Tag Archives: Stoke-on-Trent

Wedgwood Gets The Stoke 2000 Treatment

On the 1st of May 1759, Josiah Wedgwood began his pottery manufacturing journey at the Ivy House having rented the premises from his distant relatives John and Thomas Wedgwood of the Big House in Burslem. The Ivy House stood on the East side of town, which is now a communal space next to the Town Hall. He stayed there for a few years until 1762, conducting experiments to improve the quality of his ware before moving to the Brick House or Bell Works also in the Mother-Town. In 1769 he moved to his Etruia Factory on the Ridgehouse Estate which was ideally positioned next to the Trent and Mersey Canal. To celebrate the 260th anniversary, The Stoke 2000 are currently introducing a number of colours on their planters related to his timeline.

BLUE: (1759) The first of this range are our blue design, representing the famous iconicWedgwood Blue Collage 2_crop colour best associated with Wedgwood. An unglazed matte “biscuit” finish, it is also produced in a number of different colours, of which the most common and best known is a pale blue that has become known as Wedgwood Blue. We include a deep cobalt blue in this style and dateWHITE: (1765Wedgwood’s innovatory cream coloured earthenware was called Queen’s Ware after the successful completion of his first commission for Queen Charlotte in the summer of 1765. A notice in Aris Birmingham Gazette, (a pre-eminent Midlands newspaper) announced: “Mr Josiah Wedgwood, of Burslem, has had the honour of being appointed Potter to Her Majesty.”

RED: (1765) Rosso antico, also known as ‘Old Red,’ Wedgwood refined the common red ware and started production in small quantities. At the request of his partner Thomas Bentley, production resumed in 1776. Rosso antico production continued until about 1900. After 1790 it was often combined with Black Basalt in decorative items, or covered with enamel decoration.

Wedgwood Redware

GREEN: (1775) Our first product associated with Jasperware is green, being one of the most popular colours and well sought after in antiques and collectables. Sage green (described as “sea-green” by Wedgwood) as with all colours he experimented with is naturally white once fired but stained with metallic oxide colours. Named after the mineral jasper for marketing reasons, the exact Wedgwood formula remains confidential. Jasperware is particularly associated with the neoclassical sculptor and designer John Flaxman Jr who supplied Wedgwood with designs. Flaxman mostly worked in wax when designing for Wedgwood. Various designs and figures were cast from 1775: some of them are still in production. Inspiration for Flaxman and Wedgwood came not only from ancient ceramics, but also from cameo glass particularly the Portland Vase.

We are currently experimenting with other colours, techniques and key dates in history that can generate discussion and educate, encourage people to share stories and commemorate local culture and national heritage. We are also open to ideas and collaborations.

 kiln wedgwood range 1759-1775 

We recommend a visit to the fantastic World of Wedgwood factory tour and museum in Barlaston. It is well worth a day out.

Iconic Artwork Adds Value to Local Townscapes

A community project is leaving its mark on the skyline in towns across the Midlands. The Stoke 2000 – an art, culture, education and recycling project – aims to create by hand, over two thousand bottle-oven wall planters; the number of kilns that once stood proudly across the city of Stoke-on-Trent and the iconic image that best represents the pottery industry. As well as taking on this ambitious venture, company director and local entrepreneur Chris Parr is also collaborating with various artists and inviting them to display their unique talents on the front of each planter made from recycled pallet wood. The purpose is to bring people together, share stories and celebrate the city’s industrial heritage while at the same time, helping the environment.

The project already has supporters with Steve Shaw and his design, depicting saggar placers arranging vertical stacks (BUNGS) of fireclay boxes; Anita Harris with her Middleport Pottery landscape, a recognisable scene made even more popular with the area featured on mainstream TV in recent years; and Phil Hardaker with his eye-catching mosaic design honouring the last firing of a bottleoven in 1978; One of Stoke-on-Trent’s most significant cultural events of the 20th Century.

An exhibition, which brings the artisan community together while helping local tourism, will be held to showcase their work on each of the iconic bottle-oven shaped wall planters.  The general public and business leaders will be invited to view all commissions and bid for the kilns, supporting local charities. The indoor planters would be ideally positioned in community spaces, business premises or even left to ‘fade to grey,’ and blend in with their own Industrial surroundings.

(Images Taken at Middleport Pottery – Stoke North – & Sutherland Works in Normacot Road Longton – Stoke South: Pictures Courtesy of Shine in Media ©2019)