Victorian Blue & White Transferware Tureens by J.M.P Bell & Co
Two Victorian blue and white transferware tureens, mid 19th century, with maker's mark for J.M.P bell & Co of Glasgow, in 'Triumphal car' design with a Roman charioteer in a garden and pavilion setting, four cartouches with chariots and dolphin fountains to the floral rims, the domed lids with a fruit and leaf finial; blue backstamp underside to one, height 6.30 in., diameter 10.63 in., and smaller
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- Victorian Period - The Victorian period of furniture and decorative arts design covers the reign of Queen Victoria from 1837 to 1901. There was not one dominant style of furniture in the Victorian period. Designers used and modified many historical styles such as Gothic, Tudor, Elizabethan, English Rococo, Neoclassical and others, although use of some styles, such as English Rococo and Gothic tended to dominate the furniture manufacture of the period.
The Victorian period was preceded by the Regency and William IV periods, and followed by the Edwardian period, named for Edward VII (1841 – 1910) who was King of the United Kingdom and the British Dominions and Emperor of India for the brief period from 1901 until his death in 1910. - Finial - An architectural decoration, found on the upper parts of of an object. On furniture they are usually found on pediments, canopies and shelf supports. On smaller ceramic or silver items, such as spoons, they may decorate the top of the item itself, or the lid or cover where they provide a useful handle for removal.
Finials have a variety of shapes and forms. They may be urn-shaped, baluster shaped round or spiral, but usually taper into an upper point. Many real life shapes may also be used as finials, such as pineapples, berries, pinecones, buds, lotus and acorns. Sometimes animals such as a lion are depicted, or fish and dolphins. - Transfer Printed / Decorated Transferware - Transfer printing is method of decorating ceramics, reducing the cost of decoration when compared to employing artists to paint each piece. A print was taken on transfer-paper from an engraved copperplate, covered in ink prepared with metallic oxides, and the image on the paper was then applied to the biscuit-fired ceramic body. The print was fixed by heating the object in an oven, and then glazed, sealing the picture. Early transfer prints were blue and white, as cobalt was the only colour to stand firing without blurring. Early in the 19th century advances in the composition of the transfer paper resulted in better definition and detail, and enabled engravers to combine line-engraving with stipple.
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