Thanks to its reserves of clay, lead, salt and coal, Staffordshire, England, has been a center for ceramics since the early 17th century. The county was home at one time to hundreds of pottery workshops and as many as 4,000 bottle-shaped kilns that operated year-round. The term “Staffordshire Potteries” refers to the industrial area of Stoke-on-Trent — comprising the towns Burslem, Fenton, Hanley, Longton, Stoke and Tunstall — where most of the production was concentrated.
In 1720, potter John Astbury discovered that he could make what would later be called creamware by adding ground flint powder to the local red clay. Because resources were so plentiful in Staffordshire, local potters could afford to experiment, working to refine their techniques and designs. One such innovator was Thomas Whieldon, an important 18th-century potter known today for his tortoiseshell ware, whose brilliant glazed surface of caramel, yellow and green hues was made with copper and manganese compounds.
Whieldon operated the Fenton Low workshop, making coffee- and teapots, dinner services and even ornamental knife hafts. He was an influential figure: Josiah Spode apprenticed at the workshop prior to opening his company in 1770, and Josiah Wedgwood partnered with Whieldon for five years before establishing his eponymous firm in 1759.
Wedgwood is perhaps the best known of the Staffordshire potters. The firm produced a line of light-colored earthenware for Queen Charlotte, who liked it so much that she granted permission to market it under the moniker Queen’s Ware, which despite the name, was designed for everyday use.
In the same regal vein, in 1773, Wedgwood created the 954-piece Frog service for Catherine the Great, of Russia. The company is also known for its black stoneware, Black Basalt, which imitates the color and shapes of Etruscan vases; Jasperware, with its classical reliefs applied on the unglazed body; and pearlware.
By the end of the 18th century, Staffordshire was the primary producer of ceramics for the American colonies, even creating patriotic wares celebrating independence for this market. The imagery on Staffordshire ceramics became more standardized during the mid-18th century with the advent of transferware, in which a design etched on a copper plate is printed on tissue paper, which is then used to transfer the wet ink onto the ceramic surface. This technique enabled artisans to decorate their wares with complex scenes that wrapped around an object’s surface and make several copies of popular patterns.
The Staffordshire potters also produced decorative figurines, such as this charming pair of cows dating from the 19th century. Particularly popular in Great Britain were pieces with hunting imagery, such as this George IV porcelain stirrup cup in the shape of a fox head wearing a gilt collar inscribed with the word “Tallyho.” Among the many whimsical vessels produced is this mid-19th-century frog mug. The exterior is painted with a charming scene of people picking fruit on one side and ladies on a garden swing on the other side, while inside a molded frog’s head at the bottom of the mug makes a gurgling sound when the beverage has been almost completely consumed.
On 1stDibs, find a range of antique ceramics from the Staffordshire Potteries including decorative objects, tea sets, dinner plates and other items.
Mid-Century Modern Staffordshire Ceramic Jardinière on Column, 89cm
By Staffordshire
Located in Antwerp, BE
England, an attractive and large Staffordshire ceramic one of a kind hand thrown and richly glazed pot vessel on a stand decorated with beautiful flo...
Ceramic
Dennis Kirchmann Ceramic Pedestal or Plant Stand with Floral Motif
By Dennis Kirchmann
Located in Chicago, IL
This two-piece floral ceramic piece by Indiana artist Dennis Kirchmann is convertible. It can be used as a pedestal with a small amount of storage with ...
Ceramic
$1,732Sale Price / set|48% Off
H 26.38 in Dm 9.45 in
Mid-Century Capo Di Monte Italy Pair of Jardinières on Pedestal Stands
By Capo Di Monte
Located in Torquay, GB
Mid-century pair of Jardiniere planters & matching tall pedestal stands by Capo di Monte Italy. Two ceramic flower pots with two matching tall ped...
Ceramic
$1,157
H 17.72 in W 17.72 in D 17.72 in
Large Mid-Century Modern Planter Jardiniere by Willy Guhl for Eternit
By Willy Guhl
Located in Doornspijk, NL
Large square planter by Swiss architect Willy Guhl for Eternit. The planter is made of moulded cement. Good vintage condition with nice patina.
Concrete
Serge Roche Pair of Gilt Plaster Columns, Mid-Century Modern
By Serge Roche
Located in Montreal, Quebec
Serge Roche pair of gilt plaster columns. The foliage and reed inspired coiled movement of the columns inspired by nature. Serge Roche (1898-1988) was a French designer and artist in the mid 20th Century, son of a famous art dealer and collector. He conceived very creative and original objects and furniture often made in plaster and with a strong Baroque or Roccoco feel, interpreted in a unique manner which reflected a new Century's sensibility. His work was commissioned by the elite of his time, such as Maison Jansen, Coco Chanel and Charles de Beistegui...
Plaster
Mid Century, Decorative Scrollwork Plant Stand
Located in Hastings, GB
Mid century scrollwork plant stand Dating Circa 1930-1950'S Reeded column design straps with detailed scroll work detailing A true statement piece for an entrance hall or garden ...
Metal
$5,685Sale Price / set|24% Off
H 55 in W 21.25 in D 13.25 in
Pair of French 19th-20th Century Giltwood Carved Standing Pedestal Planters
Located in Los Angeles, CA
A pair of French 19th-20th century Louis XV style giltwood carved figural three-legged standing pedestal planters Jardinières, each with carved figur...
Giltwood
Mastercraft Brass Pedestal Jardiniere
By William Doezema, Mastercraft
Located in Hanover, MA
Fabulous pedestal jardiniere by William Doezema for Mastercraft in their signature patinated brass finish. Base is a straight round column which has double rings suggestive of bamboo...
Brass, Steel
Mid Century Modern Ceramic Jardinière by Bernard Rooke
By Bernard Rooke
Located in London, GB
An organic and Brutalist style Jardine which would work perfectly with trailing foliage. Bernard Rooke (born 1938) is a British artist and studio potter. Rooke has exhibited his "Brutalist" ceramics and painting both in the UK and abroad with work in many collections both public and private including the Victoria and Albert Museum, Cleveland Museum of Art, Nuffield Foundation, Röhsska Museum in Sweden and the Trondheim Kunstmuseum in Norway. Bernard Rooke attended Ipswich School of Art studying painting and lithography before going on to study at Goldsmiths College of Art. It was while studying here that he decided to take up pottery. Although unfamiliar with this craft and tradition, he found that working with clay provided new opportunities for freedom of interpretation and creativity. In 1960 Rooke set up his first pottery in Forest Hill in South London along with Alan Wallwork. It was a very small room with enough space for a small electric kiln. He was initially using mainly hand building, coiling, blocking and slabbing techniques. While researching ideas, he was supporting himself by part-time lecturing at London University, Goldsmiths College and St Mary's College. In addition, Rooke's membership of 'The Craftsman Potters' Association' enabled him to show his work in a shop in Carnaby Street in London. In 1967, both the need for a larger working space and becoming disillusioned with living in London spurred Rooke into moving out of the city and to an old mill building in Swilland in Suffolk. Rooke wanted to widen the range of work so as to become more commercial. With the birth of his son, Aaron, and much needed work to be done on the mill, it was important to be able to make a living. In 1968, the Grand Metropolitan Hotel commissioned Rooke to make 120 standard lamps, 120 table lamps as well as a 24 foot long ceramic mural and another 9 foot high, which incorporated interior lighting. The money from the commission helped to pay for much needed restoration work on the mill. By the 1970s, a gallery space was opened in the windmill and run by Susan Rooke, Bernard's wife, selling work to locals and tourists as well as to American airmen based nearby. The vision for Mill Gallery was beginning to develop and alongside this a reputation was building bringing in a good source of income. Sons Aaron and Felix were becoming more involved with the running of the pottery, giving Bernard more time to develop new ideas and designs and more time to continue with his painting. In 2004, the Rooke family decided not to sell to the public through the gallery anymore and close the pottery to concentrate more on painting and printmaking. In 2017 Bernard's lighting was featured in the Exhibition: “Glass, Light, Paint & Clay” at the Peterborough Museum and Art Gallery. The exhibition featured four artists: Bernard Rooke, John Maltby...
Clay
Raised Pebble-Pot Garden Planter or Urn with Embedded Stones from France
Located in Austin, TX
A fine French garden stone planter pot or urn on a raised round pedestal platform or plinth, sometimes known as a "pebble-pot", featuring a design of...
Stone, Cast Stone, Cement
Mid-19th Century Marble Pedestal Column
Located in Paris, FR
White marble veneer pedestal column with square display plate. The pedestal is ornamented with a red marbre base and Sienna marble plate. The red Griotte marble upper tray is decorat...
Griotte Marble, Siena Marble
Plant Stand, Faience, 20th Century
Located in Stockholm, SE
Faience plant stand in form of a elephant, 20th century.
Faience
$5,800 / set
H 38.5 in W 8.25 in D 8.25 in
Pair of 1950's Italian Blue-Green Alabaster Pedestal Columns
Located in Hanover, MA
Pair of vintage Italian alabaster pedestal columns in vibrant blue-green color (not quite turquoise) and embellished with gilt brass bands a...
Alabaster, Marble, Brass
Sold
H 10 in W 7 in D 10.5 in
English Divided Wire Basket Caddy with Terracotta Staffordshire Herb Pots
By Staffordshire
Located in Philadelphia, PA
An English, hand formed rectangular pot caddy, early 20th century. Made of twisted galvanized steel wire and heavy grade chicken wire, the pot caddy is divided into six sections for holding the included terracotta herb pots...
Metal