A fine Regency three compartment Penwork Tea caddy decorated all over with
exotic penwork scenes on a sycamore ground . Circa 1815.
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Reference: TC146
Description:
TC146: A fine Regency penwork three compartment tea chest of
complex classical shape decorated all over with fantastical scenes
of exotic Cathay, inspired by tales of Royal gardens
and the gardens of the
Hong merchants which British traders and diplomats were allowed to visit
whilst in Canton. Inside there are two lift out tea canisters and a bowl
with cut and engraved decoration
Origin UK: Circa: 1815 Materials:
sycamore
Size: It
measures 12.5 inches wide by 6 inches deep and it is 7.75
inches tall including feet: 32 cm wide by 15 cm
deep and it is 20 cm tall including feet
Condition: good
overall, working lock and key, see images.
As each person has different criteria and antiques by their very nature
have wear please enlarge the images and ask for extra information
as needed.
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there are further pictures of this tea
chest at:
http://www.hygra.com/penwork/
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This Chest is featured in our book Antique
Boxes, Tea Caddies, and Society, 1700--1880
Antigone Clarke & Joseph O'Kelly, ISBN: 0764316885
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These Chinoiserie scenes were inspired by tales of the Royal gardens and
the water activities which British traders and diplomats were allowed to visit
whilst in China. Such scenes found their way into prints and books as
well as diaries and letters of the period.
Sir John Barrow, Lord Macartney's private secretary, wrote of his
impressions of the royal garden of Jehol, the Paradise of ten thousand
trees, of the "extensive lake", of islands "one marked by
a pagoda,....some smooth and level; some steep and uneven; and others
frowning with wood, or smiling with culture."
This caddy is a visual interpretation of the exotic and varied
islands which dazzled the Europeans with their exotic plants, animals
and structures.
Penwork and painted
caddies of this quality and originality of design are very rare.
The inside is as decorated as the outside. It contains two lift out
canisters which are decorated with further scenes and which retain some
of the original lead lining.
The central compartment is painted to match the colour of the
rest of the caddy.
The inside of the lid has yet another exotic scene. The bowl well is
lined in original red paper.
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The figures and landscapes have a light element, which was introduced
in the second part of the 18th century, but which did not find true
expression in England until the advent of penwork. Much of the design is
inspired by Mathias Darly's and George Edwards' A New Book of Chinese
Designs. For example, the book gives illustrations of
"Indian" islands, bits of land somehow floating in the
universe. Such islands were earthly manifestations of the "Islands
of the Blessed".
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The pyramided shape is inspired by the images and knowledge
which were inspired by the recent excavations in Egypt and the
near east.
It is extremely rare to find a pyramid form in penwork. This is
because designs are easier to execute on simpler forms. By using
depictions of plants drawn boldly, the artist has provided an ingenious
structured classical counterbalance, as a contrast to the whimsy
chinoiserie of the lower caddy. The two styles work excellently together
mutually emphasising their distinct qualities. Whoever decorated this
caddy was obviously well versed in the cultural influences of the
period. It is a tour-de-force of erudition and artistic
virtuosity.
The top is decorated in designs of neoclassical derivation. The
center features a pattera pattern slightly suggestive of a flower. The
lower surround and the wide triangular panels feature acanthus leaves.
The narrower sides have leaves enclosing either a stylized pinecone
(ancient symbol of fertility) or a pineapple (a fruit of the East).
Pineapples if they could be bought were real status items. They were
sometimes rented out for parties!
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Exquisite drawings of island activities,
featuring fantastical bridges, bells and dragons cover every available surface.
The huge flower, the tiny houses the enormous serpent
echo Barrow's perception that a Chinese gardener "is totally
ignorant of perspective" but nevertheless "produces the
happiest effects".
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An insect, a bird and a flower dwarfing the men in the boats, a
European interpretation of Cathay.
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Fishing, an usual activity
described in reports of China. A rather large duck.
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Specific designs for buildings were also illustrated in this book and
were repeated in The Ladies Amusement. For example the building
on the left of the back with the large bells may be a Royal Garden Seat.
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Meeting on a bridge.
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Huge plants; sea serpent or monster in the
the river below. The land of chinoiserie is a truly fantastical place.
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The sea serpent seems to have a keeper! The relative proportions have
their own rules or lack of them.
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End view:
People carrying or transporting things in eccentric, picturesque and
effortless ways.
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Men in boat with a pennant
followed by large exotic bird..
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Carrying tea? Illustrations of tea carrying in this manner are found
on Chinese lacquer caddies of the period. It is interesting to see the
same illustration by this time, an English hand.
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Details of carrying and huge plant.
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The back of the caddy is decorated with buildings figures and boats
all with fluent disregard for the restrictions of perspective.
The islands are well defined with buildings in distinctive styles and
lay outs, obviously used for different activities.
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There is a wealth of images: giant insects compete with
giant birds!
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Feeding the fowl?
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A lady conveyed in a rather fine boat.
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The pet dog cannot wait to leap on the island.
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Fishing on a small island.
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A reference to opium smoking, a habit encouraged by the British.
The addict is sitting on a ceramic garden seat.
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End view:
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A reference to bells and instruments played in the gardens.
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Playing a tambourine.
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The rich interior. The sugar loaf which would have been in the bowl
has oxidized and discolored the varnish.
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The dragon headed boat
Dragon boats are used in South China in festivities during the 5th
day of the 5th month. Such boat races were witnessed by
the Europeans who were stationed in Canton.
These races were culturally significant and featured in the work
of Mathias Darly.
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A sedan chair shaped almost organically. This method of transport
definitely beats the bus.
Barrow describes the Emperor's conveyance as "a high open palanquin"
Darly included exotic conveyances in his work.
This is an interpretation of descriptions and illustrations of
Chinese sedan chairs.
For the most part this caddy retains its original varnish; there is a
loss in the center of the top probably caused by someone closing the
caddy with sugar in the bowl. Note the shading.
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The people in the peculiar conveyance carried by two bearers
could have also been inspired by designs showing fantastical vehicles
with rococo curves and cusps.
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caddies.
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A
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Detail of the penwork scenes on the lids of the two canisters
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A
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The complexity of the caddy construction can be seen here. The
compartment for the canister is lined with charcoal colored felt, which
has helped to protect the the penwork on the sides of the canisters.
The facings are a dark brown colour.
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It seems that the bowl was too large for the chest! The
well has an extension to accommodate it. The paper used to line the well
and cover the bottom is contempory with the chest.
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The same paper covers the bottom
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This bowl is the original heavy hand blown and cut crystal.
It is larger than usual. and is decorated with both flute
cutting and
engraving.
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The caddy stands on ball feet which are also decorated with penwork.
These are in very good condition.
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A
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The narrower sides have leaves enclosing either a stylized pinecone
(ancient symbol of fertility) or a pineapple (a fruit of the East).
Pineapples if they could be bought were real status items. They were
sometimes rented out for parties!
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The caddy is framed in a basket weave pattern which is echoed on the
side of the canisters. This is perhaps inspired by the extensive use of
woven baskets in the East.
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All text and images and linked images are ©
1999-2011 Antigone Clarke and Joseph O'Kelly. If you require any further
information on permitted use, or a licence to republish any material, email us
at copyright@hygra.com
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