Five Tureens

For too long I have harbored the desire to give a gallery talk on Gravy Boats. With a bit more decorum I present 5 tureens from the collection. Tureens were a must of any table service in the 18th and 19th century. Typically one would serve soups, meats or any main dish out of the deep oval boat. They would also be the centerpiece (as seen best in #2) to a matched set that would include cruets, serving platters and other accessories to the meal. Dinners were grand and lavish for anyone that could afford a service from any of the manufactories featured below. One would also find on the table sugar-spun sculptures, porcelain figures, flowers and elaborate decorations that would make any banquet a spectacular show!



1. Pont-aux-Choux Factory (French, founded 1743), Tureen with Cover and Stand, c. 1750, earthenware with lead glaze

This tureen is in gallery 233 and it is one of my favorite examples of late Rococo curves. The form is heavy and weighted down, giving the appearance of sweeping and drawing out lines, rather than the tight, winding curls that so characterize the Rococo style. This tureen is somewhat unusual in that it is earthenware. Dinner sets like this were typically of the pricey porcelain, less so heavy earthenware that was prone to breaking easily. Louis XV levied a luxury tax that restricted the luxury goods of aristocrats and forced many to give up their silver table service, (one of the many acts that proved surprisingly unpopular). Many noble families commissioned earthenware versions of the relinquished silver centerpieces no longer gracing their tables.



2. Meissen Porcelain Manufactory (German, Founded 1710), Centerpiece and Stand with a Pair of Sugar Casters and Oil/Vinegar Cruet, c. 1713, hard-paste porcelain, polychrome enamels, gilding, ormolu mounts

Founded by August the Strong and the predominant furnisher of his court services, the Meissen Porcelain Manufactory was one of the most luxurious porcelain makers of the 18th century. This may be one of the more ostentatious examples of 18th century tastes in tableware. The centerpiece (consisting of the serving platter, cruets and tureen) displays the 18th century taste for chinoiserie, or, motifs, forms and imagery that evokes China or Chinese art. Typically a fanciful take on the far east, the cruets of this centerpiece display a kissing couple in theatrical Chinese costumes while exotic birds grace the ends of the tureen. This work was created at the height of French interest in and taste for all things Chinese. It is an example of a typical French courtly form with chinoiserie frills but other ceramics would take the form of imitation Chinese wares. Even the use of hard-paste porcelain was an attempt to replicate the sophisticated ceramic technology of China which was not known in the West until the early 18th century.

Notice the little black blob at the bottom of the tureen? Right next to the pink peony flower is a small fly painted on by one of the artists who enameled this piece. It would have been the delight of the keen invitee to a lavish banquet!



3. Chelsea Porcelain Manufactory (English, c. 1745-1784), Tureen with Cover, 18th century, soft-paste porcelain with polychrome enamel decoration

The Chelsea Porcelain Manufactory specialized in soft-paste table wares that evoked all sorts of delightful captures of the world around. From turnips to pheasants, hens and rabbits, this Cauliflower-shaped tureen is an unexpected addition to any table. It would have delighted dinner guests as "a most curious dish," as one guest remarked of a Chelsea tureen in the shape of a boar's head. I would only hope that such a dish would serve my favorite Jamie Oliver recipe for Cauliflower and Cheese Soup!




4. John Bridge (English, 1755-1834), Tureen, 1823/24, Silver with repouseé cast, applied and chased decoration

After George IV arrived to the regency of the Kingdom of Great Britain and Ireland in 1811. His opulent lifestyle matched the sumptuous style of the decorative arts. The first-half of the 19th century saw a rise in revival styles where artisans looked back towards historical styles for eclectic inspiration. This Rococo Revival piece captures the enthusiasm for the natural forms that inspired the 18th century Rococo style. The word "rococo" is of 19th century origin. In French, it derived from a mish-mash between the words rocaille (stone- or grotto-like) and coque (shell). With its triton blowing a conch shell over a fantastically large half-shell supported by hippocampi (mythical sea-horse creatures), this is a wonderful example of the back-lash against the neo-classical revival style so popular at the turn of the century in Europe.



5. Christopher Dresser (English, born Scotland, 1834-1904), Tureen with Cover, c. 1880, electoplated silver, ebony

One of the pioneers of modern design, Christopher Dresser traveled widely throughout Japan, studying Japanese interiors, temples and art forms. Upon his return he not only published on Japanese art and architecture but brought a simplicity of design to his table pieces. Not only were his works hallmarks of modern sensibilities, like hygiene, cleanliness and simplicity, but were examples of modern technology as well. The electoplating method was harness by the English in the 1830s but wasn't widely used. It involves using an electric current to reduce the cations in any given metal. This process made the silver surface immune to the typical drawbacks of silver such as tarnishing and an easy scratched surface. Electoplated silver did not corrode, tarnish and was resilient towards surface damage, making it the perfect addition to any modern home. Ebony details on this tureen made it a luxury object that could withstand the wear and tear of frequent use.

So next time you're dishing up some grub for your guests, be glad that it isn't out of a porcelain boar's head!