Teapot
1759-1769 (made)
| Artist/Maker | |
| Place of origin |
Object Type
This teapot is relatively small, reflecting the high cost of tea in mid-18th-century Britain. However, despite the small capacity of the teapot, the service includes six teacups (in addition to six cups of a different design for coffee). The teapot has a matching circular stand, used to prevent spillages, and ensure that the heat of the pot didn't mark the tea table. Afternoon and after-dinner tea were generally prepared by the lady of the house in the drawing room in comfortably-off households.
Design & Designing
The service is similar to one offered at auction in London in 1770. This was described as 'a very curious and matchless tea and coffee equipage, crimson and gold, most inimitably enamell'd in figures, from the designs of Watteau'. Although the figure subjects here are not directly copied from the work of the French Rococo painter Jean-Antoine Watteau (1684-1721), they are certainly inspired by his work.
Materials & Making
The Chelsea porcelain factory introduced the crimson ground around 1760, when a London auction of Chelsea porcelain included 'a few pieces of some new Colours which have been found this year by Mr [Nicholas] Sprimont, the Proprietor, at a very large Expence, incredible Labour, and close Application'.
This teapot is relatively small, reflecting the high cost of tea in mid-18th-century Britain. However, despite the small capacity of the teapot, the service includes six teacups (in addition to six cups of a different design for coffee). The teapot has a matching circular stand, used to prevent spillages, and ensure that the heat of the pot didn't mark the tea table. Afternoon and after-dinner tea were generally prepared by the lady of the house in the drawing room in comfortably-off households.
Design & Designing
The service is similar to one offered at auction in London in 1770. This was described as 'a very curious and matchless tea and coffee equipage, crimson and gold, most inimitably enamell'd in figures, from the designs of Watteau'. Although the figure subjects here are not directly copied from the work of the French Rococo painter Jean-Antoine Watteau (1684-1721), they are certainly inspired by his work.
Materials & Making
The Chelsea porcelain factory introduced the crimson ground around 1760, when a London auction of Chelsea porcelain included 'a few pieces of some new Colours which have been found this year by Mr [Nicholas] Sprimont, the Proprietor, at a very large Expence, incredible Labour, and close Application'.
Object details
| Categories | |
| Object type | |
| Parts | This object consists of 2 parts.
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| Materials and techniques | Soft-paste porcelain, painted in enamel colours and gilt |
| Brief description | Teapot, porcelain, Chelsea Porcelain factory, London, 1759-1769 |
| Dimensions |
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| Gallery label |
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| Credit line | Bequeathed by Miss Emily S. Thomson |
| Object history | From tea set - museum nos. 517 to 523-1902 Elizabeth Adams (see below) discusses this service: 'One of the most justly famous examples of the use of crimson as a ground colour is the complete tea service with its original case which was bequeathed to the Victoria and Albert Museum by Miss Emily Thomson of Dover [fig. 11.13]. The teapot is of a shape that may be called 'the angled-barrel'; the lid is quite flat and flush with the top of the pot. Relief from this severity of form is, however, provided by the pierced rococo handles of both pot and lid and the rococo curves and scrollwork which support and decorate the spout. Spouts of teapot and milk jug and handles or knops throughout the service are white (but picked out in gilding), in contrast to the crimson ground colour of the pieces. Also contrasting are the white reserves which are surrounded with the most magnificent but wonderfully delicate gold trellis work, leaves and flowers done over the crimson ground. In the reserves are seated various Chinoiserie figures amidst flowers and foliage, while each figure plays a different musical instrument. These scenes are executed in polychrome enamels, with exquisite delicacy and skill.' |
| Subject depicted | |
| Summary | Object Type This teapot is relatively small, reflecting the high cost of tea in mid-18th-century Britain. However, despite the small capacity of the teapot, the service includes six teacups (in addition to six cups of a different design for coffee). The teapot has a matching circular stand, used to prevent spillages, and ensure that the heat of the pot didn't mark the tea table. Afternoon and after-dinner tea were generally prepared by the lady of the house in the drawing room in comfortably-off households. Design & Designing The service is similar to one offered at auction in London in 1770. This was described as 'a very curious and matchless tea and coffee equipage, crimson and gold, most inimitably enamell'd in figures, from the designs of Watteau'. Although the figure subjects here are not directly copied from the work of the French Rococo painter Jean-Antoine Watteau (1684-1721), they are certainly inspired by his work. Materials & Making The Chelsea porcelain factory introduced the crimson ground around 1760, when a London auction of Chelsea porcelain included 'a few pieces of some new Colours which have been found this year by Mr [Nicholas] Sprimont, the Proprietor, at a very large Expence, incredible Labour, and close Application'. |
| Bibliographic reference | Adams, Elizabeth. Chelsea Porcelain, The British Museum Press, 2001, 2nd. edition. The Thomson service is illustrated fig. 11.13, 150p |
| Collection | |
| Accession number | 517&A-1902 |
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| Record created | March 27, 2003 |
| Record URL |
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