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Painted underglaze in manganese-brown and copper-green. Approximately Shape 2. Ovoid with a flat base, contracting at the top into a cylindrical neck; broad strap handle; spout made from a strip of clay folded and pressed to the neck and shoulder.\nThe upper part of the body is decorated with four curling multipartite leaves, reserved in a green ground between pairs of horizontal manganese bands. On the neck, there are intersecting arcs partly filled with green, and on each side of the spout, two horizontal manganese lines flanking a wider green line. 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The concave underside is glazed and has a circular ventilation hole which leads into the figure. The rectangular base has an irregular straight sides. On the viewer's left there is a tall pedestal with a stepped base, straight sides and projecting top on which stands a round urn, decorated with inverted gadrooning and bands of interlace. The woman stands on the right, with her right foot crossed in front of her left. She leans her head on her right arm, which is bent and rests on the top of the urn. In her right hand she holds a garland. She wears a long high-waisted dress decorated with sprays of gold leaves. Over her head is a long veil which falls down over her shoulders and is held up a little with her left hand."}],"exhibitions":[{"@link":{"catalogue":"F24","type":"reference"},"admin":{"id":"exhibition-1070","uid":"adlib-exhibition-1070","uuid":"2cb713dc-899f-35df-9c15-515a05f38d48"},"summary_title":"Plagiarism Personified? 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Despite the popularity of the theme, Bristol interpretations of it are rare. An example in the Delhom Gallery, Charlotte, Carolina, bears an inscription in memory of Richard Champion's daughter, Eliza, who died on 13 October 1779 (see Documentation), and there is an undecorated figure in the City Art Gallery,  Bristol."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-106779","uid":"adlib-term-106779","uuid":"f0706fcd-d94c-3987-bcb5-f7f794332b6a"},"summary_title":"18th Century, Late"},{"@link":{"type":"reference"},"admin":{"id":"term-107437","uid":"adlib-term-107437","uuid":"96f4b0d1-fc11-39ff-ae91-1b23d888d479"},"summary_title":"George III"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-106700","uid":"adlib-term-106700","uuid":"a1f742d5-f39a-3ac4-9905-3f2c8bdf3612"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"England"}],"summary_title":"England","type":"country"}]],"summary_title":"Bristol"}]}]},"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-37627","uid":"adlib-term-37627","uuid":"254febfe-0021-3e45-89a7-d57ba40044c7"},"summary_title":"hard-paste porcelain"}}],"measurements":{"dimensions":[{"dimension":"Height","units":"cm","value":"32"},{"dimension":"Width","units":"cm","value":"19.1"}]},"name":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-107454","uid":"adlib-term-107454","uuid":"6ca0f2ab-c1f8-329d-8a45-8f1322f53a20"},"summary_title":"figure"}}],"note":[{"type":"history note","value":"The Pritchard family of near Chepstow; H.M. 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Glaisher"}],"component":[{"name":"Body","techniques":[{"description":[{"value":"Earthenware, thrown, with moulded and applied decoration under green and brown flecked lead (?) glazes"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-120082","uid":"adlib-term-120082","uuid":"ea83ed85-6b07-3e7e-83fc-440cfda22f7e"},"summary_title":"throwing"}}]},{"name":"Decoration","techniques":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-107527","uid":"adlib-term-107527","uuid":"76bf1c50-ccdc-3e01-9a0e-f95f104e5a6a"},"summary_title":"moulded and applied"}}]}],"content":{"motifs":[{"@link":{"type":"reference"},"admin":{"id":"term-115","uid":"adlib-term-115","uuid":"94d65983-dea2-361b-b187-a968c98ab1d8"},"summary_title":"Nature"}]},"department":{"value":"Applied Arts"},"description":[{"value":"earthenware 'hop jug', with moulded and applied decoration under green and brown flecked lead (?) glazes."},{"value":"Earthenware with moulded and applied decoration under green and brown flecked lead (?) glazes. Squat ovoid body with pronounced shoulder, cylindrical neck, pinched at the front to form a lip, and strap handle. A wreath of hops and leaves runs round the body on and just below the shoulder. The neck is incised on one side 'J.W.L. Glaisher' and on the other '1899', The body is brown; the hops, green."}],"identifier":[{"accession_number":"C.38B-1928","primary":true,"type":"accession number","value":"C.38B-1928"},{"priref":"74756","type":"priref","value":"74756"},{"source":"Glaisher MS Catalogue, vol. 1","type":"old object number","value":"1057"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/74756","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/74756"}],"inscription":[{"location":"on base","method":"incised","transcription":[{"value":"Rye\/Pottery\/F. Mitchell\/1899 \/Sussex"}],"type":"mark"},{"location":"on the neck","method":"incised","transcription":[{"value":"J.W.L. 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L., Dr"}],"date":[{"earliest":1928,"latest":1928,"value":"1928-12-07"}],"method":{"value":"bequeathed"},"note":[{"value":"the Glaisher ceramic collection was entered in the accession register as one item with the date of Dr Glaisher's death"}]}],"creation":[{"date":[{"earliest":1899,"era":["CE"],"latest":1899,"value":"1899"}],"maker":[{"@link":{"role":[{"value":"production"}],"type":"reference"},"admin":{"id":"agent-161112","uid":"adlib-agent-161112","uuid":"55673603-d53e-3b9e-9f5d-d58e39cd375d"},"summary_title":"Rye Pottery"}],"note":[{"value":"The Belle Vue Pottery at Rye was one of several English country potteries which made 'Art Pottery' as well as traditional useful wares. It was founded in 1868 by Frederick Mitchell (1819-75) whose nephew, Frederick Thomas Mitchell (1864-1920) made this jug for Dr J.W.L. Glaisher, a fellow of Trinity College, Cambridge. In the 1870s the pottery became famous for pig-shaped flasks known as 'Sussex pigs', and for 'hop wares' which were decorated with moulded and applied wreaths of hops and glazed green and brown. Unlike many green glazes which were coloured with copper oxide, this was coloured with brass dust produced in the manufacture of pins. When F.T. Mitchell took over the pottery in 1896 on the death of his uncle's widow, he revived these wares and continued to make them in the twentieth century. When Glaisher bought this jug in 1899, Mitchell told him that the idea for the hop decoration came from the hops which twined round the door of the old Cadborough pottery at Rye, which his uncle had left in 1868. The decoration was particularly suitable for beer jugs, but was also used on other forms. 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Many of them bear dates and the potter's initials, sometimes accompanied by one or two further sets of initials, presumably those of the owners. Twisted two-colour edges and white bun-shaped finials were features of the double-loop handles, usually three or four, but on this example, two.\nSearches of the Wrotham parish registers between 1906 and 1912, on Dr J.W.L. Glaisher's behalf, revealed the names of several persons whose initials coincided with those found repeatedly on Wrotham slipware, and who were therefore probably potters. HI whose initials occur on this tyg is known from dated tygs and jugs bearing his initials to have been working between about 1652 and 1669. 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The cover, modeled to form the head, has a lower rim which sits within the body of the lower part; the base of which is fixed with nails onto a turned, circular wooden base-plate. There are incisions through the clay which serve as the pupils of the eyes, and at the top of the beak."},{"value":"The bird has a large brown beak, curved downward at the tip, its head is tipped slightly to one side and the eyes modeled to give it a comically wise expression.  It has brown and blue plumage, with tufts of feathers around the eyes. The feathers are splayed onto the base at the back; the legs, painted with a yellow-brown stripe, each end with three toes spread across the base at the front.  The makers mark with the date 5-1897 is incised in black script across the back of the base."}],"identifier":[{"accession_number":"C.1226 & A-1928","primary":true,"type":"accession number","value":"C.1226 & A-1928"},{"priref":"71623","type":"priref","value":"71623"},{"date":[{"earliest":1925,"latest":1925,"value":"1925"}],"source":"Glaisher MS Catalogue Vol.39","type":"old object number","value":"4737"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/71623","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/71623"}],"inscription":[{"description":[{"value":"the s of Bros is raised"}],"location":"at back of base and round rim of detachable head","method":"incised in script","transcription":[{"value":"Martin Bros London &\/Southall\/5-1897"}],"type":"mark"},{"location":"inside head of bird","transcription":[{"value":"Martin Bros. Potters, 16, BROWNLOW ST., HIGH HOLBORN, LONDON."}],"type":"label"},{"location":"in the body of the bird","transcription":[{"value":"MARTINWARE\nNOTICES:- THE TIMES (LEADER)                DEC   22   1885\n                   PALL MALL GAZETTE                FEB     4   1890\n                   MAGAZINE OF ART (ILLUS)       SEP          1882\n                   ART JOURNAL                           JULY         1883\n                   BRITISH ARCHITECT                 NOV          1884"}],"type":"label"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-164806","uid":"adlib-agent-164806","uuid":"32ad1dba-2b4e-3170-bad1-91ce6cb808a1"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Dr J.W.L. Glaisher Bequest"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-152564","uid":"adlib-agent-152564","uuid":"c20df94d-f096-3e0b-a9b5-6ddd12161fb7"},"summary_title":"Glaisher, J. W. 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Perhaps originally following in the tradition of English pottery \u2018owl\u2019 jugs and jars, the birds acquired a striking anthropomorphic quality, which in some becomes a caricature of human \u2018types\u2019 (such as \u2018The Judge\u2019) or known personalities, such as the Prime Minister, Gladstone. At the time they were made, such caricatures were popular in illustrations, an example being H Stacy Marks\u2019 painting of storks in human attitudes, published in the Magazine of Art in 1878.\nRobert Wallace Martin  (1843-24) and his brothers Walter (1857-1912) and Edwin (1860-1915) were amongst the first \u2018artist-potters\u2019 of the late nineteenth century. They  designed, made and decorated their own ornamental salt-glazed stoneware, originally using facilities at C.J.C.Bailey\u2019s Fulham Pottery and, briefly, at Shepherd\u2019s Bush. In 1877, they opened their own pottery at  Southall, Middlesex, and by 1882 were producing  some 5,000 pieces a year. Wallace had originally trained as a sculptor, exhibiting his work at the Royal Academy and elsewhere from c.1863. His younger brothers had learned their skills at Doulton\u2019s, Walter as a thrower and chemist, Edwin as a decorator. Modelled work is generally attributed to Wallace, but otherwise it is thought that the three learned from each other, exchanging skills and sharing roles. A fourth brother, Charles (1846-1910), sold the products \u2013 known as \u2018Martin-ware\u2019 \u2013 from a shop at Brownlow Street, London.\nThe Wally Birds, so called because they were modelled by Robert Wallace Martin, are a particularly good example of the brothers\u2019 working together. Both Edwin and Walter Martin drew caricatures of humans as birds, both in pencil and watercolour, and Charles modified the lids so they could be turned from side to side (Haslam, 1978, p.91). 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