Tray
ca 1800 (made)
| Artist/Maker | |
| Place of origin |
Papier-mâché, literally 'chewed paper', is an ancient technique thought to have been invented by the Chinese. It became popular in Britain during the 18th century when the term was first coined in English (whereas in French the term was not recognized until the 20th century). At first it was used in pulp form for architectural mouldings and frames. As technology progressed a technique of moulding laminated sheets of paper was developed. The durable waterproof nature of this material meant it could be used for anything from trays, boxes and screens to chairs, pianos and even carriages.
This tray was made by the Birmingham and London manufacturers Clay & Company (1770-1860). In 1772 Henry Clay patented a durable form of papier-mâché known as a 'heat-resisting paperware'. It could be carved, cut and lacquered like wood or metal, with the added advantage that it was lightweight and did not warp. Such a stable material was ideal as a support for japanned decoration as used on this tray.
This tray was made by the Birmingham and London manufacturers Clay & Company (1770-1860). In 1772 Henry Clay patented a durable form of papier-mâché known as a 'heat-resisting paperware'. It could be carved, cut and lacquered like wood or metal, with the added advantage that it was lightweight and did not warp. Such a stable material was ideal as a support for japanned decoration as used on this tray.
Object details
| Categories | |
| Object type | |
| Materials and techniques | Papier-mâché with japanned decoration |
| Brief description | Japanned papier-mâché tray of serpentine outline; English, ca.1800; Henry Clay & Co. |
| Physical description | Papier-mâché tray with serpentine outline and japanned decoration; the sides and lip decorated with naturalistic leaves and flowers, the main body of the tray decorated with a Chinese landscape incorporating pagodas, bridges, trees and figures. |
| Dimensions |
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| Marks and inscriptions | Stamped in middle of back 'CLAY / 18 King ST / COVT GARDEN' |
| Gallery label | TRAY
ENGLISH; early nineteenth century
Papier-mâché with japanned decoration
Stamped 'Clay 18 King Street Covent Garden'.(pre October 2000) |
| Credit line | Bequeathed by Mrs G.M. Spear |
| Object history | Bequeathed to the V&A by Mrs GM Spear of Eastbourne, Sussex [70/1688]. |
| Summary | Papier-mâché, literally 'chewed paper', is an ancient technique thought to have been invented by the Chinese. It became popular in Britain during the 18th century when the term was first coined in English (whereas in French the term was not recognized until the 20th century). At first it was used in pulp form for architectural mouldings and frames. As technology progressed a technique of moulding laminated sheets of paper was developed. The durable waterproof nature of this material meant it could be used for anything from trays, boxes and screens to chairs, pianos and even carriages. This tray was made by the Birmingham and London manufacturers Clay & Company (1770-1860). In 1772 Henry Clay patented a durable form of papier-mâché known as a 'heat-resisting paperware'. It could be carved, cut and lacquered like wood or metal, with the added advantage that it was lightweight and did not warp. Such a stable material was ideal as a support for japanned decoration as used on this tray. |
| Bibliographic reference | The following excerpt is taken from Jones, Yvonne, Japanned Papier-Mâché and Tinware c. 1740-1940. Woodbridge, Antique Collectors' Club, 2012 (ISBN 978 1 85149 686 0), p.23-27:
‘Paper is believed to have been invented in China in the second century AD, and the Chinese art of making papier mâché objects is almost as ancient, but knowledge of paper-making spread only very slowly and it not reach Europe until the 12th century. Paper-mills were established in France in the late 15th century and soon after, French craftsmen began using paper pulp to make architectural ornaments, snuff boxes and other small articles. There were few paper mills in England until the late 17th century, so there was little pulp from which to make comparable articles, the paper imported from France being far too expensive to be pulped for the purpose.
By the 18th century, however, there were two quite distinct branches of paper mâché manufacture in England. One was allied to the making of paper hangings, and the other, to the japanning industry. Both branches took their lead from France and this, together with the name, has not only perpetuated the myth that papier mâché was French in origin, but also overshadowed its ancient eastern history.
Not only was the term papier mâché not recognised in 18th century French dictionaries, but the Journal de l’Agriculture du Commerce (1778) sourced it to England and to the first edition of Dossie’s book, The Handmaid to the Arts (1758). Its occurrence, much later in the French edition of the Paris Exhibition catalogue of 1855, may simply have been the result of the translation of texts supplied by English manufacturers. The term is, however, currently used in France today.
It has been suggested that the term derives from problems of communication between English employers and French émigré workers in the 17th century when papier mâché was probably taken to mean ‘mashed paper’ (or chewed paper)…. The crux was the cachet of a French sounding name and the penchant in some quarters if fashionable society in the late 18th century to look upon anything French as highly sophisticated.
…
Some of the advantages of papier mâché, gleaned from contemporary records, partly explain its attractions and may have been sufficient, at least until the mid-19th century, to outweigh what will be seen as its long and labour intensive production processes. Foremost was its suitability for japanning, which was much in vogue in the 18th century.
...
Furthermore, because it could be moulded into various forms, it required no joinery and was thus incredibly strong. As solid as wood, though less hard than most, it was said to blunt tools sooner, and although heavier in mass, its strength allowed it to be used in thin sections, rendering it perfect for small light objects….By the mid-19th century, it was found that it could be steam-moulded into any curve without fear of splitting. In short, it was considered superior to both wood and metal for being lighter, sounder, and admitting of a more beautiful finish’. |
| Collection | |
| Accession number | W.8-1971 |
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| Record created | January 24, 2001 |
| Record URL |
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