The Discovery of "California"
The pieces here, titled “California,” are a small portion of a larger collection by the Wedgwood company. Its pieces were dug from several units behind the foundation of the Colonel Paul Wentworth House. Our understanding of this collection stems from the number of vessels reconstructed from archaeological finds, as well as the transfer print that adorns the dishes. The largest vessel below, as well as the fragments to the top right, appear to be duplicates of the same style bowl, whereas the sherds on the bottom right are believed to be the makings of a teacup.
Transferware
But what is transferware? What makes it different from other ceramics? The tell-tale sign is the precision of the design that comes from a premade print, rather than individually hand-painted ceramics once they’ve been constructed. The design was pioneered sometime in the 1750s in Staffordshire, England, as a way to improve efficiency. Before this, most ceramics–primarily European–were modeled after the blue and white hand-painted porcelain exported from China. With the Industrial Revolution on the rise, however, British business owners searched for quicker ways to create their products.
The process of creating transferware is surprisingly simple. It is slightly reminiscent of a temporary tattoo getting applied to the skin. First, a design is constructed with the vessel's shape in mind. In the case of a multi-piece set, it is redesigned or adjusted to fit more dishes. Then this pattern is carved into a flat copper plate, which can be reused as a stencil. A colored glaze made from metal oxides is added to the plate and spread across, much like ink and a stamp. Cobalt is added to this glaze to create the sought-after blue coloring of imported china. A tissue paper dampened with a soap wash is then applied to the copper plate, where the pattern is transferred as a print. This paper is then carefully applied to a blank dish with consistent pressure to ensure a successful transfer. Once completed, the paper is washed away with soapy water, leaving a permanent design on the dish!
Maker’s Mark
The reconstructed bowl that once lived in the Wentworth house has been identified as a piece from a collection titled “California.” This was realized with the uncovering of the unique maker's mark and registration mark. A maker's mark would be the 19th-century equivalent of a brand logo; it signifies both the maker and the collection name. A registration mark is more like a trademark symbol. It ensures that the dish is authentic and provides a date for when it was first recorded. According to the chart and image below, this piece was registered on April 2nd of 1849, under the Wedgwood company.
Art Work
Throughout this piece, there are nods to Italy and the Italian landscape. This piece was created and registered at the end of the culture of the Grand Tour. The Grand Tour was a tradition mostly for young, wealthy men, as they embarked on a “tour” of Europe to see fine art and gain cultural knowledge. This tradition slowly came to an end with the implementation of the railroad, as travel became more popular and much less of a luxury. This piece could be assumed to be a reminiscence of that period, but with more research, a better guess can be made.
1849 was a pivotal year for the California Gold Rush. It drew people from all over the Western world in search of riches. The Wedgwood company was based in Staffordshire, England; a far cry from the gold mines of California. Despite the distance, most English folks were determined to stay in fashion, and English companies were even more determined to capitalize on the moment. Titling a piece “California” is a clever way to draw in customers seeking the latest and greatest. Most Wedgwood buyers had never seen California and probably never would, so the depiction of the location did not need to be exact, since the name was the real eye-catcher.
What does all of this say about the residents of the Wentworth House? The number one takeaway from this piece is an interest in fashion. England was at the top of the world in the 19th century, and set the tone for what was desirable. Owning a delicate piece of transferware like this shows class status as well as social relevance. However, this is useful for more than just information on the Wentworths. Identifying specific collections like these gives a broader look on the material culture in the New Hampshire and the New England area at the time. Even something as small as this can play a part in painting a larger picture.
Transferware
But what is transferware? What makes it different from other ceramics? The tell-tale sign is the precision of the design that comes from a premade print, rather than individually hand-painted ceramics once they’ve been constructed. The design was pioneered sometime in the 1750s in Staffordshire, England, as a way to improve efficiency. Before this, most ceramics–primarily European–were modeled after the blue and white hand-painted porcelain exported from China. With the Industrial Revolution on the rise, however, British business owners searched for quicker ways to create their products.
The process of creating transferware is surprisingly simple. It is slightly reminiscent of a temporary tattoo getting applied to the skin. First, a design is constructed with the vessel's shape in mind. In the case of a multi-piece set, it is redesigned or adjusted to fit more dishes. Then this pattern is carved into a flat copper plate, which can be reused as a stencil. A colored glaze made from metal oxides is added to the plate and spread across, much like ink and a stamp. Cobalt is added to this glaze to create the sought-after blue coloring of imported china. A tissue paper dampened with a soap wash is then applied to the copper plate, where the pattern is transferred as a print. This paper is then carefully applied to a blank dish with consistent pressure to ensure a successful transfer. Once completed, the paper is washed away with soapy water, leaving a permanent design on the dish!
Maker’s Mark
The reconstructed bowl that once lived in the Wentworth house has been identified as a piece from a collection titled “California.” This was realized with the uncovering of the unique maker's mark and registration mark. A maker's mark would be the 19th-century equivalent of a brand logo; it signifies both the maker and the collection name. A registration mark is more like a trademark symbol. It ensures that the dish is authentic and provides a date for when it was first recorded. According to the chart and image below, this piece was registered on April 2nd of 1849, under the Wedgwood company.
Art Work
Throughout this piece, there are nods to Italy and the Italian landscape. This piece was created and registered at the end of the culture of the Grand Tour. The Grand Tour was a tradition mostly for young, wealthy men, as they embarked on a “tour” of Europe to see fine art and gain cultural knowledge. This tradition slowly came to an end with the implementation of the railroad, as travel became more popular and much less of a luxury. This piece could be assumed to be a reminiscence of that period, but with more research, a better guess can be made.
1849 was a pivotal year for the California Gold Rush. It drew people from all over the Western world in search of riches. The Wedgwood company was based in Staffordshire, England; a far cry from the gold mines of California. Despite the distance, most English folks were determined to stay in fashion, and English companies were even more determined to capitalize on the moment. Titling a piece “California” is a clever way to draw in customers seeking the latest and greatest. Most Wedgwood buyers had never seen California and probably never would, so the depiction of the location did not need to be exact, since the name was the real eye-catcher.
What does all of this say about the residents of the Wentworth House? The number one takeaway from this piece is an interest in fashion. England was at the top of the world in the 19th century, and set the tone for what was desirable. Owning a delicate piece of transferware like this shows class status as well as social relevance. However, this is useful for more than just information on the Wentworths. Identifying specific collections like these gives a broader look on the material culture in the New Hampshire and the New England area at the time. Even something as small as this can play a part in painting a larger picture.
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