This object, or the text that describes it, is deemed offensive and discriminatory. We are committed to improving our records, and work is ongoing.
Figure
ca. 1765-1775 (made), 1741 (modelled)
| Artist/Maker | |
| Place of origin |
The earliest porcelain figures were made for the dessert course of grand dinners and replaced the sugar paste and wax figures made since medieval times for royal feasts. Originally intended as expressions of dynastic power and to celebrate political allegiances, allegorical themes had been introduced into these table settings by the 16th century. By the 18th century many were entirely decorative. Meissen in Germany was the first factory to make porcelain figures for the dessert. It set the sculptural conventions followed by porcelain factories elsewhere.
During the 18th century dessert was the course on which the greatest effort and expense were lavished. The food served and the fine porcelain which accompanied it reflected the wealth and good taste of the host, but it also signified the colonial power structures at play given that many of the objects and foods on the dessert table were the direct products of slavery. In particular, the sugar industry was dependent on the labor of enslaved people who were heavily exploited and overworked. Here the exploitation of the Black body has been aestheticised into a luxury and decorative product to adorn the dessert table.
This figure, in the form of a black woman who is shown exposed, vulnerable and naked except for a headdress and flowered skirt. She represents a highly exoticised, racist and homogenous view of Africa from a male-dominated colonial Western perspective. These objects show an orientalised fantasy of Black enslaved people who were exploited through the production of sugar, a product of the transatlantic slave. Here they are transformed into ornamental commodities and luxury products of costly porcelain which aestheticizes the exploitation of Black people during this time. The companion figure of a man represents America. Both objects aestheticize the exploitation of Black people.
They were originally modelled by J.F. Eberlein in 1741, who recorded that he modelled male and female 'Moors ... standing by a sugar box.' The bowls they stand next to could have been used for both sugar and dry sweetmeats served during the dessert course of a grand meal. This pair of figures were originally intended for table centrepieces from which no other Continents are known.
During the 18th century dessert was the course on which the greatest effort and expense were lavished. The food served and the fine porcelain which accompanied it reflected the wealth and good taste of the host, but it also signified the colonial power structures at play given that many of the objects and foods on the dessert table were the direct products of slavery. In particular, the sugar industry was dependent on the labor of enslaved people who were heavily exploited and overworked. Here the exploitation of the Black body has been aestheticised into a luxury and decorative product to adorn the dessert table.
This figure, in the form of a black woman who is shown exposed, vulnerable and naked except for a headdress and flowered skirt. She represents a highly exoticised, racist and homogenous view of Africa from a male-dominated colonial Western perspective. These objects show an orientalised fantasy of Black enslaved people who were exploited through the production of sugar, a product of the transatlantic slave. Here they are transformed into ornamental commodities and luxury products of costly porcelain which aestheticizes the exploitation of Black people during this time. The companion figure of a man represents America. Both objects aestheticize the exploitation of Black people.
They were originally modelled by J.F. Eberlein in 1741, who recorded that he modelled male and female 'Moors ... standing by a sugar box.' The bowls they stand next to could have been used for both sugar and dry sweetmeats served during the dessert course of a grand meal. This pair of figures were originally intended for table centrepieces from which no other Continents are known.
Delve deeper
Discover more about this object
Object details
| Categories | |
| Object type | |
| Materials and techniques | Hard-paste porcelain, painted in enamels |
| Brief description | Sugar or sweetmeat bowl with figure of a Black woman representing a Westernised homogenous view of Africa, hard-paste porcelain painted in enamels, modelled by J. F. Eberlein in 1741, made by Meissen porcelain factory, Germany, ca. 1765-75. These objects were produced frequently during the eighteenth century, they show an exoticized and Western fantasy of Black enslaved people who were exploited through the production of sugar, a product of slavery. Here they are transformed into ornamental commodities and luxury products which aestheticizes the exploitation of Black people during this time. |
| Physical description | Hard-paste porcelain sugar or sweetmeat bowl (lacking cover) with figure of a standing black woman, representing Africa. She stands, bent slightly at the waist, and holds a lemon in her left hand. She wears a headdress and flowered skirt, and stands on a base supported by a tree stump next to a white bowl. One of a pair. |
| Dimensions |
|
| Marks and inscriptions | Crossed swords with a dot between hilts (Factory mark in blue, inside hollow base) |
| Credit line | Bequeathed by Captain H. B. Murray |
| Object history | NB. While the term 'moor' has been used in this record, it has since fallen from usage and is now considered offensive. The term is repeated in this record in its original historical context. |
| Subjects depicted | |
| Summary | The earliest porcelain figures were made for the dessert course of grand dinners and replaced the sugar paste and wax figures made since medieval times for royal feasts. Originally intended as expressions of dynastic power and to celebrate political allegiances, allegorical themes had been introduced into these table settings by the 16th century. By the 18th century many were entirely decorative. Meissen in Germany was the first factory to make porcelain figures for the dessert. It set the sculptural conventions followed by porcelain factories elsewhere. During the 18th century dessert was the course on which the greatest effort and expense were lavished. The food served and the fine porcelain which accompanied it reflected the wealth and good taste of the host, but it also signified the colonial power structures at play given that many of the objects and foods on the dessert table were the direct products of slavery. In particular, the sugar industry was dependent on the labor of enslaved people who were heavily exploited and overworked. Here the exploitation of the Black body has been aestheticised into a luxury and decorative product to adorn the dessert table. This figure, in the form of a black woman who is shown exposed, vulnerable and naked except for a headdress and flowered skirt. She represents a highly exoticised, racist and homogenous view of Africa from a male-dominated colonial Western perspective. These objects show an orientalised fantasy of Black enslaved people who were exploited through the production of sugar, a product of the transatlantic slave. Here they are transformed into ornamental commodities and luxury products of costly porcelain which aestheticizes the exploitation of Black people during this time. The companion figure of a man represents America. Both objects aestheticize the exploitation of Black people. They were originally modelled by J.F. Eberlein in 1741, who recorded that he modelled male and female 'Moors ... standing by a sugar box.' The bowls they stand next to could have been used for both sugar and dry sweetmeats served during the dessert course of a grand meal. This pair of figures were originally intended for table centrepieces from which no other Continents are known. |
| Associated object | C.2559-1910 (Set) |
| Bibliographic references |
|
| Collection | |
| Accession number | C.2560-1910 |
About this object record
Explore the Collections contains over a million catalogue records, and over half a million images. It is a working database that includes information compiled over the life of the museum. Some of our records may contain offensive and discriminatory language, or reflect outdated ideas, practice and analysis. We are committed to addressing these issues, and to review and update our records accordingly.
You can write to us to suggest improvements to the record.
Suggest feedback
You can write to us to suggest improvements to the record.
Suggest feedback
| Record created | May 3, 2006 |
| Record URL |
Download as: JSONIIIF Manifest
