Produced by the revered Wedgwood potters of England, this Antique Jasperware Biscuit Barrel, made c. 1890, is decorated in creamy, soft alabaster-hued relief with exquisitely detailed neoclassical figures, their very essence whispering 'ode on a Grecian urn.' This canister is artfully accented by silverplate trim, lid, finial and swing handle. Its lush, velvety finish and romantic silhouette is further enhanced by a brilliant royal blue coloration. 

A stunning addition to the table or sideboard display, we are confident this beautiful biscuit barrel will bring a timeless elegance to any setting. Whether presented as a striking gift or added to your own collection, this archetypal Jasperware masterpiece is sure to become a beloved treasure, adored for its graceful and captivating beauty.

Strictly one-of-a-kind and subject to prior sale. Measures 7"H (9" with handle) x 6.25" in diameter. In very good antique condition with age appropriate wear to the silverplate fixtures.

Learn More About Jasperware

A type of fine-grained, unglazed stoneware introduced by the English potter Josiah Wedgwood in 1775, Jasperware derives its name from the fact that it resembles the natural stone jasper in its hardness.  

Jasper is white in its natural state and is stained with metallic oxide coloring agents. The most common shade is a pale blue commonly known as Wedgwood blue, but dark blue, lilac, sage green, black, and yellow were also used. 

Decorations, typically Neoclassical in style and usually white, were made in separate molds and applied to the body of the piece. Objects made of jasper were varied and included not only biscuit barrels, but also vases, plaques, cameos, furniture mounts, and portrait medallions.

Learn More About Josiah Wedgwood

Few names in the history of ceramics shine as brightly as that of Josiah Wedgwood. Born in 1730 in Staffordshire, England, Wedgwood transformed the humble craft of pottery into both high art and high fashion. An inventor at heart, he perfected creamware, jasperware, and black basalt, designs that carried the elegance of antiquity into the parlors of Georgian England and beyond. When Queen Charlotte chose his cream-colored earthenware for her table, Wedgwood cleverly branded it “Queen’s Ware”—and soon the crowned heads of Europe were clamoring for their own services.

Ever the consummate salesman, Wedgwood pioneered marketing tactics still familiar today. He opened glittering showrooms in London, staged lavish product launches, and understood the power of limited editions. He offered money-back guarantees, distributed illustrated catalogues, and sent samples to aristocratic tastemakers who would, in turn, influence demand. He even kept meticulous records of his clientele to track preferences and anticipate desires—an early form of customer relationship management. At the same time, he harnessed the ideals of his age, producing the now-iconic abolitionist medallion “Am I Not a Man and a Brother?” which married artistry with social conscience.