With semi-functional pieces such as this lustre charge, Wood intended for the pieces to be treasured within a domestic setting Even with "conventional" shapes such as chargers, plates, and bowls, the artist held true to her agency in that she very rarely undertook commissions and made only work that she felt compelled to make. The present lustre glazed charger is an example of the kind of work Beatrice Wood referred to as "conventional," with a lustre glaze operating around an elegantly formed charger shape. Which somewhat functional, the piece is likely to have always been treated as an art object, most likely acquired directly from Beatrice Wood's studio in Ojai. 

The artist prominently signed "BEATO" in iron oxide on the reverse. In her autobiography, she recounts the origin of her artist signature:

"Rosalind [Rajagopal]'s daughter, Radha, was an enchanting and wise child. I remember standing by her cradle while her mother, father, and Krishnamurti were admiring her. The child seemed wiser than all three of them put together. She had a unique quality and Rosalind brought her up wisely, taking her to Europe and on whatever travels she undertook. Krishnamurti loved the little girl, helping with her upbringing almost as if her were a second father. Unable to pronounce "Beatrice," she called me "Beato." I started using the name to sign my work and close friends call me "Beato" to this day." - Beatrice Wood, I shock myself, p. 129, 1985 (2018 edition)