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MFA Images: Tea Time

  • MFA Images: Tea Time - Slide

  • Afternoon Tea Party

    about 1891

    Mary Stevenson Cassatt (American, 1844–1926)

    Description
    Details

    Dimensions

    Sheet: 48.4 x 31.7 cm (19 1/16 x 12 1/2 in.) Platemark: 34.8 x 26.8 cm (13 11/16 x 10 9/16 in.)

    Medium

    Drypoint and color aquatint

    Classification

    Prints

    Accession Number

    41.811

    Collections

    Americas, Prints and Drawings

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  • Tea Set

    1799

    Paul Revere, Jr. (American, 1734–1818)

    Description

    Bostonians justifiably were proud that "Constitution" and the frigate "Boston," key ships of the new American navy, were produced in a local shipyard. In 1799, when "Boston" was completed, the citizens presented this tea set to Edmund Hartt, owner of the shipyard, for his "Ability, Zeal and Fidelity." Revere, who made the copper fittings for both ships, fashioned the tea set from rolled-sheet silver and decorated it with a Greek-key fret in the Neoclassical taste.

    Details

    Dimensions

    Teapot: 31.43 cm (12 3/8 in.) Creampot: 6.51 cm (2 9/16 in.) Sugar bowl: 7.46 cm (2 15/16 in.) Teapot stand: 15.4 cm (6 1/16 in.)

    Medium

    Silver

    Classification

    Silver hollowware

    Accession Number

    96.1-4

    Collections

    Americas

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  • Double-spouted melon-shaped ewer with blue-and-white decoration...

    18th–19th century

    Description
    Details

    Dimensions

    Overall: 15.5 x 14.3cm (6 1/8 x 5 5/8in.)

    Medium

    Porcelain, Jingdezhen ware

    Classification

    Ceramics, Porcelain

    Accession Number

    95.521

    Collections

    Asia

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  • The Syllables Ra through Ku: Woman Drinking Tea and Companion...

    about 1802 (Kyôwa 2)

    Artist Kitagawa Utamaro I (Japanese, (?)–1806)

    Description
    Details

    Dimensions

    Vertical ôban; 36.8 x 24.2 cm (14 1/2 x 9 1/2 in.)

    Medium

    Woodblock print (nishiki-e); ink and color on paper

    Classification

    Prints

    Accession Number

    21.6505

    Collections

    Asia, Prints and Drawings

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  • Takashima Ohisa, from the series A Fashionable Triptych (Fûryû...

    Artist Utagawa Toyokuni I (Japanese, 1769–1825)

    Description
    Details

    Dimensions

    Vertical ôban; 37.8 x 24.5 cm (14 7/8 x 9 5/8 in.)

    Medium

    Woodblock print (nishiki-e); ink and color on paper

    Classification

    Prints

    Accession Number

    21.6965

    Collections

    Asia, Prints and Drawings

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  • Five-piece Tea Set

    about 1850

    Charters, Cann & Dunn (active 1848–1856)

    Description

    Kettle on stand: The piece has a raised, one-piece, gourd-shaped body, which is grooved into eight curved panels decorated with chased and repousséd daisies and scrolls. It has a domed and hinged lid finished with a bolted cast finial of a melon on leaves. The kettle has a bail handle, hinged on long leaf appliqués with reverse scrolls of grapevine pattern at the ends, ivory insulation, and a plain top. Below the kettle’s ornamented spout is a tilting hinged slot for the linchpin connecting the kettle and stand. Another pin and slot secure the two pieces on the opposite side. The stand is pierced on the skirt near the edge; it has scrolled edges and four cast and leaf-ornamented scrolled legs on shell feet, with flanking leafy foliage. Simple straps hold the plain lamp in the center of the stand.
    Teapot: The piece has a raised, one-piece, gourd-shaped body, which is grooved into eight curved panels decorated with chased and repousséd daisies and scrolls. The kettlehas a domed and hinged lid finished with a bolted cast finial of a melon on leaves. The scrolled grapevine handle has ivory inserts and cast open-work baseband of leaves on four scroll and leaf feet.
    Sugar bowl: The piece has a raised, one-piece, gourd-shaped body, which is grooved into eight curved panels decorated with chased and repousséd daisies and scrolls. It has a scalloped rim with applied rounded bead and a cast foliate baseband with cat feet. The baseband is similar in form but less intricate than those on the other pieces in the set. The interior of the bowl is highly finished. It has a domed lid with a melon on leaves finial, which is loose.
    Creampot: The piece has a raised, one-piece, gourd-shaped body, which is grooved into eight curved panels decorated with chased and repousséd daisies and scrolls. The domed and repouseé-chased hinged lid has a cast bolted finial of melon on leaves. Scrolled grapevine handle and cast open-work baseband of leaves on four scroll and leaf feet.
    Waste bowl: The piece has a raised, one-piece, gourd-shaped body, which is grooved into eight curved panels decorated with chased and repousséd daisies and scrolls. The waste bowl has curved sides, a molded and scalloped rim, and a flat bottom. Its foot rim and feet are simpler than those on the other pieces.

    Details

    Dimensions

    Kettle on stand: 20.3 x 24.4 x 19.7 cm (8 x 9 5/8 x 7 3/4 in.) Teapot: 20.2 x 25 x 16.2 cm (7 15/16 x 9 13/16 x 6 3/8 in.) Sugar bowl: 16.5 x 21.8 x 15 cm (6 1/2 x 8 9/16 x 5 7/8 in.) Creampot: 17 x 14.5 x 11.5 cm (6 11/16 x 5 11/16 x 4 1/2 in.) Waste bowl: 10.5 x 16 cm (4 1/8 x 6 5/16 in.)

    Medium

    Silver

    Classification

    Silver hollowware

    Accession Number

    64.933-937

    Collections

    Americas

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  • The Tea

    about 1880

    Mary Stevenson Cassatt (American, 1844–1926)

    Description

    Cassatt’s paintings often document the social interactions of well-to-do women like herself. The activities they depict—tea drinking, going to the theatre, tending children—fall within the normal routine for Cassatt’s sex and class. Yet the painter’s insistence upon representing such episodes from the modern world (even a sheltered segment of it), her dislike for narrative, and her devotion to surface arrangement and color, all evident in The Tea, mark Cassatt’s dedication to the most advanced artistic principles of her day. In 1877 Cassatt had been invited by Edgar Degas to join a group of independent artists, later known as the Impressionists. “I accepted with joy,” she later recalled. “I hated conventional art.” [1]She was one of just a few women, and the only American, to exhibit with the group.

    In the late 1870s and early 1880s, Cassatt made a number of images that show women participating in the domestic and social ritual of drinking tea. Among these works are two related oils, The Cup of Tea (about 1880–81) and Lady at the Tea Table (1883–85), both in the collection of the Metropolitan Museum of Art, New York, and a number of prints, among them the MFA’s Tea [M25007] and Afternoon Tea Party [41.811]. Cassatt’s painting The Tea is set in a contemporary drawing room, sometimes described as Cassatt’s own. The fine striped wallpaper and carved marble fireplace, ornamented with an elaborately framed painting and a porcelain jar, are typical of an upper-middle class Parisian interior, and the antique silver tea service on the foreground table implies a distinguished family history. The two women play the traditional roles of hostess and guest, although it appears that their conversation has lapsed: the hostess (on the left, in a simple brown day dress) rests her hand on her chin while her guest (wearing the hat, scarf, and gloves that indicate she has stepped in from outside) sips her tea. The hostess is often identified as Cassatt’s sister Lydia and the guest as a family friend, but it is equally likely the women were Cassatt’s usual models, one brunette and one blonde; the women appear in several of Cassatt’s contemporary scenes of women at the opera.

    Despite these conservative and tasteful surroundings, Cassatt’s painting is a declaration of modernity that demonstrates her rejection of several traditional artistic conventions. First, Cassatt denies the human form its usual compositional primacy: the tea service seems larger in scale than the women themselves. This pictorial conceit of giving inanimate objects equal priority with figures was sometimes employed by Cassatt’s friend Degas. Cassatt further defies custom by obscuring the face of her subject, rendering the guest in the transitory act of drinking. The guest’s pose is a momentary one, for she will soon lift the delicate cup from her lips and replace it on the saucer she balances in her left hand. By selecting the only point in the action when her subject’s face is almost completely hidden by the teacup, Cassatt reiterates her modernist creed that her painting is not only about representing likeness, but also about design and color. She uses the oval shapes of cups and saucers, trays, hats, and faces as repetitive patterns, offsetting the strict graphic geometry of the gray and rose striped wallpaper.

    Cassatt’s concentration upon the formal elements of her composition earned her disapproval from contemporary critics when the painting was first shown in Paris during the fifth Impressionist exhibition of 1880. Paul Mantz, generally a conservative writer, called it “poorly drawn” and commented upon the “wretched sugar bowl [which] remains floating in the air like a dream,”[2] while Philippe Burty, a respected critic who often supported the Impressionists, regretted her “partially completed image[s].” [3]Responding perhaps both to the custom of tea drinking and to the proper, bourgeois interior represented here, the sympathetic commentator J.-K. Huysmans wrote, “Miss Cassatt is evidently also a pupil of English painters” and concluded that The Tea was an “excellent canvas.”[4]

    Cassatt’s painting was quickly purchased by the great French art collector Henri Rouart, who hung it in a small salon in his home, not far from a pastel of women at a milliner’s shop made by their mutual friend Degas (At the Milliner’s, 1882, MuseoThyssen-Bornemisza, Madrid). After Rouart’s death in 1912, his collection was dispersed at auction in Paris; another important connoisseur, Dikran Kelekian, an internationally renowned dealer in near eastern antiquities and a staunch supporter of modern French art, acquired The Tea soon thereafter. The silver tea service Cassatt depicted was part of a family set made in Philadelphia about 1813, of which six pieces (but not the tray) are now in the MFA’s collection [http://www.mfa.org/search/collections?credit_line=Anonymous%20gift%20in%20honor%20of%20Eugenia%20Cassatt%20Madeira].

    Notes
    1. Achille Segard, Mary Cassatt: Un peintre des enfants et des mères (Paris: Librairie Paul Ollendorff,1913), 8.
    2. Paul Mantz, “Exposition des Oeuvres des Artistes Indépendants,” Le Temps, April 14, 1880,
    3. Philippe Burty, “Exposition des Oeuvres des Artistes Indépendants,” La République Française, April 10, 1880, 2.
    4. Joris-Karl Huysmans, “L’exposition des Indépendants en 1880,” in L’art moderne (Paris, 1883), 110.

    Erica E. Hirshler

    Details

    Dimensions

    64.77 x 92.07 cm (25 1/2 x 36 1/4 in.)

    Medium

    Oil on canvas

    Classification

    Paintings

    Accession Number

    42.178

    Collections

    Americas

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  • Water vessel, large, in form of tea pot

    1840

    Description
    Details

    Dimensions

    Legacy dimension: H. .175 D. .168

    Medium

    Clay

    Classification

    Ceramics, Pottery

    Accession Number

    92.4058a-b

    Collections

    Asia

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  • Three-piece tea service

    about 1825–1830

    Higbie and Crosby (American, active about 1825–1832)

    Description

    Teapot: Made of thinly rolled sheet silver, the body rises from a round stepped foot to a bulbous body with pronounced lobed decoration. The piece has bands of milled floral ornament at the foot and shoulder and on the cover. The scrolled handle and the spout of the teapot are cast. The handle of the teapot is protected with ivory insulators, and the spout has a touch of floral decoration on its tip. It is crowned with a large floral finial.
    Creampot: Made of thinly rolled sheet silver, the body rises from a round stepped foot to a bulbous body with pronounced lobed decoration. The piece has bands of milled floral ornament at the foot and shoulder. The scrolled handle of the piece are cast.
    Cover sugar bowl: Made of thinly rolled sheet silver, the body rises from a round stepped foot to a bulbous body with pronounced lobed decoration. The piece has bands of milled floral ornament at the foot and shoulder and on the cover. The scrolled handles of the piece are cast. It is crowned with a large floral finial.

    Details

    Dimensions

    Teapot: 26.5 x 30.9 x 16.3 cm (10 7/16 x 12 3/16 x 6 7/16 in.) Creampot: 20.2 x 17.7 x 11 cm (7 15/16 x 6 15/16 x 4 5/16 in.) Covered sugar bowl: 24.5 x 23.5 x 14.5 cm (9 5/8 x 9 1/4 x 5 11/16 in.)

    Medium

    Silver

    Classification

    Silver hollowware

    Accession Number

    1975.649-651a-b

    Collections

    Americas

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  • Geisha and Waitress

    about latter half of the Bunka era (1804–18)

    Utagawa Toyokuni I (Japanese, 1769–1825)

    Description
    Details

    Dimensions

    Image: 161.5 x 82 cm (63 9/16 x 32 5/16 in.) Overall: 273 x 107 cm (107 1/2 x 42 1/8 in.)

    Medium

    Hanging scroll; ink, color, gold, silver, and mica on silk

    Classification

    Paintings

    Accession Number

    11.7583

    Collections

    Asia

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  • Cream pitcher (part of a three- piece service)

    1824

    William Gale, Sr. (American, 1799–1864)

    Description

    The creampot has a raised body, elliptical in form, with large lobes and applied bands of floral decoration. The piece sits on a raised and stepped elliptical base.
    It has a stamped floral molding below a stepped foot that forms the shaft supporting the oval body. The lowest part of the body is melon ribbed, the central rib bearing the engraved initials. Above the melon ribbing is the engraved inscription, with another stamped band of flowers above. Encircling the lip of the creamer is a stamped leaf pattern with floral blossoms. The piece has scrolled handles.

    Details

    Dimensions

    Overall: 19.5 x 18.7 x 10.5 cm (7 11/16 x 7 3/8 x 4 1/8 in.)

    Medium

    Silver

    Classification

    Silver hollowware

    Accession Number

    1977.744

    Collections

    Americas

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  • Young Woman from a Tea Shop

    about Bunka era (1804–18)

    Artist Unknown, Japanese

    Description
    Details

    Dimensions

    Image: 37.2 x 50.2 cm (14 5/8 x 19 3/4 in.)

    Medium

    Panel; ink and color on paper

    Classification

    Paintings

    Accession Number

    11.4643

    Collections

    Asia

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  • Still Life with Teapot, Grapes, Chestnuts, and a Pear

    17[64?]

    Jean Siméon Chardin (French, 1699–1779 French)

    Description
    Details

    Dimensions

    32.1 x 40 cm (12 5/8 x 15 3/4 in.)

    Medium

    Oil on canvas

    Classification

    Paintings

    Accession Number

    83.177

    Collections

    Europe

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  • Large teapot

    1840–70

    Description
    Details

    Medium

    Glazed stoneware

    Classification

    Ceramics, Pottery

    Accession Number

    92.6120a-b

    Collections

    Asia

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  • Teapot

    Description
    Details

    Medium

    Pottery

    Classification

    Ceramics, Pottery

    Accession Number

    92.5669a-b

    Collections

    Asia

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  • Teapot

    1830–80

    Description
    Details

    Medium

    Pottery

    Classification

    Ceramics, Pottery

    Accession Number

    92.5695a-b

    Collections

    Asia

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  • Teapot

    1790

    Description
    Details

    Dimensions

    Overall: 3 5/8 in. diameter

    Medium

    Glazed stoneware

    Classification

    Ceramics, Pottery

    Accession Number

    92.6163a-b

    Collections

    Asia

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  • Teapot

    Ninnami Dohachi (Japanese, 1783–1855 Japanese)

    Description
    Details

    Dimensions

    Overall: 11.7 x 10.5 x 11 cm (4 5/8 x 4 1/8 x 4 5/16 in.)

    Medium

    Kyoto ware; porcelain with overglaze enamels

    Classification

    Ceramics, Porcelain

    Accession Number

    92.6168a-b

    Collections

    Asia

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  • Teapot

    1840

    Description
    Details

    Dimensions

    Overall: 4 5/8 in. diameter

    Medium

    Glazed stoneware

    Classification

    Ceramics, Pottery

    Accession Number

    92.6309a-b

    Collections

    Asia

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  • Teapot

    1850

    Description
    Details

    Dimensions

    Overall: 3 13/16 in. diameter

    Medium

    Pottery

    Classification

    Ceramics, Pottery

    Accession Number

    92.6577a-b

    Collections

    Asia

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  • Teapot

    1850

    Description
    Details

    Dimensions

    Overall: 3 3/4 in. diameter

    Medium

    Pottery

    Classification

    Ceramics, Pottery

    Accession Number

    92.6614a-b

    Collections

    Asia

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  • Teapot

    1825

    Description
    Details

    Dimensions

    Overall: 3 7/8 in. diameter

    Medium

    Ceramic, Kakiemon ware, stoneware

    Classification

    Ceramics, Pottery, Stoneware

    Accession Number

    92.6518a-b

    Collections

    Asia

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  • Teapot

    1877

    Description
    Details

    Dimensions

    Overall: 2 3/8 in. diameter

    Medium

    Pottery

    Classification

    Ceramics, Pottery

    Accession Number

    92.6669a-b

    Collections

    Asia

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  • Teapot

    1780–1870

    Description
    Details

    Medium

    Pottery

    Classification

    Ceramics, Pottery

    Accession Number

    92.6698a-b

    Collections

    Asia

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  • Teapot

    1840

    Description
    Details

    Dimensions

    Overall: 4 1/8 in. length

    Medium

    Pottery

    Classification

    Ceramics, Pottery

    Accession Number

    92.7111a-b

    Collections

    Asia

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  • Teapot

    Description
    Details

    Dimensions

    Overall: 3 in. diameter

    Medium

    Pottery

    Classification

    Ceramics, Pottery

    Accession Number

    92.7482a-b

    Collections

    Asia

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  • Teapot

    Description
    Details

    Dimensions

    Overall: 3 in. diameter

    Medium

    Pottery

    Classification

    Ceramics, Pottery

    Accession Number

    92.7511a-b

    Collections

    Asia

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  • Teapot

    about 1775

    Made at Zurich Manufactory (Switzerland)

    Description

    Delicately painted flowers; the cover has flower bud for knob; a bird's beak for spout.

    Details

    Dimensions

    9.2 x 16.2 x 9.1 cm (3 5/8 x 6 3/8 x 3 9/16 in.)

    Medium

    Hard-paste porcelain

    Classification

    Ceramics, Porcelain

    Accession Number

    95.475a-b

    Collections

    Europe

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  • Teapot

    about 1780–85

    Made at Höchst Manufactory (Germany)

    Description
    Details

    Dimensions

    12.6 x 12.9 x 9.5 cm (4 15/16 x 5 1/16 x 3 3/4 in.)

    Medium

    Hard-paste porcelain

    Classification

    Ceramics, Porcelain

    Accession Number

    95.301a-b

    Collections

    Europe

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  • Teapot

    about 1830

    Made at Popov Manufactory (Moscow, Russia)

    Description

    Porcelain; white ground, with green spout, and raised branches and leaves.

    Details

    Dimensions

    8.8 x 17.5 x 9.9 cm (3 7/16 x 6 7/8 x 3 7/8 in.)

    Medium

    Hard-paste porcelain

    Classification

    Ceramics, Porcelain

    Accession Number

    99.639a-b

    Collections

    Europe

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  • Teapot

    1785–90

    Made at Wedgwood Manufactory (Staffordshire, England)

    Description

    Blue jasper; white reliefs of women, children, cupids, etc., after designs by Lady Templeton. 03.265-269 belong to a tea service. Mark; Wedgwood.

    Details

    Dimensions

    14 x 17.2 x 10.5 cm (5 1/2 x 6 3/4 x 4 1/8 in.)

    Medium

    Colored stoneware (jasperware)

    Classification

    Ceramics, Pottery, Stoneware

    Accession Number

    03.265a-b

    Collections

    Europe

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  • Teapot

    1740–50

    Description

    Curved sides, incised lines near rim and flat bottom. Curved, ornamented spout. Scroll handle in form of dolphin. Domed cover with acorn finial. Red-brown glaze with British royal arms flanked by lion and unicorn over flower spray on both sides and three

    Details

    Dimensions

    14.5 x 21 x 11 cm (5 11/16 x 8 1/4 x 4 5/16 in.)

    Medium

    Red stoneware

    Classification

    Ceramics, Pottery, Stoneware

    Accession Number

    09.635a-b

    Collections

    Europe

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  • Teapot in the form of a camel

    about 1740

    Made at Staffordshire (England)

    Description
    Details

    Dimensions

    20.5 x 9.4 x 23.9 cm (8 1/16 x 3 11/16 x 9 7/16 in.)

    Medium

    Salt-glazed stoneware

    Classification

    Ceramics, Pottery, Stoneware

    Accession Number

    08.166a-b

    Collections

    Europe

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  • Teapot

    about 1830–38

    J. B. Woodbury (American, active from about 1830–1838...

    Description
    Details

    Dimensions

    11.75 cm (4 5/8 in.)

    Medium

    Pewter

    Classification

    Pewter

    Accession Number

    17.1602

    Collections

    Americas

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  • Teapot

    Description

    Copper and brass. Body copper; spout, handle, cover and scalloped bands at top and bottom of brass. A few dents on body and spout.

    Details

    Dimensions

    28 cm (11 in.)

    Medium

    Metal; Gilded copper

    Classification

    Metalwork

    Accession Number

    18.416a-b

    Collections

    Europe

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  • Teapot

    about 1730–35

    Jacob Hurd (American, 1702 or 1703–1758)

    Description
    Details

    Dimensions

    Other (Overall): 13.3 x 21.8 x 10.8 cm (5 1/4 x 8 5/8 x 4 1/4 in.) Other: 8.1 cm (3 3/16 in.)

    Medium

    Silver

    Classification

    Silver hollowware

    Accession Number

    13.558

    Collections

    Americas

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  • Teapot

    about 1735

    Made at Meissen Manufactory (Germany)

    Description
    Details

    Dimensions

    11 cm (4 5/16 in.)

    Medium

    Hard-paste porcelain

    Classification

    Ceramics, Porcelain

    Accession Number

    34.1348a-b

    Collections

    Europe

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  • Teapot

    1760–65

    Paul Revere, Jr. (American, 1734–1818)

    Description

    Long before he earned fame as a zealous patriot, Paul Revere Jr. was well known among his contemporaries as a superb silversmith and engraver. He learned his trade from his father, Paul Revere Sr., who had emigrated from France as a young man and apprenticed with noted silversmith John Coney. The younger Revere inherited the shop after his father's death in 1754, working under his mother's name until he came of age a year later. The craftsman's early work shows his quick adoption and mastery of the Rococo style, both in engraving and three-dimensional works in silver.

    This extraordinary teapot is one of the finest surviving Rococo teapots from Boston. The sophisticated double-bellied shape is embellished with raised, chased decoration, as opposed to the more common flat, engraved method. The designs, which were punched out from the interior of the piece, decorate the shoulder of the teapot and form the central cartouche. The iconography includes common Rococo motifs such as C-scrolls, raffles (ruffle-like decoration), and a variety of flowers arranged in an energetic and asymmetrical fashion, as well as a more exotic bird and chinoiserie pavilion. These unusual motifs indicate Revere's advanced knowledge of, and willingness to experiment with, the Rococo style.

    This text was adapted from Ward, et al., MFA Highlights: American Decorative Arts & Sculpture (Boston, 2006) available at www.mfashop.com/mfa-publications.html.

    Details

    Dimensions

    Overall: 14.9cm (5 7/8in.)

    Medium

    Silver

    Classification

    Silver hollowware

    Accession Number

    35.1775

    Collections

    Americas

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  • Teapot

    1796

    Paul Revere, Jr. (American, 1734–1818)

    Description

    After a hiatus in his silversmithing business during the Revolution, Paul Revere returned to his craft about 1780. Soon his shop began producing silver in the newest taste, using the latest technology. This fluted teapot, for example, is probably based on similar English works in silver, fused plate (also called Sheffield plate), or ceramic wares, and it is made of rolled sheet silver. Bending sheets of thin silver, produced in rolling mills, into a desired form and soldering them together took less time and effort than the traditional, more laborious method of raising a vessel from an ingot with repeated hammer blows. Here, Revere decorated the teapot with dotted and bright-cut bands over tasseled festoons at top and bottom, all in the latest Neoclassical style.

    Revere entered a charge for this teapot in his account book on June 18, 1796, noting its sale to Jonathan Hunnewell, a mason and distinguished citizen of Boston. As was common, the intrinsic value of the silver (at 7 shillings per ounce for a total value of £7.1.0) was roughly equivalent to the price Revere charged for making and engraving the vessel (£7.10.0), bringing the total cost to £14.11.0. Hunnewell also ordered a stand for the teapot and a sugar basket, twelve teaspoons, sugar tongs, and four salt shovels.

    Hunnewell and Revere were friends. Each was an active member of the Massachusetts Charitable Mechanics Society, a mutual aid organization founded in 1795; Revere was the first president and Hunnewell the second.

    This text was adapted from Ward, et al., MFA Highlights: American Decorative Arts & Sculpture (Boston, 2006) available at www.mfashop.com/mfa-publications.html.

    Details

    Dimensions

    14.92 cm (5 7/8 in.)

    Medium

    Silver

    Classification

    Silver hollowware

    Accession Number

    35.1779

    Collections

    Americas

    Not On View
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  • Tea service

    1800–01

    Description

    Seven-piece tea service consisting of Elliptical Teapot and Tray, Oval Teapot and Tray, Tea Canister, Suger Bowl, Waste Bowl, Cream Jug, and a set of 12 Teaspoons.

    Details

    Dimensions

    Overall (Teapot): 17.5 x 29.3 x 12.1 cm (6 7/8 x 11 9/16 x 4 3/4 in.) Overall (Tray): 1.7 x 12.4 x 16 cm (11/16 x 4 7/8 x 6 5/16 in.) Overall (Teapot, second): 15.2 x 26.2 x 11.4 cm (6 x 10 5/16 x 4 1/2 in.) Overall (Tray, second): 1.7 x 14.9 x 11.4 cm (11/16 x 5 7/8 x 4 1/2 in.) Overall (Tea Canister): 17.6 x 15.4 x 12.1 cm (6 15/16 x 6 1/16 x 4 3/4 in.) Overall (Sugar Bowl): 11.3 x 16.4 x 10 cm (4 7/16 x 6 7/16 x 3 15/16 in.) Overall (Waste Bowl): 10 x 15.2 cm (3 15/16 x 6 in.) Overall (Cream Jug): 11.2 x 13.5 x 7.6 cm (4 7/16 x 5 5/16 x 3 in.)

    Medium

    Silver, parcel gilt, and ebonized wood

    Classification

    Silver

    Accession Number

    38.1831-1837

    Collections

    Europe

    Not On View
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  • Teapot

    1752–58

    Made at Chelsea Manufactory (England, active 1745-1769)

    Description
    Details

    Dimensions

    13 cm (5 1/8 in.)

    Medium

    Soft-paste porcelain

    Classification

    Ceramics, Porcelain

    Accession Number

    39.301a-b

    Collections

    Europe

    Not On View
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  • Quilt with Green Teapot

    1975

    Peter Plamondon (American, born in 1939 American)

    Description
    Details

    Dimensions

    109.2 x 118.1 cm (43 x 46 1/2 in.)

    Medium

    Oil on canvas

    Classification

    Paintings

    Accession Number

    1983.296

    Collections

    Americas, Contemporary Art

    Not On View
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  • La Jolie Visiteuse (The Pretty Visitor)

    Jean Baptiste Mallet (French, 1759–1835 French)

    Description
    Details

    Dimensions

    Framed: 45.7 x 54 x 4.8 cm (18 x 21 1/4 x 1 7/8 in.) Overall: 27.5 x 36cm (10 13/16 x 14 3/16in.)

    Medium

    Opaque watercolor on paper

    Classification

    Watercolors

    Accession Number

    65.2585

    Collections

    Europe, Prints and Drawings

    Not On View
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