Covered Sugar Bowl

England or United States

1760-1800

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Large round faience charger, the ground glaze with a bluish tinge, painted in shades of light and dark blue enamel with manganese, in the center well a scene of the Holy Family at rest under a tree, on the left is a seated Mary holding the draped Christ Child, on the right is Joseph seated on a rock and turned toward Mary and the Child, holding a walking stick in his hand, on the left is a second walking stick and pack leaning against a rock, in the background a landscape with mountains and a distant town, the rim with a wide band of naturalistic flowers and foliage, around the well and on either side of the floral band are narrow bands of light blue enamel, the figures and flowers are outlined in manganese; the underside of the rim is decorated with a pattern of lines and curves in dark blue enamel.
Large rectangular desk, or bureau Mazarin, inland with floral marquetry of various stained and natural woods on an ebony ground, raised on eight straight legs of tapered rectangular section, which are connected by two flat, interlaced stretchers, in the front is a central drawer with a recessed cupboard depicting a theatrical mask, and on either side tiers of three drawers, with a shaped apron below each tier of drawers and central cupboard, the top edged in gilt wood and with a central vase holding a floral bouquet with scrolling foliage and strapwork, birds and insects surrounding it, with like marquetry decoration on the other three sides.
Oval blue jasper plaque with white relief scene of Marriage of Cupid and Psyche, The subject was originally taken from a Renaissance gem, a sardonyx, then in the Marlborough collection and now in the Museum of Fine Arts, Boston. Wedgwood produced three distinct versions of the subject two of which show significant variations from the originals. The version closest to the original was probably taken from a sulphur cast of the gem by Tassie who reproduced it in his glass paste, or from a direct study of the Marlborough gem. Wedgwood was acquainted with the fourth Duke. The third version, attributed to Flaxman gives more space to the figures and incorporates detail from the other two versions. Bartolozzi engraved the subject, either from Marlborough gem or Tassie copy. Hackwood worked on the subject in 1774 from a cast supplied by Tassie. Lochee is reputed to have remodelled the subject in 1787 after Tassie. Webber is also said to have worked on it. Flaxman’s version seems to have been comparatively late, about 1787.
Large, square earthenware tile partially printed and hand-painted with a circular reserve outlined by a white band within two yellow bands containing in white with blue highlights the portrait of a woman facing slight right wearing Medieval garb with a pointed headdress and earrings, the ground with a blue on blue design of grape vines with bunches of grapes, the larger ground of the tile contains in various shades of blue a pattern of decorative, horizontal bands with from the top a band of small x's and solid dots; the name of the season AUT UMN; a fish scale pattern; a band of open dots; a band of scrolling motifs; and a band featuring a zigzag design, the reverse with horizontal bars in relief to aid adhesion when setting the tile.