Pitcher 1876

This 'Pitcher' was made by Edward Lycett at an undetermined date using porcelain. At first glance, you’re drawn to the contrast between the stark white of the body and the rich burgundy that adorns the upper section. Consider how the textured, honeycomb pattern in burgundy interacts with the smooth, floral motifs below. Lycett is playing with dualities here: the geometric versus the organic, the opaque versus the translucent, and the controlled versus the free-flowing. The floral design, with its scattering of leaves, acorns and wreaths, is not merely decorative; it is structural. It serves as a transition, guiding the eye upward to the more rigid, almost architectural, upper section. The monogram at the center could be seen as a semiotic anchor, grounding the piece in a specific narrative or identity, while the honeycomb pattern hints at underlying systems of order. It’s a functional object, yes, but also a canvas where ideas about nature, order, and identity converge. The pitcher invites us to contemplate the relationships between form and function, surface and structure.