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figure

  • Object type

  • Museum number

    1938,0314.90.CR

  • Description

    Figure of a dancing girl; soft-paste porcelain; finely potted; clear glaze; slip-cast; stands on rectangular base with chipped corners, supported at back by uncoloured pillar; head and body turned to left, left foot forward; features painted in grey-brown with red lips; bodice and back of dress painted in pale colours with scattered flowers and has yellow border detailed in pink which is also used to define the top of the bodice, tied at front with large blue ribbon bow; pink sleeves trimmed with red rosettes and black pointed shoes with yellow bows; base painted with scattered naturalistic flowers; unglazed underneath; unmarked.

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  • Producer name

  • Date

    • 1750-1759
  • Production place

  • Materials

  • Technique

  • Dimensions

    • Height: 14.3 centimetres
  • Curator's comments

    Pair with 1938,0314.89

    For further discussion see 'Imitations of 18th century porcelain by post-war fakers' in 'Fake? The Art of Deception' ed. Mark Jones, British Museum, 1990 pp. 243-244, cat no.263c.Dawson 1987 [Comment relating to the pair]
    With the exception of one other coloured pair in private possession, this is the only coloured pair of these figures. An undecorated pair, perhaps the same as those exhibited by Winifred Williams in June 1975 in an exhibition of Eighteenth Century European White Porcelain (see catalogue p. 28 for illustration) are in a private collection in Melbourne, Australia. They are shown in 'Flowers and Fables, a survey of Chelsea Porcelain 1745-69', catalogue of an exhibition at the National Gallery of Victoria, November 1984-February 1985, compiled by M. Legge no. 194, illus. p. 84. Of the examples in the Victoria and Albert Museum, one girl (reg. no. C. 108-1938) is thought to have been decorated in the studio of James Giles, whilst the white boy (reg. no. C. 689-1920) is not the original pair to the white girl (res. no C. 328-1919).

    The precise modelling of the figures and the sure handling of the clay is far removed from the workmanship of early Chelsea figures which (apart from the crown and trident marked class) are entirely different in scale, spirit and execution. Apparently inspired by Meissen figures, and with flower decoration of a type which has been noted on a Meissen group of Winter, they have far more in common with Continental productions.

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  • Bibliography

    • Dawson 1987 11 bibliographic details
    • Jones 1990 263c bibliographic details
    • Adams 2001 p. 43, fig. 5.1 bibliographic details
  • Location

    G46/dc21

  • Exhibition history

    Exhibited:

    1987 Jun 10-Jun 15, London, International Ceramics Fair and Seminar Ltd, 'International Ceramics Fair and Seminar'

  • Subjects

  • Acquisition name

  • Acquisition date

    1938

  • Department

    Britain, Europe and Prehistory

  • Registration number

    1938,0314.90.CR


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Object reference number: MCT12798

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