Pair Wedgwood & Bentley Black Basalt Urns Cassolette Form 1775

$4,200.00

This pair of Wedgwood & Bentley black basalt urns, made at the Etruria factory circa 1775, is designed in the cassolette form, with covers that reverse to serve as candle holders. The dual function is integral to the design, with each lid fitting cleanly as a cover on one side and forming a stable candle socket when inverted.
The bodies are ovoid and rise from square pedestal bases, giving the pair a firm, architectural stance. The black basalt is finished to a soft sheen, producing a deep, even black that emphasizes the form. At the shoulder, a band of vertical fluting introduces a precise, repeating rhythm that catches light across the surface.
Rope-twist handles extend from the shoulders in a controlled curve, framing the profile without excess movement. Beneath them, a draped garland in low relief adds ornament while keeping the surface clear and legible. The domed covers sit comfortably within the silhouette and are finished with simple finials that complete the form.
The combination of early Wedgwood & Bentley production, cassolette function, and well-preserved basalt surface places this pair within the most desirable early output of the Etruria factory. The undersides are marked with the Wedgwood & Bentley Etruria mark used between 1769 and 1780.

Dimensions: 8.75″ tall, x 3.5″ diameter, and 5″ across the handles
Condition: Excellent

In stock

Background of Wedgwood & Bentley
The partnership between Josiah Wedgwood and Thomas Bentley, established in 1769, brought together technical innovation and commercial insight at a decisive moment in English ceramics. Wedgwood’s development of black basalt in 1768 provided a material suited to the neoclassical taste then emerging in Britain, where interest in ancient Etruscan, Greek, and Roman forms shaped both design and manufacture.
Black basalt is a dense, fine-grained stoneware with a consistent black body. Ornament is used sparingly, often in low relief, so that the silhouette remains the primary visual element. Forms such as the cassolette were drawn directly from classical sources, where vessels combined decorative presence with practical use.
Wedgwood regarded the material as both durable and aesthetically complete. Writing in 1774, he described it as “sterling & will last for ever,” a view supported by the survival of early examples such as this pair in strong condition.

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