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History of China:
Denby Dinnerware
The Denby Pottery Company dates back to 1809. It was named for the village of Denby, located in rural Derbyshire, England. The discovery of clay during the construction of a turnpike road, in 1806, led to the formation of the company. Denby's first products were bottles and jars made of salt-glaxed stoneware. Denby continues to make a wide range of tableware and kitchenware in the 1990s. Many of the original handcrafting methods that Denby used in the beginning, such as handpainting, hand glazing and hand turning, are also still in place in the manufacture of its products.
Franciscan
In an effort to explain the evolution of Franciscan's embossed, hand painted dinnerware, a brief chronology of Gladding, McBean and Company history prior to 1940 is necessary.
In 1875, an exceptional clay deposit was discovered in Lincoln, California (Placer County). This area of land was purchased by Charles Gladding, Peter McBean, and George Chambers who formed Gladding, McBean and Company (GMcB), parent company of Franciscan Pottery.
In 1928, Dr. Andrew Malinovsky developed a high talc, one fire body, using non crystalline amorphous flux. This innovative ceramic material was patented as "Malinite" and was to be use in the ceramic body of tile.
By 1932, experimental work had started at the Lincoln plant aimed at producing a pottery line using the "Malinite" body. The dinnerware and art ware were to be made in solid colored glazes.
In 1933, Frederick J. Grant, a chemical engineer, suggest to Mr. Atholl McBean (son of Peter McBean) that the company consider dinnerware production if plant room were available. Mr. Grant was later hired in 1934, as manager of the new GMcB pottery department at the Glendale Plant. Complete lines of art pottery, colored tableware and kitchenware were to be produced. In August, the first mimeographed price list was published. The trade name of Franciscan Pottery was chosen for the line in order to honor the padres who helped to settle California.
In April, of 1935, the first catalog containing photographs of Franciscan Pottery was published. By the end of the year, the Glendale plant pottery department had 283 different shapes in regular production.
By 1939, the prolific Glendale plant had produced at least fifteen patterns of dinnerware and nine lines of art ware. Marketing indications suggested a new dimension in dinnerware. The company moved quickly to design, produce and market a totally new line of embossed, hand painted, dinnerware. This concept was a complete departure from anything previously produced by GMcB Co.
Between the years of 1940 and 1983, many new patterns were introduced into Franciscan pottery. In 1962, Gladding, McBean and Company merged with Lock Joint Pipe Company in September. The name was changed to Interpace.
Then in 1979, Wedgwood Limited of England, purchased the entire forty five acre property on Los Feliz Boulevard on the outskirts of Glendale and renamed the facility Franciscan Ceramic, Inc. The purchase included all existing patterns and equipment.
Finally, in 1984, Wedgwood Limited of England eliminated all jobs, closed the Glendale plant, and moved production to England. The site has subsequently been sold and leveled, thereby ending 109 years of California pottery production heritage.
Gorham China :
The Gorham company was founded in 1831 by Jabez Gorham. Initially, Gorham manufactured only sterling flatware and holloware. Later, from 1970 to 1984, the Gorham Division of Textron, Inc., made fine china dinnerware in Pasadena, California, at a plant formerly occupied by Flintridge China Company. Gorham purchased Flintridge in March of 1970 and for few years continued to make some Flintridge patterns. Eventually Gorham began producing their own china designs many of which were made to coordinate with their sterling silver patterns. In 1984, Gorham ceased manufacturing its own china and began importing it from Japan. In the early 1990s, Lenox, Inc. of Lawrenceville, New Jersey, purchased Gorham and continues to make various Gorham China patterns today.
Johnson Brothers
In 1883 at a small factory called Charles Street Works in Hanley, Stoke-on-Trent, England the two sons of Robert Johnson, Frederick and Alfred, established a partnership called Johnson Brothers for the manufacture of durable Earthenware, which they called "White Granite". In 1888, the elder brother Henry joined forces. In addition to manufacturing well-potted white ware, they began producing under-glaze printed ware for which they became famous.
Due to the increased demand for pottery after the Civil War, they opened up two new factories in Hanley close to their original factory. By 1898, they had five different factories producing tableware. In 1899 and 1909, new mills were constructed to supply Johnson Brother's own factories and outside customers in the trade with prepared Flint and Cornish stone for use in pottery bodies.
A fourth brother, Robert, had joined the company by 1896 and set up an office in New York City. He traveled across the country with dinnerware samples in order to further stimulate the demand for Johnson Brother's products in North America. Alfred left the company by this time, while the sons of the founders began to become involved. With the new efforts from the family members, they began to concentrate on expansion efforts, overseas markets and the improvement of business methods. By 1913, they began to focus their efforts on the German market where they opened a plant for production to increase business and for a reduction in labor and freight rates. This project was terminated at the start of World War I and was never to be re-established in later years. During the war period from 1914-18, business became extremely limited due to a large majority of the labor force joining the Forces and the danger of naval transportation.
At the start of the Twenties, new shapes, patterns, and bodies were introduced and the "Dawn" range of colored bodies began for which Johnson Brothers became very well known. New methods were developed for making halloware items which allowed for a more rapid production over the old method of using pressed clay. At the end of the Twenties, the grandsons of the founders entered the business.
During the Thirties was seen the closure of the Charles Street Works, the original factory. It was not until the mid-Thirties that the factories got under full production. At the end of the Thirties, was seen the development of modern systems of firing using electricity as fuel rather than raw coal and new brick-built tunnels using an automatic ware-propelling system replaced the traditional "Bottle Ovens." The more accurately controlled firing system meant better quality and less loss and the conditions for the wokers was much more superior than before. A new mold-making department and making shops accompanied the construction of the electric kiln.
During the second world war there was a delay in the construction of the new Tunnel Kilns which was resumed and linked with plans to improve production processes afterwards
Lenox China
Lenox China as it is known today was founded by Walter Scott Lenox & Jonathan Coxon Sr. as the Ceramic Art Company in 1889 in Trenton, New Jersey. Their intent was to form a fine china company to rival the best in Europe. Lenox china quickly became recognized as some of the highest quality china produced in this country. In 1894, Mr. Lenox purchased the entire company from his partner and renamed the business Lenox, Inc. The Lenox Company was operated with an art studio atmosphere with many talented designers and artisans.
Lenox china received great publicity in 1917, when Walter Scott Lenox was commissioned by President Woodrow Wilson to produce a 1,700 piece White House dinnerware service. Lenox china was also the dinnerware of choice for Presidents Franklin D. Roosevelt, Harry S. Truman, and Ronald Reagan.
Lenox then began their production of crystal in 1965 when they bought Bryce Brothers of Pennsylvania. Bryce Brothers was known for their distinctive use of color in glassware. Today, Lenox crystal is the official crystal for the Vice President of the United States, United States Embassies, the White House, the State Department and Congress.
Lenox also decided to coordinate china and crystal patterns rather than completely separate the design departments of the different divisions. One coordinated pattern example is Lenox Weatherly china and Lenox Weatherly crystal. This idea of coordinated patterns, in conjunction with aggressive marketing techniques, allows Lenox china and crystal to remain very popular with new brides.
Minton China
Thomas Minton founded his factory in 1793/6 in Stoke-upon-Trent. Minton was Spode's nearest rival. He was famous for Minton ware - a cream-coloured and blue-printed earthenware maiolica, bone china, and Parian porcelain; his factory was outstanding in the Victorian period for its "art" porcelains. He also popularized the famous so-called Willow pattern.
The love birds are from the "Willow Pattern" plate. In the 1820s he started production of bone china; this early Minton is regarded as comparable to French Sèvres, by which it was greatly influenced. Minton's was the only English china factory of the 19th century to employ a Sèvres process called pâte-sur-pâte (ie: painted decoration in white clay slip instead of enamel before glazing). Minton also produced Parian figures. The Minton factory was the most popular supply source in the 19th century of dinnerware made to order for embassies and for heads of state and the factory is still producing to the present day.
The Willow Legend
There was once a Mandarin who had a beautiful daughter, Koong-se. He employed a secretary, Chang who, while he was attending to his master's accounts, fell in love with Koong-se, much to the anger of the Mandarin, who regarded the secretary as unworthy of his daughter.
The secretary was banished and a fence constructed around the gardens of the Mandarin's estate so that Chang could not see his daughter and Koong-se could only walk in the gardens and to the water's edge. One day a shell fitted with sails containing a poem, and a bead which Koong-se had given to Chang, floated to the water's edge. Koong-se knew that her lover was not far away.
She was soon dismayed to learn that she had been betrothed to Ta-jin, a noble warrior Duke. She was full of despair when it was announced that her future husband, the noble Duke, was arriving, bearing a gift of jewels to celebrate his betrothal.
However, after the banquet, borrowing the robes of a servant, Chang passed through the guests unseen and came to Koong-se's room. They embraced and vowed to run away together. The Mandarin, the Duke, the guests, and all the servants had drunk so much wine that the couple almost got away without detection, but Koong-se's father saw her at the last minute and gave chase across the bridge.
The couple escaped and stayed with the maid that Koong-se's father had dismissed for conspiring with the lovers. Koong-se had given the casket of jewels to Chang and the Mandarin, who was also a magistrate, swore that he would use the jewels as a pretext to execute Chang when he caught him.
One night the Mandarin's spies reported that a man was hiding in a house by the river and the Mandarin's guards raided the house. But Chang had jumped into the ragging torrent and Koong-se thought that he had drowned. Some days later the guards returned to search the house again. While Koong-se's maid talked to them, Chang came by boat to the window and took Koong-se away to safety.
They settled on a distant island, and over the years Chang became famous for his writings. This was to prove his undoing. The Mandarin heard about him and sent guards to destroy him. Chang was put to the sword and Koong-se set fire to the house while she was still inside. Thus they both perished and the gods, touched by their love, immortalised them as two doves, eternally flying together in the sky.
Oxford China
Oxford China is an American china company. It was purchased by Lenox China company in recent years.
Rosenthal China
There is no information on this china company at this time.
Royal Albert China
There is no information on this china company at this time.
Royal Doulton China
In 1815, on the eve of Waterloo, John Doulton was taken into partnership by the widow Martha Jones who had inherited from her late husband a pottery in Vauxhall Walk, Lambeth, by the side of the Thames. Her foreman John Watts was also taken into partner ship and the firm became Jones, Watts and Doulton.
The young Doulton was just out of apprenticeship with one of the most important of the early commercial potteries of England, the Fulham manufactory founded by the great John Dwight in the latter quarter of the 17th century, where the making of stoneware in its true, vitrified form was brought to a high degree of perfection. Thus began the long and distinguished history of the Royal Doulton Potteries and it is not surprising that the earliest years of the firm's existence were devoted to the making of articles ranging from decorative bottles to drain-pipes in that very challenging of ceramic materials, stone clay.
It was John Doulton's son, Henry, however, who carried that tradition of the Lambeth pottery to its zenith. By the time Queen Victoria came to the throne, Doulton was established as a manufacturer of domestic and industrial products in a fine stoneware body that bore comparison with any in Europe. Within the first ten years of Victoria's reign, by 1846, the Lambeth factory was in the vanguard of the revolution in sanitation which Chadwick and the great reformers of the day brought to metropolitan England. Without the hard work and foresight of Henry Doulton that revolution would have been best delayed by decades.
In 1882 Henry (later to be knighted by Queen Victoria, the first potter so honoured), acquired the small factory of Pinder, Bourne and Company at Burslem, mother town of the Staffordshire potteries and, the home of that unique and essentially English ceramic body, bone china. The incursion of the Lambeth potter was looked upon with little enthusiasm or favour by the proud and insular men of Staffordshire. "In their view we Southerners know little bout God and nothing at all about potting", observed Henry Doulton.
The early relationship was uneasy and by no means profitable. But by shrewd investment in men and plant he succeeded where more timid men would have succumbed to local advice and given up the unequal struggle. Early commercial success and artistic renown came to the factory through domestic and art wares made in earthenware and decorated in the limited range of colours which that body permits under its lead glaze. But Doulton's brilliant young art director, John Slater and his forceful and enterprising manager, John C. Bailey, hankered after the colourful effects produced on the Continent by the on-glaze enamel decoration of so-called faience, maiolica and delft wares; and on the now popular porcelain body. They also sought the bone china body with which near neighbours in Staffordshire were enjoying increasing success.
By 1884 they wrung from a reluctant Henry Doulton permission to use the new body and to spread their artistic wings. Soon they were surrounded by one of the most outstanding teams of modellers, decorators and painters in the world of ceramics. The fame of the company and of its products became truly international, and that fame was extended into the 20th century under a new art director, Charles C. Noke, and through the talents of a brilliant generation of artists who had grown to maturity under the old guard of the Victorian period; Joseph Hancock, Harry Tittensor, Edward Birks, Percy Curnock and others.
In 1901 King Edward VII conferred on the company the double honour of the royal warrant and the specific - as opposed to the assumed - right to use the title "Royal". Along he way the honours were won at the great international exhibitions at Chicago and Paris and the range of products proliferated: the much sought-after Sung and Chang wares, and Rouge Flambe, in those rare colour-effects which western potters had tried to simulate since the dynastic wares of ancient China first found their way to Europe centuries before; figures and character jugs reflecting the moods and fantasies of the world around them; decorative and utility china, on earthenware and bone china bodies, decorated both under the glaze and in a dazzling array on on-glaze enamels.
The inter war years saw the continued growth of the firm's product range, of its renown and prosperity. In America, especially, the name Royal Doulton became synonymous with the finest English china. By the conclusion of the second world war, however, a new spirit was abroad. Simplicity became the watchword in domestic furnishing and decoration; art, as practised by the great ceramic painters of the past, began to give way to the concept of design; new decorative and manufacturing techniques emerged to make fine china available at a price that millions could afford where it had, hitherto, been the preserve of the privileged. Jo Ledger, a product of the modern school of designers, joined the company as its new Art Director in the mid 1950's, and so another era began - an era in which a healthy regard for past achievements and for the decorative traditions associated with the finest of English tableware, bone china, was allied to the fast-changing demands of the present. In 1960 the company introduced a new product, English Translucent China, developed over several years by research team led by Richard Bailey, who was then Technical Director. By evolving his fine, translucent body while eliminating the costly ingredient of calcined bone from the clay mix, Royal Doulton was able to offer many of the qualities associated with the best bone china to the world's markets at a relatively modest price.
Now known simply as Royal Doulton Fine China, the new tableware has proved one of the outstanding successes of the firm's long and eventful history. In 1966 it brought one of the first Queen's Awards for Technical Innovation to the Doulton Company. Alongside these firmly established bone china and fine china tableware ranges, has sprung a revival of Doulton Lambeth wares, motivated by modern man's sympathy towards his natural environment. Royal Doulton's Lambethware oven to tableware range captures the spirit of the present day in a series of well-researched designs with a rural but progressive flavour.
The present day Lambethware range derives many practical advantages from its rich inheritance. Its combination of tough, quartz-like compounds with feldspathic Cornish stone gives it immense strength; a startling robustness of appearance and feel. Modern ceramic technology adds refinement of glaze and colour to those qualities, plus the essential characteristics of inherent resistance to chemical attack and to extremes of heat and cold. The result is a tableware range with a refreshing, country feeling whose keynote is practicality; the entire range is oven and freezer proof and is unaffected by detergent or dishwasher.
Today, Fine Bone China, Fine China and Royal Doulton Lambethware are the triple prongs of the commercial prosperity and fame which Royal Doulton enjoys through the civilised world.
Royal Worcester China
In 1751 a legend began on the banks of the Severn River in Worcester England. Under the brilliant guidance of Dr. John Wall, a group of local businessmen established a small atelier where artists could work in the burgeoning new field of ceramics. From the beginning, great emphasis has always been placed on artistic expression and superb craftsmanship.
By 1789 the artisans at Worcester were held in such high esteem that King George III granted a Royal Warrant and Royal was added to the company's name.
Indeed, while its rivals at Bow and Chelsea have long since disappeared, The Worcester Porcelain Manufactory became world famous and is now one of the largest manufacturers of Fine Bone china and Porcelain in England.
This record in a tribute to the quality of the wares produced at Worcester for more than two hundred years: a quality which has remained consistent throughout the many changes in fashion and technology. For even today, as one English historian has said of its unique heritage, "Worcester is one of the few enterprises where the traditional craftsmanship of the eighteenth century survives."
Dr. Wall's successors carried on his high standards and today Worcester pieces from the Flight and Barr, Chamberlain, Hadley, and Kerr and Binns periods are as prized as the early Worcester of Dr. Wall. Museums throughout the world reserve special places for their collections of old Royal Worcester. Connoisseurs recognize the superb quality and workmanship, the rich colorations and graceful, softly-rounded shapes.
Royal Worcester Fine Bone China has always has a unique silky feel and fine even texture that makes it stand apart from other English bone chinas. Dinnerware shapes follow the natural form of clay on a jolly so they have a lighter, natural look, a graceful femininity.
Because it contains 50% calcium phosphate derived from bone, Royal Worcester Fine Bone China can withstand 17,000 pounds of pressure per square inch. Gilding is always 22 ct gold, hand-burnished to a soft, mellow luster that's lovely in candlelight.
After World War II, the company was the first to introduce the concept of oven-to-tableware made of Fine English Porcelain and Royal Worcester remains the only British porcelain manufacturer of note today. The appeal of the patterns and the quality of the oven-to-tableware has lead to remarkable worldwide success. Indeed, the demand has been so great that a new factory has been built on the banks of the River Severn incorporating the most modern equipment available.
The lovely patterns shown here are very much in the Worcester tradition. Many of the shapes and designs are taken from the company's treasure of old pattern books. Others illustrate, in a contemporary way, that "unusual responsiveness to new ideas" which characterized the company some two centuries ago.
Spode China
In Stoke, in 1800, Josiah Spode began the manufacture of porcelain ornamented with designs inspired by eastern art, and his son, also Josiah, later mixed kaolin, feldspar, and bone ash to make "bone" china.
Josiah Spode I, 1733-97
The successful development of bone china by the Spode factory at Stoke-on-Trent (1776-present), for wares of outstanding beauty and economy in the Regency style of the early 1800s, ensured its preeminence among commercial producers. Spode's nearest rival was Minton (1796-present), outstanding in the Victorian period for its "art" porcelains. Among Spode's chief followers in producing bone china for the mass market were Davenport (c. 1793-1887); Wedgwood for a short period between 1812 and 1822; Ridgway, New Hall, and Rockingham. A host of lesser concerns served the expanding middle-class market.
Syracuse China
On July 20, 1871, the Onondaga Pottery Company was incorporated in Syracuse, New York. By 1890, they were turning out a "vitrified" china that was white, thin, translucent, and stronger than any European porcelain. In 1893, with a new stamp, "Syracuse China" was introduced and awarded a medal at the World Exhibition in Chicago, Illinois. In 1896, the company unveiled its "rolled edge" china which became a standard in the commercial food industry. For the next six decades, Syracuse continued to expand and prosper until 1970 when the company closed its consumer division, giving in to the cheaper, Japanese imports. Today, Syracuse China stands as the largest commercial pottery complex in the world. Page
Villeroy & Boch China
There is no information on this china company at this time.
Wedgwood China
Wedgwood, Josiah (1730-1795), English potter, whose works are among the finest examples of ceramic art. In 1754 the English ceramist Josiah Wedgwood began to experiment with coloured creamware. He established his own factory, but often worked with others who did transfer printing (introduced by the Worcester Porcelain Company in the 1750s). He also produced red stoneware; basaltes ware, an unglazed black stoneware; and jasperware, made of white stoneware clay that had been coloured by the addition of metal oxides. Jasperware was usually ornamented with white relief portraits or Greek Classical scenes. Wedgwood's greatest contribution to European ceramics, however, was his fine pearlware, an extremely pale creamware with a bluish tint to its glaze.
In the 18th century, the county of Staffordshire became the recognised home of British porcelain and pottery makers, to the extent that "Staffordshire" became the widely known name for their products, and especially for the ornamental figures which were produced. The most celebrated of all English porcelain-makers, Josiah Wedgwood, who was descended from a family of potters, set up his own business in Burslem in 1759, and rapidly established his reputation.
Wedgwood was born in Burslem, Staffordshire, on July 12, 1730, into a family with a long tradition as potters. At the age of nine, after the death of his father, he worked in his family's pottery. In 1759 he set up his own pottery works in Burslem. There he produced a highly durable cream-coloured earthenware that so pleased Queen Charlotte that in 1762 she appointed him royal supplier of dinnerware. From the public sale of Queen's Ware, as it came to be known, Wedgwood was able, in 1768, to build near Stoke-on-Trent a village, which he named Etruria, and a second factory equipped with tools and ovens of his own design. At first only ornamental pottery was made in Etruria, but by 1773 Wedgwood had concentrated all his production facilities there.
During his long career Wedgwood developed revolutionary ceramic materials, notably basalt and jasperware.
Jasper ware
Wedgwood's basalt, a hard, black, stone-like material known also as Egyptian ware or basaltes ware, was used for vases, candlesticks, and realistic busts of historical figures. Jasperware, his most successful innovation, was a durable unglazed ware most characteristically blue with fine white cameo figures inspired by the ancient Roman Portland Vase. Many of the finest designs were the work of the British artist John Flaxman.
After Wedgwood's death in Etruria on January 3, 1795, his descendants carried on the business, which still produces many of his designs. Wedgwood was the grandfather of the British naturalist Charles Darwin.
Collecting Wedgwood Ceramics
Authenticating Wedgwood
Dating Wedgwood
Jasper Ware
Queens Ware
Hunt Pattern
Timeline:
The youngest child of the potter Thomas Wedgwood, Josiah came from a family whose members had been potters since the 1600's.
1730 Baptised July 12, 1730, Burslem, Stoke-on-Trent, England. 1739 After his father's death in 1739, he worked in the family business at Churchyard Works, Burslem, becoming exceptionally skilful at the potter's wheel. 1744 Became an apprentice to his elder brother Thomas. However an attack of smallpox seriously reduced his work (the disease later affected his right leg, which was then amputated); the result of this inactivity, enabled him to read, research, and experiment in his craft as a Master Potter. 1752-3 In 1749 Thomas (Josiah's elder brother) refused his proposal for partnership and Josiah formed a brief partnership with John Harrison at Stoke-on-Trent, Staffordshire. 1754 Wedgwood formed a partnership with Thomas Whieldon of Fenton Low, Stoke-on-Trent, probably the leading potter of his day. This became a fruitful partnership, enabling Wedgwood to become a master of current pottery techniques. He then began what he called his "experiment book," an invaluable source on Staffordshire pottery. 1759 After inventing the improved green glaze which is still popular even today, Wedgwood finished his partnership with Whieldon and went into business for himself at the Ivy House factory in Burslem. 1765 Queen Charlotte's patronage of Wedgwood's cream-coloured earthenware in 1765, led the well finished earthenware which Wedgwood produced to be called Queen's ware.
Queen's ware became, by virtue of its durable material and serviceable forms, the standard domestic pottery and enjoyed a worldwide market. Because the sale of his ware had spread from the British Isles to the Continent, Wedgwood expanded his business to the nearby Brick House (or Bell Works) factory. 1762 On one of his frequent visits to Liverpool to arrange export of his ware, Wedgwood met the merchant Thomas Bentley. 1768 The merchant Bentley became his partner in the manufacture of decorative items that were primarily unglazed stonewares in various colours, produced and decorated in the popular style of Neoclassicism. Chief among these wares were:- black basaltes, which by the addition of special painting (using pigments mixed with hot wax, which are burned in as an inlay), could be used to imitate Greek red-figure vases; and - jasper, a fine-grained vitreous body resulting from the high firing of paste containing barium sulphate. 1771 Wedgwood built a factory called
Etruria, for the production of his ornamental vases. Later the manufacture of useful wares was also transferred. (At this site his descendants carried on the business until 1940, when the factory was relocated at Barlaston, near Stoke-on-Trent, Staffordshire - the Etruria site was used as part of the "National Garden Festival" and Wedgwood's great house can still be seen as it has been incorporated into an hotel. 1774 Evidence of the popularity of Wedgwood's creamware is found in the massive service of 952 pieces made for Empress Catherine the Great of Russia 1775 Jasper's introduction in 1775 was followed by other wares such as: - rosso antico (red porcelain), cane, drab, chocolate, and olive wares. 1782 In 1782 Etruria was the first factory to install a steam-powered engine.
Other notable comments
Artists: The most famous artist he employed at Etruria was the sculptor John Flaxman, whose wax portraits and other relief figures he translated into jasperware.
Competitors: Wedgwood's wares appealed particularly to the rising European bourgeois class, and porcelain and decorated and glazed earthenware factories suffered severely from competition from him. The surviving factories switched to the manufacture of creamware (called on the Continent faience fine or faience anglaise) to try to imitate and compete with Wedgwood. Even the great factories at Sèvres, France, and at Meissen, Germany, found their trade affected. Jasperwares were imitated in biscuit porcelain at Sèvres, and Meissen produced a glazed version which they even called Wedgwoodarbeit.
The Royal Society: Wedgwood's invention of the pyrometer, a device for measuring high temperatures (invaluable for gauging oven heats for firings), earned him commendation as a fellow of the Royal Society.
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