11. Tea-pot, workshop of Thomas Astbury, Lane Delph, 1765 — 1770, Wilanów, Palące
To this day black glazed pottery—despite its artistic (jualities and its shape not seen oustide
England—is regarded in its country of origin as a product of an inferior artistic class. It is not
sought after and not much attention has been devoted to it in literaturę. I know only one work
exclusively concerned with that subject: Sir Edward Benthall, „Black Glazed Pottery of the
XVIII Century",18 dealing rather with the present state researches. The author points out the
neglect of researchin this subject and proposes excavation work.19
The first producerof this typeof ceramics was Thomas Whieldon. Hisearliest pieces date back to
about 1740. Later it was produced widely by various workshopsin Staffordshireandother counties
in the years 1750 —1790. Black glazed pottery is distinguished by its beautiful colouring achieved
through oxide of iron and manganese. In the case of decoration of gold leaf, the shining, lustrous
glaze offers a splendid contrast to the soft, unpolished golden colour. According to views confir-
med so far the pieces manufactured by Whieldon himself have really black colouring; the others
when held in bright light betray the reddish hue of the body underneath the glaze; so they take
on a deep, succulent brown. The shapes of vessels, particularly of earlier products, are as a rule
related to silver-ware; thence the flattened body of the tea-pot and the so very characteristic
3 legs often with a modelled mask and a paw. The grip of the lid in the shape of a bird also comes
18. Ąpollo, 3^11, 1955, p. 139—142. AU the information about black glazed pottery is taken from this work with a sclcction
of details which can be related to the pieces discussed bclow.
19. On account of want of signatures this is the only method of determining authentic compnrative materials for the pieces pre-
serycd.Such researcheshave been conducted only in the area of Fcnton Low. Hencc only pieces from the workshop of Whiel-
don can be distinguished from others with certainty. See A.T. Morley Hewitt .„Whieldon the Versatile Potter", Apollo, LII,
Apollo Annual, 1951, pp. 17—23.
22
To this day black glazed pottery—despite its artistic (jualities and its shape not seen oustide
England—is regarded in its country of origin as a product of an inferior artistic class. It is not
sought after and not much attention has been devoted to it in literaturę. I know only one work
exclusively concerned with that subject: Sir Edward Benthall, „Black Glazed Pottery of the
XVIII Century",18 dealing rather with the present state researches. The author points out the
neglect of researchin this subject and proposes excavation work.19
The first producerof this typeof ceramics was Thomas Whieldon. Hisearliest pieces date back to
about 1740. Later it was produced widely by various workshopsin Staffordshireandother counties
in the years 1750 —1790. Black glazed pottery is distinguished by its beautiful colouring achieved
through oxide of iron and manganese. In the case of decoration of gold leaf, the shining, lustrous
glaze offers a splendid contrast to the soft, unpolished golden colour. According to views confir-
med so far the pieces manufactured by Whieldon himself have really black colouring; the others
when held in bright light betray the reddish hue of the body underneath the glaze; so they take
on a deep, succulent brown. The shapes of vessels, particularly of earlier products, are as a rule
related to silver-ware; thence the flattened body of the tea-pot and the so very characteristic
3 legs often with a modelled mask and a paw. The grip of the lid in the shape of a bird also comes
18. Ąpollo, 3^11, 1955, p. 139—142. AU the information about black glazed pottery is taken from this work with a sclcction
of details which can be related to the pieces discussed bclow.
19. On account of want of signatures this is the only method of determining authentic compnrative materials for the pieces pre-
serycd.Such researcheshave been conducted only in the area of Fcnton Low. Hencc only pieces from the workshop of Whiel-
don can be distinguished from others with certainty. See A.T. Morley Hewitt .„Whieldon the Versatile Potter", Apollo, LII,
Apollo Annual, 1951, pp. 17—23.
22