Tureen thumbnail 1
Image of Gallery in South Kensington
On display at V&A South Kensington
Ceramics, Room 145

Tureen

ca. 1755 (made)
Artist/Maker
Place of origin

In terms of aesthetic and social ambition, one early English porcelain factory stood head and shoulders above the rest: Chelsea, where this tureen was made. Founded by Nicholas Sprimont, an extremely gifted goldsmith, modeller and designer from Liège, Chelsea aimed at the top end of the British market, and gained aristocratic and ambassadorial support in its attempts to rival imports from the royal factories of Meissen and Sèvres. Meissen had been the first to make trompe-l'oeil dining wares in vegetable or animal shapes, but it was left to Chelsea (and some of the French tin-glazed earthenware factories) to further explore the idea.


Object details

Categories
Object type
Parts
This object consists of 3 parts.

  • Tureen
  • Cover
  • Stand
Materials and techniques
Soft-paste porcelain, painted in enamels
Brief description
Soup tureen with cover and stand, in the form of a chicken, soft-paste porcelain painted in enamels, Chelsea Porcelain factory, London, ca. 1755
Physical description
Tureen, cover, and stand in the form of a chicken, soft-paste porcelain painted in enamels.
Dimensions
  • Without stand height: 25.0cm
  • Without stand width: 35.0cm
  • Without stand depth: 22.0cm
Credit line
Given by Stephen, 6th Baron Lilford, in accordance with the wishes of his brother John, 5th Baron Lilford
Subjects depicted
Summary
In terms of aesthetic and social ambition, one early English porcelain factory stood head and shoulders above the rest: Chelsea, where this tureen was made. Founded by Nicholas Sprimont, an extremely gifted goldsmith, modeller and designer from Liège, Chelsea aimed at the top end of the British market, and gained aristocratic and ambassadorial support in its attempts to rival imports from the royal factories of Meissen and Sèvres. Meissen had been the first to make trompe-l'oeil dining wares in vegetable or animal shapes, but it was left to Chelsea (and some of the French tin-glazed earthenware factories) to further explore the idea.
Bibliographic reference
Baker, Malcolm, and Brenda Richardson (eds.), A Grand Design: The Art of the Victoria and Albert Museum, London: V&A Publications, 1999.
Collection
Accession number
C.75 to B-1946

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Record createdNovember 3, 2003
Record URL
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