TWO URNS, TWO HOLIDAYS
APRIL 2022
I have many memories throughout my life surrounding the two wonderful holidays of Passover and Easter. For 2022, I decided to give myself the creative challenge to bring forth both holidays in a way that uses as many common elements as possible while leaving room for beautiful layers that respect each celebration. While common elements include velvet, bygone and aged color, a mix of ceramics and a touch of brass, the most incredible common thread are two Wedgwood Urns from 1795 provided to me by Artistoric which was founded by the delightful Bailey Tichenor and Michael Assis.
I am so happy with how the pair of tables turned out. They tell stories. They mix old and new. They remind us that we have more in common even though we all have differences.
As a special treat, Artistoric has provided an incredible write up on the wonderful Wedgewood Urns and the role they play in a Warmhouse Story vignette in the Inspirational Parlor. Let’s step into the curio cabinet and enjoy this special guest perspective!
CURIO CABINET: From Artistoric
Artistoric is excited to be collaborating with Warmhouse Story on two spring tablescapes which explore the beauty of combining old and new. This theme particularly aligns with Artistoric’s modern approach to the time-honored tradition of collecting historic decorative arts.
Artistoric appeals to new audiences interested in learning about the things they collect. We focus on thematic and thoughtful collecting over acquisition en masse, which has been a more traditional approach used by previous generations. Through storytelling and discussion of the history behind our objects, we hope to promote an engaging and inclusive environment in which these incredible works of art are accessible to everyone.
Historic decorative arts play an integral role in creating an inviting atmosphere in one’s space: these statement pieces lend themselves to meaningful conversation, inquiry, and storytelling. As such, we are delighted to partner with Warmhouse Story with expertise in atmosphere creation.
As a long winter blossoms into spring, we look forward to the promise of a season of refreshment and renewal while cherishing the traditions of times gone by. Among dried and fresh florals, themselves “old” and “new,” is a pair of 18th-century pearlware urns created by the famous English ceramic manufactory factory Wedgwood. By displaying the old among the new, Warmhouse Story’s Easter and Passover tables convey an appreciation for the past and a desire for its preservation.
About the Object
The Western decorative ceramics tradition was born out of a desire to emulate the pure white ground of Chinese porcelain. The recipe for porcelain was a mystery in Europe until well into the 18th century, and, as such, Chinese porcelains held great status as works of art and were exported to the West in huge quantities. At the same time, European factories worked hard to create their own wares to mimic those of the Chinese. Out of that spirit of ingenuity and entrepreneurial endeavor came porcelain from Meissen, Sevres, and countless others as well as new pottery media including Dutch delft, French faience, and Italian maiolica. Soon English and European ceramics, both porcelain and pottery, became respected and desired as works of art in their own right.
Josiah Wedgwood (1730-1795) was a key figure in the history of English ceramics. His genius was to adapt pots and plates to fit current fashions while offering wares that were exquisite enough for upper-class clientele at prices that could be also afforded by the new middle class. Founding his factory at Etruria, Staffordshire in 1759, Wedgwood approached pottery as a scientist and an entrepreneur as well as an artist. That mindset served him and his factory well: the Wedgwood company continues its production of fine ceramics today.
The early years at the Wedgwood factory saw an outpouring of innovative ceramic technologies and designs that were created as an alternative to porcelain. Among the many inventions was pearlware. Josiah Wedgwood developed his pearlware glaze in 1779 as a white-ware alternative to his wildly popular creamware, or ‘Queen’s ware.’ The glaze, named “Pearl White'' by Wedgwood and his partner, Thomas Bentley, had a slightly blue tint from cobalt which helped achieve a whiter body. Unlike creamwares, pearlwares were almost always decorated rather than left plain. These pearlware urns are decorated with a mottled green and blue glaze meant to mimic porphyry, a precious hardstone that had been used in the decorative arts of extremely wealthy households for centuries.
The urns’ Neoclassical style and shape recalls designs of Ancient Rome and Greece, which at the time were extremely popular in Europe. By creating these urns and other decorative pieces in a less expensive medium, Wedgwood made his wares accessible and affordable to the growing middle class without sacrificing style and quality; indeed, the Wedgwood manufactory specialized in this throughout its history. Wedgwood’s revival of old styles as well as his allusion to old materials with a novel medium for a new class of consumers speaks to the Old + New theme of this spring tablescape.
With that tremendous background from Artistoric in mind, I will be sharing more highlights from this pair of tables in my next post as I turn my attention to the fabulous embroidery of Anke Drechsel and the incredible multiplying bunnies on the Easter version of these fabulously faded presentations.
The deeper meaning that I would love for you to take away is that creativity and imagination (with a dose of collaboration) have the power to teach us about our different backgrounds and histories. Let’s let our knowledge and appreciation for each other blossom as we celebrate the many wonderful aspects of April!