- Museum number
Sugar Bowl and Cover, one of a pair; soft-paste porcelain; rounded sides tapering to base, domed cover and fruit knop; painted in enamel colours with a port scene on one side and with flowers on the other on a turquoise ground, with a gilt pattern of scrolls near the rim and foot, and pendent gilt flower garlands; cover painted with two panels of flowers on a white ground, and a similar gilt pattern; gilt dentil pattern on rims, gilt knops; maker's mark.
- Production date
Diameter: 8.60 centimetres (bowl)
Height: 10.40 centimetres (to top of finial)
- Curator's comments
- Dawson 1994
Pair with 1948,1203.33.
The shape is similar to the Sèvres ‘pot à sucre ‘Bouret’’ but the dimensions differ from the sizes noted by Savill.¹ The painting imitates that of the Sèvres painter Jean-Louis Morin, and even the gilding has been quite closely copied from Sèvres gilt patterns. However, these pieces were made in the nineteenth century, one being marked by Thomas Martin Randall (1786-1859) of Shropshire,² and the other presumably also of English manufacture. Its gilt decoration is much more overloaded and it is perhaps of later date. As yet no secure chronology has been established for the manufacture of these Sèvres imitations, which were produced in quantity.
Randall, after running an enamelling business in London between 1813 and 1825, installed himself at Madeley in about 1828 and made soft-paste porcelain which he then decorated. The works were closed in 1840 and Baldock, who had been its chief commissioning dealer, retired in 1843. Randall then set up in Shelton, Staffordshire, where he was succeeded by J. Randall until the works closed in 1856.
1. Savill, Rosalind, ‘The Wallace Collection, Catalogue of Sèvres Porcelain, London’, London, 1988, II, pp. 570-2.
2. See Savill, 1988, III, pp. 1167-71 for a brief account of Randall's career.
No Comparable Examples.
- Not on display
- Acquisition date
- Britain, Europe and Prehistory
- Registration number