Decorative Arts

Josiah Wedgwood (1730 - 1795), the founder of The Wedgwood Potteries, was an extraordinary man and is frequently referred to as "The Father of English Potters." He was not only a potter but was also an inventer, a tireless experimenter, a first class entrepreneur, and possessed a high sense of artistry. He was born into a third generation of potters and had a rudimentary education, knowing how to read and write, since his mother was the daughter of a Unitarian minister. The Unitarians believed in education. He began to work at the pottery after his father's death when he was nine. At age 22, probably with the small legacy his father left him, he went into partnership with Thomas Alders in Stoke-on-Trent. He remained there for two years when at 24, he became a junior partner with Thomas Whieldon, one of the most highly respected potters in Staffordshire. This was undoubtedly a most productive learning period in his life. Whieldon was a Master Potter of Fenton Vivian, and a man of great philanthropy with great foresight. They had an agreement whereby Josiah was able to do experiments and to keep the methods, recipes, and ingredients his sole and secret property. Only the finished saleable goods were for the mutual benefit of the partnership. Josiah kept meticulous records of all his experiments throughout his life.

The Browning-Wedgwood Connection: Robert Browning and his twelve-year-old son, Pen, returned to London after Elizabeth's death in 1861 to start a new life. Julia "Snow" Wedgwood, one of Josiah's great-granddaughters, lived across Regent's Park from Wimpole Street and the church of St. Marylebone where Robert and Elizabeth Barrett Browning had married. In 1863 Robert and Julia met, probably through Julia's brother. Tragically, the following year Julia's brother died; and Robert, who had suffered greatly after his wife's death, was very compassionate towards Julia. For two years the friendship flourished with visits and correspondence. A crisis point was reached. The exact details are not known, but it is likely that Julia began to fall in love with Robert, but he kept his emotional distance. Julia ended the relationship and kept her dignity. Later they resumed their correspondence but in a cool manner. She found his masterpiece, The Ring and the Book, abhorrent and told him so quite clearly. They never again recovered the previous intimacy.

Sue Anthony and William Dotson: Sue Anthony Dotson grew up in Shreveport, Louisiana, and is a Baylor graduate. William came from Jewett, Texas, graduated from Baylor in 1934, obtained his master's degree in 1937, and became an attorney for Atlantic Richfield. Sue and William met at Baylor and married in 1938, but the family's association with the University has continued on through three generations, to their daughter and granddaughter.

Sue Dotson's love of beautiful things stems from her childhood in the Old South where antiques were treasured possessions. She became interested in ceramics, particularly Belleek fine china and Jasperware pottery. The Dotsons spent three years in Washington State where it was easy to drive into Canada where British goods were readily available and duty-free. Sue Dotson had taught history and was soon fascinated by the history of pottery and the story of the great eighteenth-century artist, scientist, and businessman who founded the world famous Wedgwood pottery in England.

The Dotsons Wedgwood collection grew to over 300 pieces over the years; items were added as presents for special occasions, collected from antique shows, or bought at the famous London street markets in Camden Passage, Portobello Road, Chelsea, and Bermondsey. This interest sparked visits to the great Wedgwood collections in the United States, England, and even St. Petersburg, Russia. At the modern Wedgwood headquarters at Barlaston, Stoke-on-Trent, England, the Dotsons watched workmen make the famous pottery and apply the intricate classical figures to the Jasperware products.

After her husband's death, Sue Dotson decided to give their Wedgwood collection to Baylor University. The Armstrong Browning Library seemed the appropriate place because of the link between Julia Wedgwood and the poet, Robert Browning. The William and Sue Dotson Wedgwood collection is displayed in the Cox Reception Hall and in the adjoining ground floor hallway display cases. Visitors marvel at the variety of colors and unique pieces that are in the collection.

Over the years, the Armstrong Browning Library has been the recipient of several extraordinary pieces of Meissen and Dresden. A select few are featured here. Visitors to the building will find display cabinets housing many of these remarkable pieces on the first floor near the Gift Gallery. Several pieces also grace the Austin Moore-Elizabeth Barrett Browning Salon on the third floor of the Library.

Bridal Couple Chelsea Dresden Location: EBB Salon

Compote Bowl Meissen Location: First Floor

Victorian Couple Meissen Location: EBB Salon

Chinese Vase and Cover
18th century
Qing dynasty, Qianlong period (1736-1795)
Location: Meditation Foyer
Height: 54 inches

This is one of two large porcelain vases created in a tall baluster form. The rounded shoulders gently taper down to a ring foot. Each vase has a short, flaring neck, surmounted with a domed cover, which is topped with a stylized fu lion as the finial. The vases are decorated with a pair of phoenixes perched on a large taihu (scholar's) rock in a fenced garden traversed by a blue bridge. Behind them are peony and magnolia trees laden with large blossoms in shades of pink. The shoulders and necks are painted with dense flora and ruji scrolls. They form a ground on which two bands of cartouches enclose monochrome ink landscapes and objects, such as a flower vase and a ruji scepter. Similar decorative schemes are applied to the covers.

This impressive pair of vases is a testament to the famille rose porcelain produced at Jingdezhen during the Qianlong reign. The enormous size posed a significant challenge for the potter, as did the firing process for these large wares. Fluctuations in temperature and the amount of oxygen in the wood-fueled kiln had to be carefully controlled in order to bring out the enamels' intended colors. Such pairs of vases would have been created to adorn a palatial residence; consequently, the highly decorative nature of these porcelains appealed to the taste of European traders, who brought them to the West.

These Kien-Lung period vases were chosen from the stock of Duveen Brothers, notable New York art dealers, by the architects for the main floor of the Library, Eggers and Higgins, to fill special niches in the McLean Foyer of Meditation. Formerly in the Parisian Collection of Mme. Cibiel and F. Lair Dubreuil, the vases were given in 1954 by Mrs. Marrs McLean, one of the donors of the Foyer of Meditation.

Christopher Columbus	Capo di Monte Bowl	Abraham and Isaac