Teapot
1745-1749 (made)
| Artist/Maker | |
| Place of origin |
Object Type
One of several small novelty teapots produced by the Chelsea porcelain factory in its early years, this rare squatting 'chinaman' clutching a parrot may have been little more than an experimental model. A handful of examples survive.
Design & Designing
The proprietors of the new Chlesea factory, desperate for models, no doubt looked at the new, cheap, slip-cast teapots then being mass-produced in Staffordshire and attempted to make a fashionable version with more style. It is thought that the inspiration for this piece was the range of Grotesque (fancifully decorated) porcelain teapots made in France at Saint-Cloud, with which the Chelsea factory manager, Nicholas Sprimont (born about 1716; died 1771), would have been familiar. But whereas the Saint-Cloud porcelains are smooth, glassy and very white, the early Chelsea porcelain paste is much less refined, while the finer details of modelling are obscured by a thick opaque-white glaze containing tin oxide. These early white products were soon succeeded by enamelled wares of great refinement.
One of several small novelty teapots produced by the Chelsea porcelain factory in its early years, this rare squatting 'chinaman' clutching a parrot may have been little more than an experimental model. A handful of examples survive.
Design & Designing
The proprietors of the new Chlesea factory, desperate for models, no doubt looked at the new, cheap, slip-cast teapots then being mass-produced in Staffordshire and attempted to make a fashionable version with more style. It is thought that the inspiration for this piece was the range of Grotesque (fancifully decorated) porcelain teapots made in France at Saint-Cloud, with which the Chelsea factory manager, Nicholas Sprimont (born about 1716; died 1771), would have been familiar. But whereas the Saint-Cloud porcelains are smooth, glassy and very white, the early Chelsea porcelain paste is much less refined, while the finer details of modelling are obscured by a thick opaque-white glaze containing tin oxide. These early white products were soon succeeded by enamelled wares of great refinement.
Object details
| Categories | |
| Object type | |
| Parts | This object consists of 2 parts.
|
| Materials and techniques | White glazed soft-paste porcelain |
| Brief description | Teapot with cover in the form of a 'chinaman' clutching a parrot, white-glazed soft-paste porcelain, made by Chelsea Porcelain factory, London, 1745-1749 |
| Physical description | Teapot with cover, in the form of a 'chinaman' holding a parrot, soft-paste porcelain with white glaze. He is shown squatting, the parrot held by wing and tail in front of him, his hat forming the lid; twig handle with applied leaves and berries. |
| Dimensions |
|
| Marks and inscriptions | A triangle (Incised) |
| Gallery label | British Galleries:
Teapots are thought to have been developed from the shapes of Chinese wine pots, used to serve hot wine. This one has been modelled in the manner of Chinese porcelain figures and the actual shape of the teapot is almost entirely disguised.(27/03/2003) |
| Credit line | Bequeathed by Mr Wallace Elliot |
| Object history | London, Amor, 1920. |
| Subjects depicted | |
| Summary | Object Type One of several small novelty teapots produced by the Chelsea porcelain factory in its early years, this rare squatting 'chinaman' clutching a parrot may have been little more than an experimental model. A handful of examples survive. Design & Designing The proprietors of the new Chlesea factory, desperate for models, no doubt looked at the new, cheap, slip-cast teapots then being mass-produced in Staffordshire and attempted to make a fashionable version with more style. It is thought that the inspiration for this piece was the range of Grotesque (fancifully decorated) porcelain teapots made in France at Saint-Cloud, with which the Chelsea factory manager, Nicholas Sprimont (born about 1716; died 1771), would have been familiar. But whereas the Saint-Cloud porcelains are smooth, glassy and very white, the early Chelsea porcelain paste is much less refined, while the finer details of modelling are obscured by a thick opaque-white glaze containing tin oxide. These early white products were soon succeeded by enamelled wares of great refinement. |
| Collection | |
| Accession number | C.46&A-1938 |
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| Record created | March 27, 2003 |
| Record URL |
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