Compote, 9.25 x 9.25 x 2.5 inches. Black transfer with polychrome clobbering. This compote, made by Josiah Wedgwood, bears two marks: an impressed “Wedgwood” and a painted pattern number “C2083.” In 1871 Wedgwood began putting a prefix number in front of the pattern number to categorize the different classes of ware. In this case, the “C” corresponds to Queensware Fancies not gilt 1875-1957. The central pattern is divided into three fan shaped sections with heavy black lines, which begin at the center and radiate toward the edge. These sections are filled with bright yellow near the center and give way to three different landscape and figure scenes, edged with a wavy line and dots. The first scene shows a figure in the left foreground near a river with a bridge, pine trees and buildings beyond. The second scene shows two figures, one sitting on a riverbank with bare legs, wearing a hat, holding a fishing pole. The other figure, a woman with hair in a bun, sits holding a fan with her back to the river. Buildings and a pine tree line are found across the river to the left. The third scene shows a woman kneeling along a river, ladling water into a bucket with buildings and pine trees beyond in the distance. The border consists of a simple ochre band, which is repeated on the foot of the compote.

The peak years of majolica production in 1875-1880 saw the introduction of some 1300 new designs. Argenta wares were first produced in 1878 and featured a white or pale cream ground compared to the more vibrant colors of earlier Victorian majolica. The style incorporated birds, flowers and oriental and marine motifs in keeping with the new Aesthetic Movement and was soon adopted by Simon Fielding and others. The most popular Wedgwood majolica design was the Fan pattern, composed of upright triangular oriental fans alternating with brightly colored birds and prunus blossoms. The pattern is most commonly seen in argenta, but also produced in cobalt and turquoise.

Argenta ware was a style of majolica that featured painted low relief molded designs against the natural cream-colored body of the vessel. It was developed in the late 1870s, after Wedgwood noted a shift in public taste away from traditional majolica. Many Argenta wares displayed Asian motifs such as bamboo, prunus blossoms, birds and fans.

Josiah Wedgwood was born in Burslem, Staffordshire, on July 12, 1730, into a family with a long tradition as potters. At the age of nine, after the death of his father, he worked in his family's pottery. In 1759 he set up his own pottery works in Burslem. There he produced a highly durable cream-colored earthenware that so pleased Queen Charlotte that in 1762 she appointed him royal supplier of dinnerware. From the public sale of Queen's Ware, as it came to be known, Wedgwood was able, in 1768, to build near Stoke-on-Trent a village, which he named Etruria, and a second factory equipped with tools and ovens of his own design. At first only ornamental pottery was made in Etruria, but by 1773 Wedgwood had concentrated all his production facilities there. During his long career Wedgwood developed revolutionary ceramic materials, notably basalt and jasperware. After Wedgwood's death in Etruria on January 3, 1795, his descendants carried on the business, which still produces many of his designs.