{"title":"19th CENTURY CERAMICS","description":"\u003cp style=\"text-align: center;\"\u003eThe Ceramics Dresser includes superb pieces of antique nineteenth century ceramics including a wonderful range of majolica, oyster plates and Wedgwood with an emphasis on sourcing the best examples.\u003c\/p\u003e\n\u003ch4 style=\"text-align: center;\"\u003e\u003cem\u003eShaped by and for generations.\u003c\/em\u003e\u003c\/h4\u003e","products":[{"product_id":"wedgwood-email-ombrant-tremblay-ware-majolica-plate","title":"Wedgwood Email Ombrant ‘Tremblay Ware’ Majolica Plate","description":"\u003ch5\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eVictorian\u003c\/span\u003e\u003c\/h5\u003e\n\u003ch5\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eCirca 1878 | England\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eA rare nineteenth century antique Wedgwood ribbon pattern majolica plate with a central motif showcasing the email ombrant technique created by Baron Alexis du Tremblay of Rubelles porcelain works. The term email ombrant comes from ‘ombre’ which is shadow in French and ‘email’ which is enamel.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eThis plate truly exemplifies the best of Rubelles and Wedgwood, with all the best early Wedgwood techniques employed such as the woven basket weave pattern, ribbon pattern edge and gorgeous glaze colours, including turquoise blue and tortoiseshell. The mould for this plate is of a young man in eighteenth century dress, wearing a wig and holding a drinking glass and is likely to be Rubelles mould purchased by Wedgwood (see The Gen) as it has been seen on a French Rubelles majolica plate.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eDIMENSIONS:\u003c\/span\u003e Diameter 22 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eSIGNATURES, MARKINGS \u0026amp; INSCRIPTIONS:\u003c\/span\u003e There are a group of interesting marks on the bottom of this plate. They include impressed WEDGWOOD, date code NUG, and M, A, and (Model) M 2532. The date code likely represents November 1878.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eCONDITION: \u003c\/span\u003eThe plate is in excellent condition with wear consistent with an antique age and use. There is no evident restoration.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eREFERENCES: For an example of a similar plate see Victoria \u0026amp; Albert Museum, \u003ca href=\"https:\/\/collections.vam.ac.uk\/item\/O1111393\/plate\/\" rel=\"noopener\" style=\"color: rgb(17, 17, 17);\" target=\"_blank\"\u003eAccession Number S.1269-1982\u003c\/a\u003e. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eTHE GEN\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“A very different type of Wedgwood majolica was known as Email Ombrant. In Email Ombrant the design is cut into the body of clay in graduated intaglio depressions. The intaglio design is then flooded with a translucent majolica glaze. The deeper gravities form the darker areas of the design, while the shallower depressions produce highlights and outlines of figures. Baron Alexis du Tremblay of Rubelles porcelain works near Melun developed Email Ombrant and patented the technique in 1842.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eThe Rubelles dessert and tablewares exhibited at the 1851 Crystal Palace Exhibition in London were awarded a gold medal and Wedgwood became interested in the process. Wedgwood was able to obtain some of the prize-winning wares, and experimented with making its own variations. In the early 1860s the modelers Rowland Morris, Thomas Greatbatch, and Hamlet Bourne were responsible for perfecting Wedgwood Tremblay ware and by 1865 pieces were sold through Thomas Goode and Company in London. In 1872 the original Rubelles molds and designs were put up for sale… Wedgwood obtained by this transaction over 2,500 molds and designs, the formulas for the Email Ombrant glazes, and the original patent, for 3,200 francs.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eSeries of Tremblay dessert plates (c. 1870) have combinations of reticulated or butterfly-design borders, with centres of designs of fruit or scenic views. Some of these decorated plates are octagonal, with characteristic Wedgwood modelling around the periphery, illustrating the combination of techniques of two venerable factories. Since Wedgwood used both the original Tremblay artists, identification of French or English examples can be made only by the marks ‘WEDGWOOD’ or ‘Rubelles, S. \u0026amp; M.’ in an oval, or full mark ‘Fabrique de Rubelles (S. \u0026amp; M.) Brevet D’Invention. S.G.D.G Pat. 89, St Denis Paris’.” (\u003ci\u003eMajolica: A Complete History and Illustrated Survey\u003c\/i\u003e, Marilyn G. Karmason with Joan B. Stacke, Harry N. Abrams Inc., 1989, pp 78–80)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e","brand":"Georgegen","offers":[{"title":"Default Title","offer_id":42324223393834,"sku":"","price":389.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/8478\/5962\/files\/Georgegen-Ceramics-Dresser-Wedgwood-Email-Ombrant-Plate-5.jpg?v=1749703695"},{"product_id":"griffen-smith-hill-pond-lily-majolica-plate","title":"Griffen, Smith \u0026 Hill Pond Lily Majolica Plate","description":"\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eVictorian\u003c\/span\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eCirca 1880–1890 | United States\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eAn antique nineteenth century Victorian majolica pond lily plate. The water lily was an especially popular motif for majolica and had many incarnations at the best English makers, such as Minton. It should be little surprise that the water lily made its way to the United States when majolica mania took the US by storm in the 1870s.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eGriffen, Smith \u0026amp; Hill created their own version of the plate closely replicating the English models, such as those made by Adam \u0026amp; Bromley, but much more brightly coloured and mostly marked as in this fine and rare example. This plate appears as model D13 in Catalogue of Majolica, Etruscan Works, Griffen Smith \u0026amp; Co., 1884 (see The Gen). It is often referred to as the “pond lily” plate in various reference books and, whilst influenced by the English makers, Griffen, Smith \u0026amp; Hill still stayed close to home for inspiration (see The Gen).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eThis rare plate has an especially evocative colourway, the deep blue of water accentuating the green of the lily pad leaves around a delightful white and yellow flower, and is truly reflective of the company’s distinctive and highly admired glazes (see The Gen).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eDIMENSIONS:\u003c\/span\u003e Diameter 20.5 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eSIGNATURES, MARKINGS \u0026amp; INSCRIPTIONS:\u003c\/span\u003e Impressed ‘GSH’ monogram.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“To introduce their first line of majolica, the partners decided to impress this earthenware with their initials — GSH. From that day forward, majolica history was written in Phoenixville, Pennsylvania. However, before the first batch of majolica was ready for sale, William Hill, one of the four partners in the firm, withdrew from the organisation. The 1880 census record revealed the name change when it carried the firm’s new title as Griffen, Smith and Company — Stoneware and Earthenware. The new triumvirate, the two Griffen men and David Smith, decided to keep their monogram — GSH — intact, which the firm amusingly referred to thereafter as standing for ‘good, sturdy and handsome’.” (\u003ci\u003eAmerican Majolica 1850–1900\u003c\/i\u003e, M. Charles Rebert, Wallace-Homestead Book Company, 1981, p. 31)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eCONDITION:\u003c\/span\u003e The plate is in excellent condition with wear consistent with an antique age and use. There is no evident restoration.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eREFERENCES\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003e:\u003c\/span\u003e For an example of a similar plate see \u003ci\u003eMajolica: American \u0026amp; European Wares\u003c\/i\u003e, Jeffrey B. Snyder, Schiffer Publishing Company, 1994, p. 70.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eTHE GEN\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“This publication is one of the few illustrated catalogues of majolica ever released by any manufacturer — British or American. Its eleven pages feature color images of 136 majolica models, each with its own individual letter-and-number shape designation. These identifiers can be cross-referenced with a wholesale price list that includes the corresponding pattern and shape names. The catalogue, produced by Hatch Lithographic Co., a renowned New York printer of the period, is lavishly illustrated, thoughtfully designed, and testament to Griffen, Smith \u0026amp; Co.’s ambition within the US ceramic trade.\u003cmeta charset=\"utf-8\"\u003e\n\u003ca style=\"color: rgb(17, 17, 17);\" href=\"https:\/\/exhibitions.bgc.bard.edu\/majolicamania\/marketingmajolica\/#book2_1\" rel=\"noopener\" target=\"_blank\"\u003e\u003c\/a\u003e”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eCatalogue of Majolica, Etruscan Works, Griffen Smith \u0026amp; Co., Manufacturing Potters, Phoenixville, Penna. Hatch Lithographic Co., New York, New York, Before 1884, Printed pamphlet, Historical Society of the Phoenixville Area, Pennsylvania. \u003ca href=\"https:\/\/exhibitions.bgc.bard.edu\/majolicamania\/marketingmajolica\/#book2_1\" rel=\"noopener\" style=\"color: rgb(17, 17, 17);\" target=\"_blank\"\u003eRead this wonderful catalogue here\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“Griffen, Smith \u0026amp; Co’s popular pond lily plate. Because each piece was hand-painted, few looked exactly like this portrayal in the 1884 catalog. The quality of the result depended on the skill and experience of each individual artisan. On a typical production day, a skilled master painter or decorator would provide a well-painted example of each of the different pieces as a model for the rest of the painters. These painters copied the model to the best of their abilities with varying results. One of the women who painted glaze decoration for Griffen, Smith and Company in Phoenixville, Pennsylvania recalled: ‘We each had our camel’s hair brush and the little pots of majolica paint sitting before us. We painted the ware blue in order to get a pink; deep rose changed to blue; black would turn out deep brown. I was only eleven years old when I first started working… I was the youngest of the painters and the shortest... Mr Smith didn’t want to hire me, but it was a necessity that prompted me to apply for the job. I used to do roses, carnations, and forget-me-nots’.” (\u003ci\u003eMajolica, American \u0026amp; European Wares\u003c\/i\u003e, Jeffrey B. Snyder \u0026amp; Leslie Bockol, Schiffer Publishing Ltd, 1994, p. 70)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“Young girls were sent out to search the lanes and roadside banks, especially along Blackrock Road near the village of Oaks. Others searched the meadowlands and woodlands for suitable subjects that might become attractive patterns. What the young girls returned with were sprays of wildflowers and buttercups, fresh oak and maple leaves, pond lilies and sunflowers, ivy tendrils and fern fronds. Each of these subjects was pressed into use and deftly modelled into Etruscan patterns.” (\u003ci\u003eAmerican Majolica 1850–1900\u003c\/i\u003e, M. Charles Rebert, Wallace-Homestead Book Company, 1981, p. 41)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e","brand":"Georgegen","offers":[{"title":"Default Title","offer_id":42324246593578,"sku":"","price":773.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/8478\/5962\/files\/Georgegen-Ceramics-Dresser-Majolica-Griffen-Smith-Plate-5.jpg?v=1749691476"},{"product_id":"wedgwood-drabware-part-dessert-service","title":"Wedgwood Drabware Part Dessert Service","description":"\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(184, 47, 47);\"\u003e| PRICE ON APPLICATION |\u003c\/span\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eRegency\u003c\/span\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eCirca first quarter 19th century, 1800–1825 | England\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eAn exceptionally rare early nineteenth century antique Wedgwood drabware part dessert service (see The Gen). Comprising three leaf-shaped dishes, six round plates and one oblong dish. Each piece is moulded with overlapping leaves in low relief to represent geranium leaves laid on a wickerwork plate in the highly collectable drabware glaze. The veins are enriched with fine gilt “well put on [and which has stood] admirably the test of time and wear” (see The Gen). A truly exceptional collection and highly coveted by collectors.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eDIMENSIONS:\u003c\/span\u003e Round plates diameter 20 cm, leaf-shaped dishes width 21.5 cm, and oblong dish length 25.5 cm, height 2 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eSIGNATURES, MARKINGS \u0026amp; INSCRIPTIONS:\u003c\/span\u003e Impressed WEDGWOOD, O and cyphers (plates); Impressed WEDGWOOD, L and cyphers (oblong dish); and Impressed WEDGWOOD, N and cyphers (leaf-shaped dishes).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eCONDITION:\u003c\/span\u003e The dessert service is in excellent original condition with wear commensurate with antique age and use. There is no evident restoration. The six round plates are all in excellent condition. The oblong dish has some very faint wear to the gilding. There is a slight chip to base of one of the leaf shaped dishes, two visible hairlines to another and the final dish has a slight chip to the underside of the rim.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eREFERENCES: For an \u003ca rel=\"noopener\" href=\"https:\/\/www.christies.com\/en\/lot\/lot-5832783\" style=\"color: rgb(17, 17, 17);\" target=\"_blank\"\u003eexample of similar service\u003c\/a\u003e see Christie’s, 21 October 2014, Lot 14 and see a \u003ca href=\"https:\/\/collections.vam.ac.uk\/item\/O150901\/dessert-plate-josiah-wedgwood-and\/\" rel=\"noopener\" style=\"color: rgb(17, 17, 17);\" target=\"_blank\"\u003esimilar plate at Victoria \u0026amp; Albert Museum\u003c\/a\u003e, Accession Number 2457-1901.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eTHE GEN\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eEliza Meteyard, in the \u003ci\u003eWedgwood Handbook\u003c\/i\u003e, states that: “Wedgwood did more than any other potter of his time, and as much as the potters of the present day, for the improvement of articles connected with the service of breakfast, tea and dessert”. She goes on “the beauty of form and the perfection of colour finish render the more ornamental portions of Wedgwood’s dinner and dessert services in cream-colour most desirable objects for the collector. Many of the centre pieces, fruit baskets and dishes, plates, saltcellars, mustard-pots, cream and jelly cups and spoons are perfect gems of art. It is hoped, with the advance of public culture, that this beautiful coloured ware will resume its old place on our tables, and thus supersede the ugly dead white hues of modern services. Very fine specimens of full toned cream ware were made at Etruria during the first decade of the present century, and of these there are examples in both Jermyn Street and at South Kensington.” And further on the gilt, “Much of his useful ware in dinner, dessert, tea, and coffee services was finely gilt ‘a pierced and gilt service in cream-ware was perfection. His gilding was rich, well put on, and stands admirably the test of time and wear’.” (\u003ci\u003eWedgwood Handbook: A Manual for Collectors\u003c\/i\u003e, Eliza Meteyard, George Bell \u0026amp; Sons, 1875, pp 18, 225 and 398)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“The Drab can sometimes confuse collectors as it was produced in two different forms: Stoneware and as glazed earthenware. Drab tableware was introduced in 1820 as a stained earthenware. The colour was closer to brown than to the olive of Drab Stoneware. The look and feel closely resembles the Creamware of the time and shared similar composition. Drab can be referred to as a type of stained Creamware, often referred to as drab Queen’s Ware. The earliest examples are closer to brown in colour, with the same delicate lightweight feel as early Creamware. Drab tableware ceased sometime in the 1860s due to a movement towards whiter tableware.” (\u003ci\u003eWedgwood Ceramics\u003c\/i\u003e, Daniel J. Keefe III, Schiffer Publishing Limited, 2005, p. 191)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“‘Drab’ is the name given to a distinctive greenish-brown ware made by Wedgwood in two different bodies: a stoneware and a stained earthenware… The stoneware was sometimes produced as a dry body, but usually with a smear-glaze, from about 1819. A beautiful saltglazed drabware has been made in Staffordshire from about 1720. Wedgwood’s early-19th century drab body was a stained version of the white stoneware body described as ‘porcelain’ and the drab body was therefore called ‘drab porcelain’ to distinguish it from the similarly stained coloured body.” (\u003ci\u003eWedgwood, The New Illustrated Dictionary\u003c\/i\u003e, Robin Reilly, Antique Collectors Club, 1995, p. 140)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e","brand":"Georgegen","offers":[{"title":"Default Title","offer_id":42324354957354,"sku":"","price":0.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/8478\/5962\/files\/Georgegen_TheCeramicsDresser_WedgwoodDrabwareService-10.jpg?v=1762731369"},{"product_id":"wedgwood-drabware-plate","title":"Wedgwood Drabware Plate","description":"\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eRegency\u003c\/span\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eCirca first quarter 19th century, 1800–1825 | England\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eAn exceptionally rare early nineteenth century antique Wedgwood plate moulded in low relief with overlapping geranium leaves laid on a wickerwork plate in the highly coveted drabware glaze (see The Gen).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eDIMENSIONS:\u003c\/span\u003e Diameter 19.8 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eSIGNATURES, MARKINGS \u0026amp; INSCRIPTIONS:\u003c\/span\u003e Impressed WEDGWOOD, O and cypher.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eCONDITION:\u003c\/span\u003e The plate is in excellent condition with wear consistent with an antique age and use. There is no evident restoration.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eREFERENCES: For an example of a \u003ca rel=\"noopener\" href=\"https:\/\/collections.vam.ac.uk\/item\/O150901\/dessert-plate-josiah-wedgwood-and\/\" target=\"_blank\"\u003esimilarly modelled plate\u003c\/a\u003e see Victoria \u0026amp; Albert Museum, Accession Number 2457-1901. For a \u003ca rel=\"noopener\" href=\"https:\/\/collections.vam.ac.uk\/item\/O1565825\/cup\/\" target=\"_blank\"\u003ecup made in a similar drabware colour\u003c\/a\u003e see Victoria \u0026amp; Albert Museum, Accession Number WE.3763-2014. For an example of a vase held at the Wedgwood Museum see Wedgwood, The New Illustrated Dictionary, Robin Reilly, Antique Collectors Club, 1995, p. 140.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eTHE GEN\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“The Drab can sometimes confuse collectors as it was produced in two different forms: Stoneware and as glazed earthenware. Drab tableware was introduced in 1820 as a stained earthenware. The colour was closer to brown than to the olive of Drab Stoneware. The look and feel closely resembles the Creamware of the time and shared similar composition. Drab can be referred to as a type of stained Creamware, often referred to as drab Queen’s Ware. The earliest examples are closer to brown in colour, with the same delicate lightweight feel as early Creamware. Drab tableware ceased sometime in the 1860s due to a movement towards whiter tableware.” (\u003ci\u003eWedgwood Ceramics,\u003c\/i\u003e Daniel J. Keefe III, Schiffer Publishing Limited, 2005, p. 191)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“‘Drab’ is the name given to a distinctive greenish-brown ware made by Wedgwood in two different bodies: a stoneware and a stained earthenware…The stoneware was sometimes produced as a dry body, but usually with a smear-glaze, from about 1819. A beautiful saltglazed drabware has been made in Staffordshire from about 1720. Wedgwood’s early-19th century drab body was a stained version of the white stoneware body described as ‘porcelain’ and the drab body was therefore called ‘drab porcelain’ to distinguish it from the similarly stained coloured body.” (\u003ci\u003eWedgwood, The New Illustrated Dictionary\u003c\/i\u003e, Robin Reilly, Antique Collectors Club, 1995, p. 140)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e“Drabware is a ‘coloured body’ — the ceramic has been coloured by mixing the clay with minerals or metal oxides so that it is coloured throughout, rather than only glazed with a surface colour. This category includes Wedgwood’s jasperware, black basalt, caneware, and the drabware. Josiah Wedgwood I made some experiments with drabware, but there is no evidence it was produced as a product during his lifetime. By 1812 there was a regular production of tea, coffee and breakfast sets in the body\" Read more about Wedgwood drabware at the \u003ca href=\"https:\/\/collections.vam.ac.uk\/item\/O1733364\/teapot-josiah-wedgwood-and\/\" rel=\"noopener\" target=\"_blank\"\u003eV\u0026amp;A museum\u003c\/a\u003e. \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e","brand":"Georgegen","offers":[{"title":"Default Title","offer_id":42324379664426,"sku":"","price":881.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/8478\/5962\/files\/Georgegen-Ceramics-Dresser-Wedgwood-Drabware-Plate-4.jpg?v=1749703348"},{"product_id":"wedgwood-wickerwork-ribbon-pattern-green-yellow-majolica-plate","title":"Wedgwood Wickerwork \u0026 Ribbon Pattern Green \u0026 Yellow Majolica Plate","description":"\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eVictorian\u003c\/span\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eCirca 1862 \/ 1888 | England\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eAn antique Wedgwood majolica plate moulded in low relief with a wickerwork pattern background and ribbon pattern edge produced in the mid to late nineteenth century. This plate returns to the best of early Wedgwood glazes, including green, yellow and tortoiseshell, that were first seen in Wedgwood’s early cauliflower and pineapple pieces of the eighteenth century. These colours again became popular during the emergence of the Aesthetic Movement which coincided with the craze for majolica among the Victorians (see The Gen). The sharply modelled pattern of the plate is reminiscent of design 44 Creamware Shapes which first appeared in Wedgwood’s 1774 Catalogue.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eDIMENSIONS: Diameter 21 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eSIGNATURES, MARKINGS \u0026amp; INSCRIPTIONS:\u003c\/span\u003e Impressed WEDGWOOD, date code S, U, and Q. September 1862 or September 1888.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eCONDITION:\u003c\/span\u003e The plate is in very good condition with wear consistent with an antique age and use. There is some light wear to the front of the plate and a faint hairline crack on the back approximately 5.5 cm. There is no evident restoration.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eREFERENCES: For an example of a similarly modelled plate see the \u003ca rel=\"noopener\" href=\"https:\/\/www.clevelandart.org\/art\/2003.248\" target=\"_blank\"\u003etureen plate stand at The Cleveland Museum of Art\u003c\/a\u003e and \u003ca rel=\"noopener\" href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/190478?ft=wedgwood\u0026amp;amp;offset=200\u0026amp;amp;rpp=40\u0026amp;amp;pos=236\" target=\"_blank\"\u003eoblong Wedgwood dish at the Met\u003c\/a\u003e, Accession Number 07.233.36. \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eTHE GEN\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eThe green, yellow and brown lead-based glazes on Wedgwood’s eighteenth century moulded wares provided inspiration for majolica pieces made in the mid-nineteenth century. Moreover, the factory continued to use many of the shapes made in the eighteenth and early nineteenth centuries in its own majolica production. “Wedgwood majolica of the 1860s and 1870s had brightly glazed blue, green, yellow or brown backgrounds with carefully modelled motifs.” (\u003ci\u003eMajolica: A Complete History and Illustrated Survey\u003c\/i\u003e, Marilyn G. Karmason with Joan B. Stacke, Harry N. Abrams Inc., 1989, p. 73)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“Wedgwood’s use of the green glaze at this time is of special importance to wares known as cauliflower and pineapple. Without the fine solid green which Wedgwood developed in the last months of the partnership, these wares could not have been made. The discovery of an equally essential yellow glaze is recorded 10th March 1760 as experiment 93: ‘A Tryal for yellow glaze,’ and experiment No. 100, probably in April of that year records: ‘Tryal for a full yellow Glaze’”. (\u003ci\u003eWedgwood\u003c\/i\u003e, Wolf Mankowitz, B.T. Batsford Ltd, 1953, p. 30)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e","brand":"Georgegen","offers":[{"title":"Default Title","offer_id":42324610416682,"sku":null,"price":746.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/8478\/5962\/files\/Georgegen-Ceramics-Dresser-Majolica-Wedgwood-Wickerwork-Plate-7.jpg?v=1749694901"},{"product_id":"wedgwood-wickerwork-ribbon-pattern-green-ware-plate","title":"Wedgwood Wickerwork \u0026 Ribbon Pattern Green Ware Plate","description":"\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eLate Georgian Regency\u003c\/span\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eCirca 1780–1840 | England\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eAn antique Wedgwood plate moulded in low relief with a wickerwork pattern background and a ribbon pattern edge in the highly sought green glaze. The sharply modelled pattern of the plate is reminiscent of design 44 Creamware Shapes which first appeared in Wedgwood’s 1774 Catalogue. Unusual to find an example in a full green glaze that is so highly sought after by collectors today, some 260 years since it was invented by Josiah Wedgwood (see The Gen).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eDIMENSIONS:\u003c\/span\u003e Diameter 21 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eSIGNATURES, MARKINGS \u0026amp; INSCRIPTIONS:\u003c\/span\u003e Impressed WEDGWOOD and Y.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eCONDITION:\u003c\/span\u003e The plate is in very good condition with wear consistent with an antique age and use. There is one minor hairline crack to one of the reticulated loops. There is no evident restoration.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eREFERENCES: For an example of a similarly modelled plate see the \u003ca rel=\"noopener\" href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/190478?ft=wedgwood\u0026amp;amp;offset=200\u0026amp;amp;rpp=40\u0026amp;amp;pos=236\" style=\"color: rgb(17, 17, 17);\" target=\"_blank\"\u003eoblong Wedgwood dish at the Met\u003c\/a\u003e, Accession Number 07.233.36.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eTHE GEN\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“When he was at Fenton, Wedgwood made efforts to improve existing wares, and an unusual clause in his partnership agreement permitted him to keep to himself any discoveries made: he was under no obligation to reveal them to his partner or anyone else. It was at this time that he perfected a clear and bright green glaze that had been known in Tudor times and subsequently neglected. His report of the successful trial respecting the colour was recorded by him in these words: ‘A Green glaze, to be laid on Common white (or cream colour) biscuit ware. Very good — March 23, 1759’.” (Wedgwood Experiment Book, Experiment 7 records the invention of the green glaze. \u003ci\u003eWedgwood\u003c\/i\u003e, Geoffrey Wills, Spring Books, Octopus Publishing Group PLC, 1988, p. 18)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“It was his development in 1759 of the green glaze, afterwards called ‘Mr Wedgwood’s green,’ which probably impelled him to leave Wheildon. The significance of this discovery was far-reaching. It permitted a piece of ware to be even self-color instead of spotted or dabbed with colour applied with a cloth; a piece with this glaze could be fired in the same oven as tortoise shell and agate wares; and either alone or in combination with yellow glaze, it permitted an entirely new range of displays that would enhance and display it.” (\u003ci\u003eWedgwood\u003c\/i\u003e, Jean Gorely, M. Barrows and Company, Inc., 1950, pp 25 and 26)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“We may conclude, therefore, that the green-glazed ware was among Wedgwood’s first productions after starting on his own account, and it was first produced by him on a serious scale in 1760 in Ivy House Works.” (\u003ci\u003eWedgwood\u003c\/i\u003e, Wolf Mankowitz, B.T. Batsford Ltd, 1953, p. 30)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e","brand":"Georgegen","offers":[{"title":"Default Title","offer_id":42857052536874,"sku":null,"price":767.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/8478\/5962\/files\/Georgegen-Ceramics-Dresser-Wedgwood-Greenware-Plate-7.jpg?v=1749703570"},{"product_id":"majolica-wall-pocket-of-apple-branch-and-perched-bird","title":"Majolica Wall Pocket of Apple Branch and Perched Bird","description":"\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eVictorian\u003c\/span\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eCirca 19\u003csup\u003eth\u003c\/sup\u003e Century | Continental\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eAn antique nineteenth century majolica wall pocket (see The Gen). The delightful trompe l’oeil majolica wall pocket is modelled as a branch of an apple tree, naturistically styled in high relief, with a bird perched within the branch; an exceptional example of the best of Victorian majolica.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eDIMENSIONS:\u003c\/span\u003e Length 40 cm, Width 17 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eSIGNATURES, MARKINGS \u0026amp; INSCRIPTIONS:\u003c\/span\u003e Unattributed. Impressed model number 3159 and painted maker’s marks.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eCONDITION:\u003c\/span\u003e The wall pocket is in very good condition with wear consistent with an antique age and use. There are some minor chips in three instances to the tips of the leaves. There is no evident restoration.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eREFERENCES: For an example of \u003ca href=\"https:\/\/collection.powerhouse.com.au\/object\/180598#\u0026amp;gid=1\u0026amp;pid=1\" style=\"color: rgb(17, 17, 17);\" target=\"_blank\"\u003esimilar majolica wall pockets\u003c\/a\u003e see the Powerhouse Museum Object No. A4293.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eTHE GEN\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“… Victorian interiors were often filled with fresh-cut flowers from the garden or greenhouse, giving rise to a range of majolica vessels to hold bouquets of all shapes and sizes. These included vases, urns, baskets, and bowls, as well as flat-backed wall pockets or flower brackets, which were designed to be mounted. These receptacles were typically used for fresh flowers, small ferns, or ivy, and would be integrated into the overall decoration of a room. The cultivation of flowers and plants, flower arranging, and floriography, or deciphering the language of flowers, were considered genteel pursuits, particularly for women.” (\u003ci\u003eMajolica Mania: Transatlantic Pottery in England and the United States\u003c\/i\u003e\u003ci style=\"mso-bidi-font-style: normal;\"\u003e, 1850–1915\u003c\/i\u003e, Susan Webber (ed.), Bard Centre and Yale University Press, 2021, p. 137)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e","brand":"Georgegen","offers":[{"title":"Default Title","offer_id":42857354461226,"sku":null,"price":3496.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/8478\/5962\/files\/Georgegen_TheCeramicsDresser_MajolicaWallPocket-01.jpg?v=1762680538"},{"product_id":"onnaing-majolica-pumpkin-snail-plate","title":"Onnaing Majolica Pumpkin \u0026 Snail Plate","description":"\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eVictorian\u003c\/span\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eCirca 1890 | France\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eA small antique nineteenth century French majolica pumpkin and snail plate made by Onnaing cheerfully decorated in naturalistic and humorous motifs of snails encircling a pumpkin patch (see The Gen).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eDIMENSIONS:\u003c\/span\u003e Diameter 17.8 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eSIGNATURES, MARKINGS \u0026amp; INSCRIPTIONS:\u003c\/span\u003e Unmarked. There is perhaps a small indecipherable mark.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eCONDITION:\u003c\/span\u003e The plate is in very good condition with wear consistent with an antique age and use. There is some light wear to the front of the plate and small chip to the rim. There is no evident restoration.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eTHE GEN\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“La Fainencerie d’Onnaing, in northern France, produced rustic faience with naturalistic motifs from 1821 to 1838. Majolica was produced from 1870 to 1900. The pieces are somewhat lighter than those from many other potteries, reflecting a different clay formula. Clays were imported from England, Germany, and Belgium, but local clays were also included.” (\u003ci\u003eMajolica: A Complete History and Illustrated Survey\u003c\/i\u003e, Marilyn G. Karmason with Joan B. Stacke, Harry N. Abrams Inc., 1989, p. 184)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e","brand":"Georgegen","offers":[{"title":"Default Title","offer_id":42857372057642,"sku":null,"price":328.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/8478\/5962\/files\/Georgegen-Ceramics-Dresser-Onnaing-Majolica-Plate-5.jpg?v=1749704322"},{"product_id":"wasmuel-majolica-oyster-plate","title":"Wasmuël Majolica Oyster Plate","description":"\u003ch5 class=\"MsoNormal\"\u003eVictorian\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003eLate 19th century | Belgium\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eA nineteenth century antique majolica oyster plate by the Belgian majolica factory La faïencerie de Wasmuël. Decoratively modelled in high relief and coloured in browns, blues and greens with six oyster shaped wells around a central well. A beautiful oyster plate as popular today as it was when it was first made (see The Gen).\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eDIMENSIONS:\u003c\/span\u003e Diameter 25.5 cm.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eSIGNATURES, MARKINGS \u0026amp; INSCRIPTIONS\u003c\/span\u003e: Possible indecipherable decorator’s marks in blue glaze.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eCONDITION:\u003c\/span\u003e The plate is in very good condition with wear consistent with an antique age and use. There is a minor chip to the rim which has been restored and is more evident on the back of the plate.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eREFERENCES\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003e:\u003c\/span\u003e For an example of this oyster plate see \u003ci\u003eMarvellous Majolica: An Easy Reference and Price Guide\u003c\/i\u003e, Jeffrey B. Snyder, Schiffer Publishing Limited, 2001, p. 131.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003eTHE GEN\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e“Whilst oysters have been eaten since ancient times, the people of the Victorian age brought their serving to the highest degree of opulence. In America in the late nineteenth century, fortunes were made, people began to travel extensively. They saw oyster related items of china and silver in the grand hotels, dining cars and steamships and had to have them in their own homes. Formal dinners of five to eighteen courses were not unusual, and a rigid etiquette dictated a different service for each course, bringing oyster plates and silver serving utensils into popularity.” (\u003ci\u003eOyster Plates\u003c\/i\u003e, Vivian \u0026amp; Jim Karsnitz, Schiffer Publishing Limited, 1993, p. 16)\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/p\u003e","brand":"Georgegen","offers":[{"title":"Default Title","offer_id":42880523993130,"sku":null,"price":797.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/8478\/5962\/files\/Georgegen-Ceramics-Dresser-Majolica-Oyster-Plate-Wasmuel-1-2.jpg?v=1749704591"},{"product_id":"victoria-pottery-company-majolica-oyster-plate","title":"Victoria Pottery Company Majolica Oyster Plate","description":"\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eVictorian\u003c\/span\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eCirca 1882–1889 | England\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eAn exceedingly rare piece of antique nineteenth century majolica by the short-lived firm the Victoria Pottery Company (see The Gen). This marked example of an oyster plate with exceptional moulding and majolica glazes with six brown oyster shaped wells around a turquoise central well, all on a green seaweed and shell background. The plate is as decorative on the underside with finely mottled brown, green and turquoise glaze, just beautiful. One for the collectors!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eDIMENSIONS:\u003c\/span\u003e Diameter 24 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eSIGNATURES, MARKINGS \u0026amp; INSCRIPTIONS\u003c\/span\u003e: Impressed mark of the Victoria Pottery Company mark: VPC within a triangle shape with two swords to the left and right and an additional unknown mark of a capitalised I.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eCONDITION:\u003c\/span\u003e The plate is in excellent condition with wear consistent with antique age and use; there is some light crazing mostly in the centre well and an old slight chip to a conch shell. There is no evident restoration.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eREFERENCES: For an example of a similar plate see the \u003ca rel=\"noopener\" href=\"https:\/\/www.majolicasociety.com\/victoria-pottery\/\" style=\"color: rgb(17, 17, 17);\" target=\"_blank\"\u003eMajolica International Society\u003c\/a\u003e. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eTHE GEN\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eThe Victoria Pottery Company was established by partners James Robinson, Edward James Leadbeater \u0026amp; Robert Leason in Stoke-on-Trent in 1882. The following year Robert Leason left the business and notice of the departure was published in the \u003ci\u003eLondon Gazette\u003c\/i\u003e on 6 November 1883. Robinson and Leadbeater continued the business for a further six years.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eIn \u003ci\u003eJewitt’s Ceramic Art of Britain 1800–1900\u003c\/i\u003e Jewitt states “The works of this company, in Lonsdale Street, were established in 1882 by Messrs. Robinson, Leadbeater \u0026amp; Leason for the manufacture of the higher classes of majolica and ivory or cream-coloured earthenware. In these, they produced all the usual varieties of useful and ornamental goods; the dessert services, game-pie dishes and other articles were of more than average excellence. The firm was of a very short duration.” (\u003ci\u003eJewitt’s Ceramic Art of Britain 1800–1900, \u003c\/i\u003eGeoffrey A. Godden, Arco Publishing Company, 1972, p. 136)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e","brand":"Georgegen","offers":[{"title":"Default Title","offer_id":42938701414442,"sku":null,"price":2429.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/8478\/5962\/files\/Georgegen-Ceramics-Dresser-Majolica-Oyster-Plate-Victoria-Pottery-Company-1.jpg?v=1752124129"},{"product_id":"luneville-keller-and-guerin-majolica-oyster-plate","title":"Luneville Keller and Guerin Majolica Oyster Plate","description":"\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eVictorian\u003c\/span\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eCirca 1880–1890 | France\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eA rare and highly covetable antique nineteenth century French majolica oyster plate made at Luneville by Keller and Guerin. Coloured in beautiful naturalistic greens (see The Gen) with six green oyster shaped wells, and a seaweed and rope edge. An oyster plate as popular today as it was when it was first made (see The Gen).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eDIMENSIONS:\u003c\/span\u003e Diameter 22.3 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eSIGNATURES, MARKINGS \u0026amp; INSCRIPTIONS:\u003c\/span\u003e Unmarked. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eCONDITION:\u003c\/span\u003e The plate is in excellent condition with wear consistent with an antique age and use. There is no evident restoration.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eREFERENCES\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003e:\u003c\/span\u003e For an example of a similar plate see \u003ci\u003eOyster Plates\u003c\/i\u003e, Vivian \u0026amp; Jim Karsnitz, Schiffer Publishing Limited, 1993, p. 43.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cstrong\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eTHE GEN\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“Jacques Chambrette established the first faience pottery factory in the town of Luneville, France, in 1728. The artistry and quality of ware produced at the Luneville plant was high from the start, and the company’s ware was much sought after by the local elite. The staffs’ efforts were rewarded in 1748 by the Duke of Lorraine, who granted the Luneville plant the patent title ‘Manufacture Royale de Faience’. The firm of Keller and Guerin (c. 1790–1892) produced a small amount of majolica at the historic Luneville works. The majolica used brilliant colors, heavy in blues and greens.” (\u003ci\u003eCollecting Oyster Plates\u003c\/i\u003e, Jeffrey B. Snyder, Schiffer Publishing, 2002, p. 131)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“A formal evening meal often began with a soup course or with oysters on the half shell, which were served on specially designed plates. A wide range of wares was manufactured to present this ubiquitous shellfish at the table, from ceramic representations of wooden oyster barrels to stands for open shells. Most majolica oyster plates feature between five and seven wells for the oysters and a central well for sauce or a lemon.” (\u003ci\u003eMajolica Mania: Transatlantic Pottery in England and the United States\u003c\/i\u003e\u003ci style=\"mso-bidi-font-style: normal;\"\u003e, 1850–1915\u003c\/i\u003e, Susan Webber (ed.), Bard Centre and Yale University Press, 2021, p. 114)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e","brand":"Georgegen","offers":[{"title":"Default Title","offer_id":42939339800618,"sku":null,"price":989.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/8478\/5962\/files\/Georgegen-Ceramics-Dresser-Majolica-Oyster-Plate-Luneville-6.jpg?v=1752129739"},{"product_id":"victoria-pottery-company-majolica-strawberry-basket","title":"Victoria Pottery Company Majolica Strawberry Basket","description":"\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eVictorian\u003c\/span\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eCirca 1882–1889 | England\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eAn exceedingly rare piece of antique nineteenth century majolica by the short-lived firm the Victoria Pottery Company (see The Gen). This basket is a fine example of the work from this firm. It is beautifully moulded and glazed and the decoration leans heavily towards the examples seen in George Jones strawberry pieces. A brown basketweave basket is heavily decorated with strawberry blossoms and leaves all the way round meeting in the centre of each handle with a bunch of just blushingly ripe strawberries (see The Gen). One for the collectors!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eDIMENSIONS:\u003c\/span\u003e Length 32 cm, Height 14.5 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eSIGNATURES, MARKINGS \u0026amp; INSCRIPTIONS\u003c\/span\u003e: Marked with an X.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eCONDITION:\u003c\/span\u003e The basket is in very good condition with wear consistent with antique age and use. There is crazing mostly in the inner centre turquoise glaze. There has been professional restoration to some leaves in the centre just below the handles and there are some slight chips to these leaves, perhaps also restoration to the handle but this is difficult to discern. There is also some staining to the base. Otherwise, it is in remarkable condition for its age.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eREFERENCES: For an example of a similarly styled strawberry basket by Victoria Pottery Company see the very interesting article on the pottery at \u003ca href=\"https:\/\/etruscanmajolica.blogspot.com\/2016\/11\/the-elusive-majolica-of-victoria-pottery.html\" rel=\"noopener\" style=\"color: rgb(17, 17, 17);\" target=\"_blank\"\u003eGlazed and Confused.\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eTHE GEN\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eThe Victoria Pottery Company was established by partners James Robinson, Edward James Leadbeater \u0026amp; Robert Leason in Stoke-on-Trent in 1882. The following year Robert Leason left the business and notice of the departure was published in the \u003ci\u003eLondon Gazette\u003c\/i\u003e on 6 November 1883. Robinson and Leadbeater continued the business for a further six years.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eIn \u003ci\u003eJewitt’s Ceramic Art of Britain 1800–1900\u003c\/i\u003e Jewitt states “The works of this company, in Lonsdale Street, were established in 1882 by Messrs. Robinson, Leadbeater \u0026amp; Leason for the manufacture of the higher classes of majolica and ivory or cream-coloured earthenware. In these, they produced all the usual varieties of useful and ornamental goods; the dessert services, game-pie dishes and other articles were of more than average excellence. The firm was of a very short duration.” (\u003ci\u003eJewitt’s Ceramic Art of Britain 1800–1900, \u003c\/i\u003eGeoffrey A. Godden, Arco Publishing Company, 1972, p. 136)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“Strawberries! The hothouse trend created a secondary craze for strawberries — home grown, with any luck. Tableware created specifically for serving the fruit was manufactured in many elegant styles, generally decorated with painted or molded strawberry plants.” (\u003ci\u003eMajolica: American \u0026amp; European Wares\u003c\/i\u003e, Jeffrey B. Snyder, Schiffer Publishing Company, 1994, p. 20)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e","brand":"Georgegen","offers":[{"title":"Default Title","offer_id":42939480637482,"sku":null,"price":3793.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/8478\/5962\/files\/Georgegen-Ceramics-Dresser-Majolica-Victoria-Pottery-Company-1.jpg?v=1752221612"},{"product_id":"wedgwood-argenta-majolica-gipsy-strawberry-set","title":"Wedgwood Argenta Majolica ‘Gipsy’ Strawberry Set","description":"\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eVictorian\u003c\/span\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eCirca 1878–81 | England\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eA rare and charming nineteenth century antique Wedgwood Argenta majolica (see The Gen) dessert service with a large oval dish, creamer, sugar and 12 individual plates. A whimsically decorated service illustrated in the Josiah Wedgwood \u0026amp; Sons pattern book and called the Gipsy Strawberry Set. It was said to evoke fashionable straw hats with ribbons and flowers and was reminiscent of the hats worn by girls drawn by Kate Greenaway, a popular nineteenth century illustrator; hence it is sometimes referred to as the Kate Greenaway pattern.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eDIMENSIONS: Largest oval dish is approximately 33 cm in length and the smaller serving plates are 18 cm\u003c\/span\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eSIGNATURES, MARKINGS \u0026amp; INSCRIPTIONS\u003c\/span\u003e: Impressed Wedgwood, registration diamond and a range of impressed letters including SYH, R \u0026amp; M amongst others and painted marks Pattern Number 2821 17. The set is marked with pattern number 2821 and in the Wedgwood Majolica Pattern Book it is called the Gipsy Strawberry Set, Argenta.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eCONDITION:\u003c\/span\u003e The set is in very good condition with wear consistent with antique age and use and some crazing and discoloration throughout. There is no evident restoration.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eREFERENCES\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003e:\u003c\/span\u003e For an example of this set and the illustrated entry from Josiah Wedgwood \u0026amp; Sons Pattern book ca. 1879 see \u003ci\u003eMajolica Mania: Transatlantic Pottery in England and the United States\u003c\/i\u003e\u003ci style=\"mso-bidi-font-style: normal;\"\u003e, 1850–1915\u003c\/i\u003e, Susan Webber (ed.), Bard Centre and Yale University Press, 2021, p. 122.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eTHE GEN\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“Argenta ware, first made in 1878, was the last important majolica Wedgwood designed. In contrast to the vibrant color of earlier Victorian majolica, Argenta patterns were displayed on white or pale backgrounds. The backgrounds of some Argenta patterns were also glazed in rich majolica colors such as turquoise or, rarely, cobalt. Just as Thomas Whieldon and Josiah Wedgwood felt that their market, surfeited with tortoiseshell and agate ware, was ready for the brilliant clarity of the green-glazed earthenware, in 1878 the Wedgwood firm again anticipated new directions. Charles Backhoffner, Wedgwood’s London manager, reported that at the Paris exhibition of 1878 little majolica was displayed in the English and French sections. He advised Wedgwood to change its decorative style in color, shape, and design; to modernize and modify to gain a new market. Perhaps this change was also brought about in part by the recent retirement and death in 1876 of Emile Lessore, a much more classical artist. The result was a new style of decoration — incorporating flowers, animals, birds, and oriental and marine motifs — that was in keeping with the Aesthetic Movement.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eA graceful, whimsical example of Argenta ware is the Kate Greenaway pattern (1881), characterized by backgrounds simulating the plaited straw of the storybook illustrator’s famous hat.” (\u003ci\u003eMajolica: A Complete History and Illustrated Survey\u003c\/i\u003e, Marilyn G. Karmason with Joan B. Stacke, Harry N. Abrams Inc., 1989, pp 81 and 82)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e","brand":"Georgegen","offers":[{"title":"Default Title","offer_id":42943247056938,"sku":null,"price":2354.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/8478\/5962\/files\/Georgegen-Ceramics-Dresser-Majolica-Wedgwood-Dessert-Service-01.jpg?v=1752215442"},{"product_id":"wedgwood-majolica-heron-plate","title":"Wedgwood Majolica Heron Plate","description":"\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eVictorian\u003c\/span\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eCirca August 1871 | England\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eA nineteenth century antique Wedgwood heron majolica plate with a pierced rim simulating basketweave, designed by one of the most significant potters of the nineteenth century Joseph Theodore Deck (see The Gen).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eDIMENSIONS:\u003c\/span\u003e Diameter 23 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eSIGNATURES, MARKINGS \u0026amp; INSCRIPTIONS\u003c\/span\u003e: Impressed Wedgwood AWZ.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eCONDITION:\u003c\/span\u003e The plate is in excellent condition with wear consistent with antique age and use and some light crazing. There is no evident restoration.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eREFERENCES\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003e:\u003c\/span\u003e For an example of a similar plate see \u003ci\u003eMajolica Pottery\u003c\/i\u003e, Mariann Katz-Marks, Collectors Books, 1989, p. 57.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eTHE GEN\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“Joseph Theodore Deck (1823–1891), an important Wedgwood designer and modeler, worked at Etruria from the late 1860s to the 1870s. He was responsible for the series of dessert plates with reticulated borders surrounding low-relief designs of birds in natural settings (c. 1870) … an artist-potter born in Alsace, he had worked as a designer and modeler at Wedgwood from the late 1860s into the 1870s. In France in the 1870s he experimented with various glaze techniques and produced tin-enamelled faience. At the 1878 Paris exhibition he was one of three French exhibitors to win a gold medal for art pottery.” (\u003ci\u003eMajolica: A Complete History and Illustrated Survey\u003c\/i\u003e, Marilyn G. Karmason with Joan B. Stacke, Harry N. Abrams Inc., 1989, pp 85, 188)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e","brand":"Georgegen","offers":[{"title":"Default Title","offer_id":42948074045482,"sku":null,"price":936.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/8478\/5962\/files\/Georgegen-Ceramics-Dresser-Majolica-Wedgwood-Theodore-Deck-Plate-6.jpg?v=1752377826"},{"product_id":"majolica-oyster-plate","title":"Majolica Oyster Plate","description":"\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eVictorian\u003c\/span\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eCirca 1880–1890 | France\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eA rare and exceptional antique nineteenth century French majolica oyster plate. Beautifully modelled and coloured in naturalistic browns, sea blues and yellow with six oyster shaped wells and a central lemon sauce well. An oyster plate as popular today as it was when it was first made (see The Gen).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eDIMENSIONS:\u003c\/span\u003e Diameter 22.3 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eSIGNATURES, MARKINGS \u0026amp; INSCRIPTIONS:\u003c\/span\u003e Impressed 693 and marked N. Unknown maker.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eCONDITION:\u003c\/span\u003e The plate is in excellent condition with wear consistent with an antique age and use. There is no evident restoration.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eREFERENCES\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003e:\u003c\/span\u003e For an example of a similar plate see \u003ci\u003eCollecting Oyster Plates\u003c\/i\u003e, Jeffrey B. Snyder, Schiffer Publishing, 2002, p. 131.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eTHE GEN\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“Majolica ware offer us today a glimpse into the fascinations, humors, and culinary delights of the Victorian era. The increasingly varied Victorian diet is well represented in majolica dish forms. The passion for oysters, for example, more readily available at the market place with improvements in transportation technology, is evident in majolica oyster plates fashioned as replicas of the food itself. For a Victorian diner eating from majolica, if the food was unidentifiable, the dish could reveal in no uncertain terms what was set upon it.” (\u003ci\u003eMajolica: American and European Wares\u003c\/i\u003e, Jeffrey B. Snyder, Schiffer Publishing Co, 1994, p. 8)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e","brand":"Georgegen","offers":[{"title":"Default Title","offer_id":42948094885930,"sku":null,"price":782.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/8478\/5962\/files\/Georgegen-Ceramics-Dresser-Majolica-Oyster-Plate-7.jpg?v=1752380130"},{"product_id":"george-jones-majolica-rooster-teapot","title":"George Jones Majolica Rooster Teapot","description":"\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(184, 47, 47);\"\u003e| PRICE ON APPLICATION |\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eVictorian\u003c\/span\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eCirca 1875 | England\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eAn exceptionally rare piece of George Jones majolica (see The Gen) in the form of a white rooster teapot. Occasionally these teapots are found in a brown glaze but very rarely white. The teapot is an exemplary example of the best of George Jones majolica.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eThe rooster is in an animated pose, crouching and crowing with a wide-open beak which forms the spout. The cox comb and wattle are picked out in red and there is great detailing in the modelling of the feathers. In true whimsy, that George Jones majolica is renowned for, the upswept tail feathers form the handle and finally it sits on an oval base in signature mottled green and brown glazes (see The Gen).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eDIMENSIONS:\u003c\/span\u003e Width 29 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eSIGNATURES, MARKINGS \u0026amp; INSCRIPTIONS:\u003c\/span\u003e Unmarked. Not all pieces of George Jones were marked. “The company marks and the British registry mark were on the undersurface of some, but not all, Jones pieces.” \u003ci\u003eMajolica: A Complete History and Illustrated Survey\u003c\/i\u003e, Marilyn G. Karmason with Joan B. Stacke, Harry N. Abrams Inc., 1989, p. 101. There is a BADA authentication sticker on the base.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eCONDITION:\u003c\/span\u003e The teapot is in excellent condition, wear consistent with an antique age and use. There is no evident restoration. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eREFERENCES: For an example of this \u003ca href=\"https:\/\/www.christies.com\/en\/lot\/lot-3993646\" rel=\"noopener\" style=\"color: rgb(17, 17, 17);\" target=\"_blank\"\u003eextremely rare teapot in white glaze\u003c\/a\u003e see Christie’s, 29 October 2002, Lot 197. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eBook references for examples of the still rare, but more readily found, teapot in a brown colourway can be found in \u003ci\u003eMajolica: British, Continental and America Wares, 1851–191\u003c\/i\u003e5, Victoria Bergensen, Barrie \u0026amp; Jenkins Ltd, 1989, p. 77; and \u003ci\u003eMajolica\u003c\/i\u003e, Nicholas M. Dawes, Crown Publishers, 1990, p. 121; and \u003ci\u003eMajolica: A Complete History and Illustrated Survey\u003c\/i\u003e, Marilyn G. Karmason with Joan B. Stacke, Harry N. Abrams Inc., 1989, p. 93.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eTHE GEN\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eGeorge Jones was known as an exceptional maker of quality majolica wares in the league of Minton and Wedgwood. However, what set him apart from the other potters was that he almost exclusively produced majolica wares with over 70 percent of his production in 1875 being ‘true majolica’. His talent was such that he exhibited at all the International Expositions held in the 19th Century including Paris (1867), London (1871), Vienna (1873) and Sydney (1876). George Jones was born in 1824 and died in 1893. He was apprenticed to Minton’s in the early 1850s. He established his own firm in 1861 and it ran until 1951, almost 90 years. George Jones was inspired perhaps by his son Horace, who studied at the South Kensington Art School, to be more creative in his designs and Horace worked as a designer and modeller from the mid 1870s.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“The versatility of George Jones’s designers is evident in the many whimsical models produced in majolica, which represent an inspired Victorian culture, unaffected at the conception stage by traditional or imposed guidelines upon design. These include the models that evoke a pun, the source of great amusement for Victorians ‘at home,’ notably the delightful ‘Punch’ bowl. Along with whimsy, George Jones’s majolica excels in the depiction of naturalistic motifs, especially common British birds, which have perhaps never found more sympathetic treatment in the history of decorative earthenware.” (\u003ci\u003eMajolica\u003c\/i\u003e, Nicholas M. Dawes, Crown Publishers, 1990, p. 115)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e","brand":"Georgegen","offers":[{"title":"Default Title","offer_id":42952432648234,"sku":null,"price":0.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/8478\/5962\/files\/Georgegen_TheCeramicsDresser_GeorgeJonesMajolicaTeapot-5.jpg?v=1762680898"},{"product_id":"wedgwood-majolica-fish-head-plate","title":"Wedgwood Majolica Fish Head Plate","description":"\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eVictorian\u003c\/span\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eCirca 1872 | England\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eAn antique nineteenth century majolica fish head oyster or escargot plate by Wedgwood (see The Gen). A truly beautiful small plate glazed in Wedgwood’s exceptional majolica glazes with six unusual and fanciful fish head shaped wells around a central well.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eDIMENSIONS:\u003c\/span\u003e Diameter 18 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eSIGNATURES, MARKINGS \u0026amp; INSCRIPTIONS\u003c\/span\u003e: Impressed Wedgwood IAA.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eCONDITION:\u003c\/span\u003e The plate is in excellent condition with wear consistent with antique age and use and some light crazing. There is no evident restoration.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eREFERENCES: For examples of similar plates in this pattern from Wedgwood see \u003ca href=\"https:\/\/etruscanmajolica.blogspot.com\/2010\/08\/majolica-spotlight-wedgwood-oyster.html\" rel=\"noopener\" style=\"color: rgb(17, 17, 17);\" target=\"_blank\"\u003eGlazed \u0026amp; Confused\u003c\/a\u003e blog. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eTHE GEN\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“The company entered the majolica market in 1862. Wedgwood had struggled with a financial downturn in the 1850s which had made Francis Wedgwood resistant to exploring new ideas and developing new patterns or wares during that decade. However, with the introduction of his three sons into the firm in the 1860s, that attitude changed. His oldest son, Godfrey, is credited with the introduction of majolica, along with other new and innovative designs, into the Wedgwood production line.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eIn 1877, Llewellynn Jewett wrote on Wedgwood, ‘The aim of the firm is, always has been, to produce the best, most artistic, and most pleasingingly effective designs, and to adapt them to ordinary purposes, so that they may become the everyday surroundings of the artisan as well as the educated man of taste.’” (\u003ci\u003eCollecting Oyster Plates\u003c\/i\u003e, Jeffrey B. Snyder, Schiffer Publishing, 2002, p. 34)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e","brand":"Georgegen","offers":[{"title":"Default Title","offer_id":42963825721386,"sku":null,"price":896.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/8478\/5962\/files\/Georgegen-Ceramics-Dresser-Wedgwood-Oyster-Plate-6.jpg?v=1752911158"}],"url":"https:\/\/www.georgegen.com.au\/collections\/the-ceramics-dresser-19th-century.oembed","provider":"Georgegen","version":"1.0","type":"link"}