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What is your name?

Lee Philps

What do you do?

I’m the Food and Beverage Manager for World of Wedgwood. I am responsible for the service delivery for the Wedgwood Tea Room, Dining Hall and Darwin Suite.

What do you like most about your job?

Being able to create memorable experiences on a daily basis for our visitors.

What do you enjoy doing when you’re not working?

Gaming, socialising with friends and family, and playing football (badly, I might add).

This cylindrical jasper base is listed in the records of the factory as a ‘lamp case – eight inches’, a simple description for such a decorative piece. The case is for an Argand lamp – a type of oil lamp invented in 1780 with an output of up to ten times brighter than candles. Using jasper would potentially allow some of the light to shine through. The case is made of white jasper with a black jasper ‘dip’ on the outer surface, it has then been ornamented with a continuous bas-relief of the subject ‘Blind Man’s Buff.’

Today, Stubbs is regarded as the greatest British painter of horses and his renowned ‘Anatomy of a Horse’ was published in 1766. Stubbs investigated the possibility of painting with enamel colours on various media including copper and, by 1775, his search for a ceramic ‘support’ was brought to the attention of Wedgwood’s Ornamental Ware partner, Thomas Bentley.

Long and fruitful relationships with great artists have allowed Wedgwood to make objects of great beauty throughout its history.

Plaque Depicting Etruria Hall

When Josiah built his new factory at Etruria, he asked his architect, Joseph Pickford of Derby, to design a fitting residence suitable for his status as a ‘Master Potter’ that would accommodate his growing family.

This choker was made by the jewellery artist Suzanne Lyons in cooperation with Waterford Wedgwood for London Fashion Week in the years 2001/02.

This necklace was made in 1982 by the English jewellery artist Wendy Ramshaw in collaboration with Wedgwood. The beads are made of lathe-turned black basalt to create forms of spheres, hemispheres and cylinders, threaded onto silver with a drum-shaped silver fastener hallmarked WR.

Lathe turning was part of the finishing process where the clay is dried until it is leather-hard and then, as the piece is turned on the lathe, the surface is shaped by removing clay with special tools. This technique was used for Wedgwood’s vases giving them their refined silhouettes.

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