WSNY
The
Ars Ceramica Logo

2013, Number 29

To Be Published September 2017

©2017 by The Wedgwood Society of New York, ISSN 1043-3317

  • President's Letter
  • Caughley in a Social Context by Gaye Blake-Roberts
  • Stain-Proofing Caneware by David M. Pendergast
  • The Shropshire Iron Bridge: Two Unique Images on Caughley and Coalport Porcelain by Roger Thornhill
  • Black is Beautiful: Early Staffordshire Figures Portraying People of Color by Myrna Schkolne
  • The Iron Bridge on a Vienna Porcelain Coffee Service, 1801 by David de Haan
  • Wanted: Jean-Jacques Rousseau by David M. Pendergast
  • The Professional Cleaning of Dry-Bodied Wares by Margaret Burnham
  • Digging up Ancient and Free Gardeners: A Creamware “Armorial” Jug by Robert Harrison
  • Book Review - Elegant English:The Charlotte Stout Hooker Collection Of British Porcelain and Related Ceramics By Letitia Roberts Published by the Dixon Gallery

Cover Image

On the covers: A pair of Wedgwood plaques depicting Adam and Eve, white on blue jasper, 1924, impressed WEDGWOOD marks, 7¼" (18.4 cm) d. The plaques were designed by the British artist Anna Katrina Zinkeisen (1901-1976), whose work for Wedgwood was awarded a silver medal at the 1925 Exposition des Arts Décoratifs in Paris. It is perhaps surprising that Adam and Eve appear so infrequently in English ceramic decoration. There is of course the well-known white saltglazed stoneware pew group and the Thomas Toft slipware charger in the Glaisher Collection in the Fitzwilliam Museum in Cambridge, and also more familiar examples of the Temptation on London and Bristol delftware chargers. But in terms of design these are all rather crude and naive, and a far cry from the Art Deco elegance of the Zinkeisen plaques. Perhaps even more remote from Zinkeisen’s designs are the representations of Adam and Eve on an English creamware jug which is the subject of an article by Robert Harrison. Photographs by Syd Weinstein, courtesy of Suzanne and Ellis Rubin.

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