15929993390001312637261000Standard Recordobject-11966170249436443016818232200001702494121150fitz-onlineadlib-object-11966https://data.fitzmuseum.cam.ac.uk/id/object/11966aa74d963-d1ba-3247-8320-b38cfe36e1357referenceterm-108657adlib-term-108657c170cd8e-fc63-3446-81a4-6682b5979808lead-glazed earthenwarereferenceterm-128085adlib-term-1280853ad27c20-613b-3b26-ad89-1bd3be4f6669transfer-printed warein printing mediumreferenceterm-38994adlib-term-3899405e2aa57-7c47-38da-a2e3-c94df7e7b16dcobalt-blueDecorationin bluereferenceterm-120102adlib-term-12010202b9d189-d17a-37b4-ab50-5b6f2bc2fcf1transfer-printing underglazeHolesreferenceterm-26483adlib-term-26483c5756b64-2720-3558-9d90-98bd4a27592fpiercingreferenceterm-115adlib-term-11594d65983-dea2-361b-b187-a968c98ab1d8NatureApplied ArtsWhite earthenware, pierced and transfer-printed underglaze in blue with 'Peony' pattern. Oval with a rim on the underside of the outer edge, and a circular hole in the centre surrounded by piercing: four radiating lines of paired leaf shapes with between them four diamonds surrounded by leaf shapes and six groups of four small circles. This pierced pattern is obscured by the printed design of four sprays of peonies and foliage which entirely covers the top surface.C.864-19841accession numberC.864-198411966priref11966urihttps://data.fitzmuseum.cam.ac.uk/id/object/11966https://data.fitzmuseum.cam.ac.uk/id/object/11966on the backimpressedWEDGWOODfactory mark'12' and two eyebrows incisedon the backincised12 and two eyebrowsmarkon the backunderglaze in blueTmarkreferenceagent-149638adlib-agent-1496387376d833-d0a7-3be0-916e-9c892b7a24d8The Fitzwilliam MuseumPurchased with the J. R. V. Smyth Fundreferenceagent-158056adlib-agent-158056d3404969-df00-35f3-84f7-498fbf3c2304Eve, Joan198419841984-10-22boughtGabor Cossa's antique shop specializing in ceramics had been taken on by Mrs Eve but continued to be known as Gabor Cossa.180718071807circa180718121181218121812factoryreferenceagent-143576adlib-agent-143576535626bd-0b17-316b-bbbf-3551cefd8265WedgwoodPeony was one of several botanical patterns produced by Wedgwood following a decision to manufacture underglaze printed ware at the end of March 1805. It was described by the Wedgwood historian, Una des Fontaines, as 'probably one of the finest symmetrical flower patterns ever designed'. It was mentioned in the factory's records in 1806 and was in production from 1807. The engravings for the transfers were executed by William Hales (fl 1790-1815), possibly influenced by the Paeonia Suffructosa or shrubby peony illustrated in 'The Botanists' Repository' , vol. 7 (1806-07), pl. 448. John Wedgwood, who had rejoined the firm in 1800 and was largely responsible for its running in the first few years of the century, was keenly interested in botany, and was a founder member of the Royal Horticultural Society in 1804. After the death of Josiah Wedgwood I, the factory had not been doing well financially, and these printed floral patterns were intended to appeal to customers who enjoyed the highly fashionable enthusiasm for botany and gardening. The other printed botanical designs were 'Brown Water Lily' (see C. 3-1988), 'Hibiscus', 'Chrysanthemum', and 'Blue Botanical Flowers'. Blue transfer-printed ware is often viewed as a product for for the lower end of the market, but the splendid visual effect of a well-printed blue and white dinner service on highly polished mahogany or a white damask cloth should not be underestimated.referenceterm-107437adlib-term-10743796f4b0d1-fc11-39ff-ae91-1b23d888d479George IIIreferenceterm-106498adlib-term-106498272179a1-524b-3f36-aab7-bf342ce484d619th Century, Early#referenceterm-113623adlib-term-11362387ef9eaf-54a8-3838-8337-94dbf03aad62literalEnglandEnglandcountryliteralStaffordshireStaffordshireregionEtruriareferenceterm-107611adlib-term-107611790e5a19-a186-34d5-a16e-2d8dff9f6247white earthenwarereferenceterm-107733adlib-term-10773300160189-e3ce-3796-a88b-5aa8d6c808c4lead-glazeLengthcm24.7Widthcm16.8referencemedia-11687adlib-media-116879f2b41df-506e-3548-ab3f-17284f96e61bjpegaa/aa6/C_864_1984.jpg1heightpixels550widthpixels76016162693693681imagejpegaa/aa6/mid_C_864_1984.jpg1heightpixels362widthpixels50016162693693681imagejpegaa/aa6/C_864_1984.jpg1heightpixels550widthpixels76016162693693681imagejpegaa/aa6/preview_C_864_1984.jpg1heightpixels181widthpixels25016162693693681image0media
imagereferenceterm-107627adlib-term-10762745280056-221b-3292-b667-bb3aba2c996edrainerdish drainerhistory noteGabor Cossa (Joan Eve), Trumpington Street, Cambridge, where purchasedreferenceagent-149638adlib-agent-1496387376d833-d0a7-3be0-916e-9c892b7a24d8The Fitzwilliam MuseumRef. pp. 69-90, especially, pp. 79-81 for the pattern. 'Peony' was introduced in 1807. Mrs des Fontaines describes it as probably one of the finest symmetrical flower patterns ever designed. These floral designs appear to have been introduced at the instigation of John Wedgwood who was interested in botany. After he withdrew from the firm in 1812, they were not used again. Cf. A plate, pl. 11, fig. 4.69-90referencepublication-200000487adlib-publication-200000487351c14d3-11b5-3279-9f5b-3f1730b3408cThe Darwin Service and the First Printed Floral Patterns at Etruriareferenceterm-19072adlib-term-19072154a3e08-d436-3d9b-9487-c6abd89a7eddbotanicalplantreferenceterm-58477adlib-term-584774a900e9a-e5ed-3b89-9127-e301f9005fbafernsplantreferenceterm-107606adlib-term-107606863179c1-173d-3e51-b1f3-0eeb3814d40apeonyplantreferenceterm-107628adlib-term-107628c4347273-0d1f-3000-8eb5-8b8f7f0baebcflower headsliteralfernsfernsliteralpeonypeonyliteralflower headsflower headsreferenceterm-107627adlib-term-10762745280056-221b-3292-b667-bb3aba2c996edrainerdrainerwhite earthenware, moulded, pierced and transfer-printed underglaze in blue with 'Peony' patternreferenceterm-111179adlib-term-111179be5c887b-c0ed-3d89-82b2-c3a870e72a68mouldingreferenceterm-120062adlib-term-120062d05176fb-17b8-3888-bba1-6c5e6c77d206lead-glazingobject
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