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Framed Modern Wedgwood Basalt Stoneware Tablet after Stubbs, Frightened Horse

$4,500

£3,383.64

€3,929.22

CA$6,284.16

A$6,969.59

CHF 3,660.09

MX$85,591.57

NOK 46,333.25

SEK 43,692.88

DKK 29,316.33

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About the Item

Barlaston, Staffordshire, 1973, molded, stepped, oval form with bas-relief depiction of a horse cowering from an imposing lion, impressed "WEDGWOOD" recto, "WEDGWOOD/MADE IN ENGLAND/73" verso with viewing hole through mounting, 10 x 17 x 3/4 in., secured to a white silk backing in a parcel-gilt mahogany frame, removable spotlight with in-plug switch, 20 x 26 1/4 x 7 in. From Wedgwood: Today, Stubbs is regarded as the greatest British painter of horses and his renowned ‘Anatomy of a Horse’ was published in 1766. Stubbs investigated the possibility of painting with enamel colours on various media including copper and, by 1775, his search for a ceramic ‘support’ was brought to the attention of Wedgwood’s Ornamental Ware partner, Thomas Bentley. Josiah was extremely enthusiastic about the proposal to produce ceramic tablets or plaques to be used as an artist’s canvas, but the reality was that the production of large sized plaques took several years to accomplish. Stubbs was keen to receive the plaques as soon as possible, causing Wedgwood to write to Bentley that Stubbs ‘shall be gratified, but large tablets are not the work of a day.’ The ceramic medium chosen to produce the plaques was probably a low-fired version of the so-called terracotta body, which was suitable for large sized objects. A thin-light glaze was applied to the surface to seal it and make it suitable for the application of enamel colours. Several notable subjects are known on Wedgwood/Stubbs plaques – including a portrait of Richard Wedgwood, Josiah’s father-in-law. In part payment for the ceramic plaques produced by the factory, Josiah asked Stubbs to work on a portrait of the Wedgwood family and on modelling two bas-relief scenes: ‘The Frightened Horse’ and a companion piece ‘The Fall of Phaeton’. The former subject was modelled at Stubbs’ own suggestion from his own engraving of ‘The Lion and the Horse’. Josiah was greatly surprised at the mastery of the subject produced by Stubbs and his quick adaptation to the use of potters’ tools. On 1 August 1780, clay tablets had been prepared for Stubbs on which to produce his initial model and, by 13 August, the subject of the ‘Frightened Horse’ had been chosen. Wedgwood wrote on that day: ‘…he [Stubbs] is now laying in the horse whilst I am writing a few letters this good Sunday morning.’ By 21 August Stubbs had completed the model and Josiah was writing to Bentley promising a copy ‘…very soon either in blue & white [jasper], or to save time in one colour.’ The ‘one colour’ referred to was black basalt. The subject has proved to be enduringly popular and has appeared at regular intervals since the 18th century.

Creator:
Wedgwood (Manufacturer)
Style:
Neoclassical (In the Style Of)
Materials and Techniques:
Stoneware,Fired,Hand-Crafted,Molded,Unglazed
Place of Origin:
England
Period:
1970-1979
Date of Manufacture:
1973
Condition:
Wear consistent with age and use.
Seller Location:
Asheville, NC
Reference Number:
1stDibs: LU10245243802092

Shop All Wedgwood

Wedgwood

Arguably the most celebrated of all English ceramics makers, Wedgwood was founded in 1759 by potter Josiah Wedgwood (1730–95) in Staffordshire, which was home at one time to hundreds of pottery workshops. The company is famed for its Jasperware — molded neoclassical stoneware vases, plates and other pieces inspired by ancient cameo glass, featuring white figures, scenes and decorative elements set in relief on a matte-colored background. The best-known background hue is light blue, but Wedgwood’s iconic silhouettes also appear on green, lilac, yellow, black and even white grounds. Some antique Wedgwood dinnerware pieces and other items feature three or more colors.

The Wedgwood firm first came to prominence for its tableware, which quickly gained favor in aristocratic households throughout Britain and Europe. In 1765, Wedgwood was commissioned to create a cream-colored earthenware service for Queen Charlotte, consort of King George III. The queen was so thrilled with her new china that Wedgwood was given permission to call himself “Potter to Her Majesty,” and the decorative style became known as Queen’s Ware.

Not to be outdone, Catherine the Great of Russia commissioned her own set of Wedgwood china in 1773. Nearly 200 years later, the firm created a 1,200-piece service for the coronation of Queen Elizabeth II. In recent years, leading designers including Jasper Conran and Vera Wang have collaborated with Wedgwood — in the tradition of such distinguished 18th-century artists such as the painter George Stubbs and metalsmith Matthew Boulton.

From plates and other dinnerware to decorative items like urns, cachepots and candlesticks, Wedgwood designs lend a traditional air to Anglophile interiors. And even if you have to make your own tea, you may find it comforting to sip it from a delicate cup that was manufactured in the same Stoke-on-Trent kiln that produced Her Majesty’s tea service. Be sure to keep your pinky raised.

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