters are approximately one hundred upto one hundred and twenty years old. They are fine bone china not heavy durable ironstone, so we should be so lucky to have them in the condition that they are, considering that they were used and washed many times over the years. Again a testament to the quality of Wedgwood!
