As seen in The Antique Shoppe Newspaper, September, 2004,

When the name "Wedgwood" is mentioned, what usually comes to mind is blue Jasperware with white cameo motifs. Yet, the 18th century pieces made by Josiah Wedgwood can include lusters, majolica and black basalt. Some of the most unique pieces were of the black ware known as "Egyptian Black" and "Etruscan". By the end of the 18th century there were at least 150 potters making the wares. It continued to be made by the company into the early 19th century.       

Wedgwood proclaimed that the unglazed porcelain was "Sterling and will last forever" It was often decorated with classical figures, that were fashionable at the time. The Egyptian Sphinx form became candlestick holders and inkwells. Greek mythological figures were painted, usually in orange, black and white and known as Etruscan. When molded in relife they often combined the Etruscan painting with enamel decoration.

Though Josiah Wedgwood (1730-1795) is referred to as "the potter to royalty", he also was the first to bring cream ware to the table of the average man, replacing pewter and wood. To appreciate his genius, all you have to do is leaf through an auction catalog of Wedgwood items. Prices for the early pieces range in the thousands of dollars. At a recent Skinner auction an early 19th century Wedgwood , Etruscan basalt vase sold for $14,100.

The public had tired of the black Basalt look by 1857 and for decades it was largely forgotten, hidden away in attics. Even with the brief revival of interest, brought about by exhibits of large vases in the classical Greek style, at the Paris Exposition Universelle of 1867 and the London Exhibition of 1871, Basalt never regained it's early popularity.

 Josiah Wedgwood was born into a family of potters. At the age of twenty he opened his first pottery, making mottled agate and tortoise shell ware for knife handles. In 1754 he joined Thomas Wheildon, the best known potter of the day. During this time Wedgwood invented the now famous green glaze used on many of his majolica pieces. Five years later he opened his own Bell House Works. He was a good promoter. In 1761 he presented Queen Charlotte with a cream ware breakfast set in honor of the birth of her first child.

The delighted Queen promptly ordered an entire dinner service. Wedgwood, in turn, named it Queen's Ware. The pieces were hand painted with raised floral motifs. It became popular and shortly Wedgwood's cream ware was copied by other potters of the region. In the following years he perfected black basalt and jasperware.

CLUES: Almost every piece is marked. Exceptions are trial pieces that were made in new forms and colors. Experts say the "feel", the finish and sharp details identify even an unmarked piece. However, not all early pieces are marked Wedgwood. Some are marked with capital letters in combinations. Besides the printed name Wedgwood, collectors should look for the extreme roundness of the two letters "o" in the name. On cameos and portraits the letters "h" or "G" stand for Hackwood or Greatback, two of the top Wedgwood workmen. Old Jasper vases were fastened to their pedestals by nuts and screws prior to 1795. Repros and fakes have these covered with cement or plaster to hid recent brass screws.

Serious collectors should study the several books of Wedgwood marks found in most libraries. Who knows when you'll find a cabbage form bowl at the next house sale...priced as Victorian majolica...actually early Wedgwood.