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MFA Images: Tea Time

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  • Afternoon Tea Party

    about 1891
    Mary Stevenson Cassatt (American, 1844–1926)

    Description

    Trial Proof F

    Inscription

    Recto: in graphite, lower left below plate: MC; in graphite, lower center: F

    Signed

    Initialed

    Provenance

    1941, sold by Jean Goriany, New York, to the MFA. (Accession Date: November 13, 1941)

    Credit Line

    Gift of William Emerson and The Hayden Collection—Charles Henry Hayden Fund

    Details

    Catalogue Raisonné

    Breeskin 151 (state not in Breeskin); Mathews & Shapiro 13, trial proof F of v/v

    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.)

    Accession Number

    41.811

    Medium or Technique

    Drypoint and color aquatint

    Not On View

    Collections

    Americas, Prints and Drawings

    Classifications

    Prints

    More Info
  • Tea Set

    1799
    Paul Revere, Jr. (American, 1734–1818)

    Object Place: Boston, Massachusetts, United States

    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.

    Provenance

    1799, commissioned by citizens of Boston as a gift for Edmund Hartt (b. 1744 – d. 1824), Boston [see note]. By 1895, James Longley (b. 1840 –d. 1916), Boston; 1896, gift of Longley to the MFA. (Accession Date: January 7, 1896) NOTE: Given to Hartt in gratitude for his efforts as a shipbuilder for the American navy. The tea set was included in Hartt’s probate inventory at the time of his death in 1824. According to Dr. William Hartt (telephone conversation with the MFA, 2006), family tradition holds that in the nineteenth century, one of Hartt’s descendants lost the tea set to James Longley in a card game, though there has been no way to verify this story.

    Credit Line

    Gift of James Longley

    Details

    Catalogue Raisonné

    Buhler, 1972, No. 414-416

    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.)

    Accession Number

    96.1-4

    Medium or Technique

    Silver

    On View

    Prudence S. and William M. Crozier, Jr. Gallery (Gallery 121)

    Collections

    Americas

    Classifications

    Silver hollowware

    More Info
  • Double-spouted melon-shaped ewer with blue-and-white decoration of flower scrolls

    Chinese
    Qing dynasty
    18th–19th century

    Description

    Credit Line

    Gift of Mr. and Mrs. George Washington Wales

    Details

    Dimensions

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

    Accession Number

    95.521

    Medium or Technique

    Porcelain, Jingdezhen ware

    On View

    Alan and Simone Hartman Galleries (Gallery 241A)

    Collections

    Asia

    Classifications

    Ceramics, Porcelain

    More Info
  • The Syllables Ra through Ku: Woman Drinking Tea and Companion with a Bowl of Rice, from an untitled Iroha series

    Japanese
    Edo period
    about 1802 (Kyôwa 2)
    Artist Kitagawa Utamaro I (Japanese, (?)–1806), Publisher Nishimuraya Yohachi (Eijudô) (Japanese)

    Description

    Signed

    Utamaro hitsu 歌麿筆

    Provenance

    Spring 1913, purchased by William S. and John T. Spaulding from Frank Lloyd Wright; December 1, 1921, given by William S. and John T. Spaulding to the Museum.

    Credit Line

    William S. and John T. Spaulding Collection

    Details

    Catalogue Raisonné

    Ukiyo-e shûka 3 (1978), list #369.4; the series: Shibui, Ukiyo-e zuten Utamaro (1964), 113 (this design not illustrated)

    Dimensions

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

    Accession Number

    21.6505

    Medium or Technique

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

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Prints

    More Info
  • Takashima Ohisa, from the series A Fashionable Triptych (Fûryû sanpuku tsui)

    Japanese
    Edo period
    Artist Utagawa Toyokuni I (Japanese, 1769–1825), Publisher Izumiya Ichibei (Kansendô) (Japanese)

    Description

    Signed

    Toyokuni ga 豊国画

    Provenance

    Purchased by William S. and John T. Spaulding from W. L. Keane collection (#374); December 1, 1921, given by William S. and John T. Spaulding to the Museum.

    Credit Line

    William S. and John T. Spaulding Collection

    Details

    Catalogue Raisonné

    Ukiyo-e taikei 9 (1976), #5

    Dimensions

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

    Accession Number

    21.6965

    Medium or Technique

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

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Prints

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  • Five-piece Tea Set

    about 1850
    Charters, Cann & Dunn (active 1848–1856), Thomas Charters, Jr. (American, active 1848–1859), John Cann (American, active 1848–1867), David Dunn (American, active 1848–1860), Retailed by Ball Tompkins & Black (American, active 1839–1851)

    Object Place: New York, United States

    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.

    Inscription

    "M P R" in entwined sprigged script, in a reserve framed by C scrolls and foliage, engraved to left of handle on kettle. The crest of a running stag between two trees is engraved within an identical reserve on the opposite side of the initials. The family affiliation for the crest is unknown.

    Markings

    "BALL TOMPKINS & BLACK" in an arched reserve curve; "N [pellet] Y" in a rectangle; lion's head within an ellipse; "C C & D" in a shaped lozenge; an arm and hammer in an ellipse, all struck on base. "NY" over "C C & D" struck on kettle. The kettle stand lacks the place mark. The burner carries the same retailer's and maker's marks, with accompanying psudohallmarks.

    Provenance

    Early history unknown. From the collection of Maxim Karolik (1893 – 1963), noted collector of American art and benefactor of the MFA.

    Credit Line

    Bequest of Maxim Karolik

    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.)

    Accession Number

    64.933-937

    Medium or Technique

    Silver

    On View

    Forkner and Gill Family Gallery (Gallery 238)

    Collections

    Americas

    Classifications

    Silver hollowware

    More Info
  • The Tea

    Le Thé

    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

    Inscription

    Signed lower left: Mary Cassatt

    Provenance

    About 1881, sold by the artist to Henri Rouart (1833-1912), Paris; Dec. 9-11, 1912, Henri Rouart sale, Galerie Manzi-Joyant, Paris, lot 9, to Dikran G. Kelekian (1868-1951), Paris; 1942, sold by Dikran Kelekian to the MFA for $6,000. (Accession Date: April 9, 1942)

    Credit Line

    M. Theresa B. Hopkins Fund

    Details

    Catalogue Raisonné

    Breeskin 78

    Dimensions

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

    Accession Number

    42.178

    Medium or Technique

    Oil on canvas

    On View

    Suzanne and Terrence Murray Gallery (Gallery 226)

    Collections

    Americas

    Classifications

    Paintings

    More Info
  • Water vessel, large, in form of tea pot

    Japanese
    1840

    Object Place: Ise province, Fueki Banko

    Description

    Credit Line

    Morse Collection. Museum purchase with funds donated by contribution

    Details

    Dimensions

    Legacy dimension: H. .175 D. .168

    Accession Number

    92.4058a-b

    Medium or Technique

    Clay

    Not On View

    Collections

    Asia

    Classifications

    Ceramics, Pottery

    More Info
  • Three-piece tea service

    about 1825–1830
    Higbie and Crosby (American, active about 1825–1832), Aaron Higbie (18th century), Ransom Crosby (American)

    Object Place: New York, United States

    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.

    Inscription

    "A M S" in entwined script on side, "XX" scratched on bottom.

    Markings

    "HIGBIE & CROSBY / [face in profile] / [crowned head] / C / [star] "

    Provenance

    Early history unknown.

    Credit Line

    Gift of Dr. and Mrs. Roger G. Gerry

    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.)

    Accession Number

    1975.649-651a-b

    Medium or Technique

    Silver

    On View

    Kristin and Roger Servison Gallery (Gallery 133)

    Collections

    Americas

    Classifications

    Silver hollowware

    More Info
  • Geisha and Waitress

    Geigi to nakai (Fuyu fûzoku)
    芸妓と仲居

    Japanese
    Edo period
    about latter half of the Bunka era (1804–18)
    Utagawa Toyokuni I (Japanese, 1769–1825)

    Description

    Provenance

    By 1911, purchased by William Sturgis Bigelow (b. 1850 - d. 1926), Boston [see note 1]; 1911, gift of Bigelow to the MFA. (Accession Date: August 3, 1911) NOTES: [1] Much of Bigelow's collection of Asian art was formed during his residence in Japan between 1882 and 1889, although he also made acquisitions in Europe and the United States. Bigelow deposited many of these objects at the MFA in 1890 before donating them to the Museum's collection at later dates.

    Credit Line

    William Sturgis Bigelow Collection

    Details

    Catalogue Raisonné

    KJM2-Ukiyo-339; Drama and Desire (2007), cat. no. 54

    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.)

    Accession Number

    11.7583

    Medium or Technique

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

    Not On View

    Collections

    Asia

    Classifications

    Paintings

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

    1824
    William Gale, Sr. (American, 1799–1864)

    Object Place: New York, United States

    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.

    Inscription

    "WCP" on center lobe and "Presented by Morton Encampment No.4 to Wm F. Piatt M.E.P.G. / Commander as a testimony of respect & esteem New York Nov 26th 1824" in script on right side

    Markings

    "W. GALE" in roman letters on bottom. Star above, lion walking within a cartouch below, male profile in oval to the left, crowned head in sheild to the right.

    Provenance

    Dr. William Fleet Piatt to his daughter Eliza Piatt Burgess; to her son William Piatt Burgess; to his sister Clara Nye Burgess Marston; to her son James H. C. Marston; to his daughter Genevieve Burgess Marston Darden, the donor.

    Credit Line

    Gift of Mr. and Mrs. Hugh B. Darden

    Details

    Dimensions

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

    Accession Number

    1977.744

    Medium or Technique

    Silver

    Not On View

    Collections

    Americas

    Classifications

    Silver hollowware

    More Info
  • Young Woman from a Tea Shop

    Mizujaya no musume
    水茶屋の娘

    Japanese
    Edo period
    about Bunka era (1804–18)
    Artist Unknown, Japanese

    Description

    Provenance

    Prior to 1886 purchased by Ernest Francisco Fenollosa; 1886 purchased by Charles Goddard Weld from Ernest Fenollosa; 1911 bequeathed by Charles Goddard Weld to the Museum

    Credit Line

    Fenollosa-Weld Collection

    Details

    Catalogue Raisonné

    KJM2-Ukiyo-288

    Dimensions

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

    Accession Number

    11.4643

    Medium or Technique

    Panel; ink and color on paper

    Not On View

    Collections

    Asia

    Classifications

    Paintings

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

    17[64?]
    Jean Siméon Chardin (French, 1699–1779)

    Description

    Chardin celebrated the commonplace. His still lifes feature an air of informality and intimacy, as if he were working in his kitchen rather than his studio. In fact, inventories reveal that he owned most of the objects that he painted so meticulously, balancing form and texture. He also loved the pure, sensuous quality of paint, as the patch of brilliant orange brushed on the pear attests. The critic Denis Diderot enthused: “O Chardin! It’s not white, red, or black pigment that you crush on your palette: it’s the very substance of the objects, it’s air and light that you take up with the tip of your brush and fix onto the canvas.”

    Inscription

    Lower left: Chardin / 17 [64?]

    Provenance

    By 1878, M. Signol collection; April 1-3, 1878, Signol sale, Hotel Drouot, Paris, lot 45. Étienne-Edmond-Martin, Baron de Beurnonville (b. 1825 - d. 1906), Paris; May 21-22, 1883, Beurnonville sale, Hotel Drouot, Paris, lot 7, to Martin Brimmer (b. 1829 - d. 1896) and Marianne Timmins Brimmer (b. 1827 - d. 1906), Boston, for 1250 ff; 1883, gift of Martin Brimmer to the MFA. (Accession Date: October 9, 1883)

    Credit Line

    Gift of Martin Brimmer

    Details

    Dimensions

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

    Accession Number

    83.177

    Medium or Technique

    Oil on canvas

    On View

    Robert and Ruth Remis Gallery (Gallery 244)

    Collections

    Europe

    Classifications

    Paintings

    More Info
  • Large teapot

    Japanese
    1840–70

    Description

    Credit Line

    Morse Collection. Museum purchase with funds donated by contribution

    Details

    Accession Number

    92.6120a-b

    Medium or Technique

    Glazed stoneware

    Not On View

    Collections

    Asia

    Classifications

    Ceramics, Pottery

    More Info
  • Teapot

    Japanese

    Description

    Credit Line

    Morse Collection. Museum purchase with funds donated by contribution

    Details

    Accession Number

    92.5669a-b

    Medium or Technique

    Pottery

    Not On View

    Collections

    Asia

    Classifications

    Ceramics, Pottery

    More Info
  • Teapot

    Japanese
    1830–80

    Description

    Credit Line

    Morse Collection. Museum purchase with funds donated by contribution

    Details

    Accession Number

    92.5695a-b

    Medium or Technique

    Pottery

    Not On View

    Collections

    Asia

    Classifications

    Ceramics, Pottery

    More Info
  • Teapot

    Japanese
    1790

    Description

    Credit Line

    Morse Collection. Museum purchase with funds donated by contribution

    Details

    Dimensions

    Overall: 3 5/8 in. diameter

    Accession Number

    92.6163a-b

    Medium or Technique

    Glazed stoneware

    Not On View

    Collections

    Asia

    Classifications

    Ceramics, Pottery

    More Info
  • Teapot

    Japanese
    Edo period
    Nin'ami Dôhachi (Japanese, 1783–1855)

    Description

    Provenance

    By 1892, Edward Sylvester Morse; 1892, sold by Edward Sylvester Morse to the MFA. (Accession Date: March 1, 1892)

    Credit Line

    Morse Collection. Museum purchase with funds donated by contribution

    Details

    Dimensions

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

    Accession Number

    92.6168a-b

    Medium or Technique

    Kyoto ware; porcelain with overglaze enamels

    Not On View

    Collections

    Asia

    Classifications

    Ceramics, Porcelain

    More Info
  • Teapot

    Japanese
    1840

    Description

    Credit Line

    Morse Collection. Museum purchase with funds donated by contribution

    Details

    Dimensions

    Overall: 4 5/8 in. diameter

    Accession Number

    92.6309a-b

    Medium or Technique

    Glazed stoneware

    Not On View

    Collections

    Asia

    Classifications

    Ceramics, Pottery

    More Info
  • Teapot

    Japanese
    1850

    Description

    Credit Line

    Morse Collection. Museum purchase with funds donated by contribution

    Details

    Dimensions

    Overall: 3 13/16 in. diameter

    Accession Number

    92.6577a-b

    Medium or Technique

    Pottery

    Not On View

    Collections

    Asia

    Classifications

    Ceramics, Pottery

    More Info
  • Teapot

    Japanese
    1850

    Description

    Credit Line

    Morse Collection. Museum purchase with funds donated by contribution

    Details

    Dimensions

    Overall: 3 3/4 in. diameter

    Accession Number

    92.6614a-b

    Medium or Technique

    Pottery

    Not On View

    Collections

    Asia

    Classifications

    Ceramics, Pottery

    More Info
  • Teapot

    Japanese
    1825

    Description

    Credit Line

    Morse Collection. Museum purchase with funds donated by contribution

    Details

    Dimensions

    Overall: 3 7/8 in. diameter

    Accession Number

    92.6518a-b

    Medium or Technique

    Ceramic, Kakiemon ware, stoneware

    Not On View

    Collections

    Asia

    Classifications

    Ceramics, Pottery, Stoneware

    More Info
  • Teapot

    Japanese
    1877

    Description

    Credit Line

    Morse Collection. Museum purchase with funds donated by contribution

    Details

    Dimensions

    Overall: 2 3/8 in. diameter

    Accession Number

    92.6669a-b

    Medium or Technique

    Pottery

    Not On View

    Collections

    Asia

    Classifications

    Ceramics, Pottery

    More Info
  • Teapot

    Japanese
    1780–1870

    Description

    Credit Line

    Morse Collection. Museum purchase with funds donated by contribution

    Details

    Accession Number

    92.6698a-b

    Medium or Technique

    Pottery

    Not On View

    Collections

    Asia

    Classifications

    Ceramics, Pottery

    More Info
  • Teapot

    Japanese
    1840

    Description

    Credit Line

    Morse Collection. Museum purchase with funds donated by contribution

    Details

    Dimensions

    Overall: 4 1/8 in. length

    Accession Number

    92.7111a-b

    Medium or Technique

    Pottery

    Not On View

    Collections

    Asia

    Classifications

    Ceramics, Pottery

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  • Teapot

    Japanese

    Description

    Credit Line

    Morse Collection. Museum purchase with funds donated by contribution

    Details

    Dimensions

    Overall: 3 in. diameter

    Accession Number

    92.7482a-b

    Medium or Technique

    Pottery

    Not On View

    Collections

    Asia

    Classifications

    Ceramics, Pottery

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  • Teapot

    Japanese

    Description

    Credit Line

    Morse Collection. Museum purchase with funds donated by contribution

    Details

    Dimensions

    Overall: 3 in. diameter

    Accession Number

    92.7511a-b

    Medium or Technique

    Pottery

    Not On View

    Collections

    Asia

    Classifications

    Ceramics, Pottery

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  • Teapot

    Swiss
    about 1775
    Made at Zurich Manufactory (Switzerland)

    Object Place: Zurich, Switzerland

    Description

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

    Provenance

    Acquired in Lausanne, Switzerland by Mr. and Mrs. George W. Wales; Gift of Mr. and Mrs. George W. Wales to the MFA in 1895 (Accession Date: March 28, 1895)

    Credit Line

    Gift of Mr. and Mrs. George Washington Wales

    Details

    Dimensions

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

    Accession Number

    95.475a-b

    Medium or Technique

    Hard-paste porcelain

    Not On View

    Collections

    Europe

    Classifications

    Ceramics, Porcelain

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  • Teapot

    German
    about 1780–85
    Made at Höchst Manufactory (Germany)

    Object Place: Germany

    Description

    Markings

    Mark: =hand drawn=

    Provenance

    Gift of Mr. and Mrs. George W. Wales to the MFA in 1895 (Accession Date: March 28, 1895)

    Credit Line

    Gift of Mr. and Mrs. George Washington Wales

    Details

    Dimensions

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

    Accession Number

    95.301a-b

    Medium or Technique

    Hard-paste porcelain

    Not On View

    Collections

    Europe

    Classifications

    Ceramics, Porcelain

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  • Teapot

    Russian
    about 1830
    Made at Popov Manufactory (Moscow, Russia)

    Object Place: Moscow, Russia

    Description

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

    Markings

    =hand-drawn mark= in blue.

    Provenance

    Bought in St. Petersburg, 1887; Bequest of Mrs. John H. Thorndike to the MFA in 1899 (Accession Date: December 5, 1899)

    Credit Line

    Bequest of Mrs. John H. Thorndike

    Details

    Dimensions

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

    Accession Number

    99.639a-b

    Medium or Technique

    Hard-paste porcelain

    Not On View

    Collections

    Europe

    Classifications

    Ceramics, Porcelain

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  • Teapot

    English
    1785–90
    Made at Wedgwood Manufactory (Staffordshire, England)

    Object Place: 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.

    Provenance

    Bequest of George W. Wales to the MFA in 1903 (Accession Date: January 15, 1903)

    Credit Line

    Bequest of George Washington Wales

    Details

    Dimensions

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

    Accession Number

    03.265a-b

    Medium or Technique

    Colored stoneware (jasperware)

    Not On View

    Collections

    Europe

    Classifications

    Ceramics, Pottery, Stoneware

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  • Teapot

    English
    1740–50

    Object Place: England

    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

    Provenance

    1909, gift of Mrs. George Linder to the MFA. (Accession Date: May 11, 1909)

    Credit Line

    Gift of Mrs. George Linder

    Details

    Dimensions

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

    Accession Number

    09.635a-b

    Medium or Technique

    Red stoneware

    Not On View

    Collections

    Europe

    Classifications

    Ceramics, Pottery, Stoneware

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  • Teapot in the form of a camel

    English (Staffordshire)
    about 1740
    Made at Staffordshire (England)

    Object Place: Staffordshire, England

    Description

    Provenance

    1908, gift of Mrs. George Linder to the MFA. (Accession Date: February 13, 1908)

    Credit Line

    Gift of Mrs. George Linder

    Details

    Dimensions

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

    Accession Number

    08.166a-b

    Medium or Technique

    Salt-glazed stoneware

    On View

    Alan and Simone Hartman Galleries (Gallery 241)

    Collections

    Europe

    Classifications

    Ceramics, Pottery, Stoneware

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  • Teapot

    about 1830–38
    J. B. Woodbury (American, active from about 1830–1838 (Massachusetts); active 1835–1838 (Philadelphia, Pennsylvania))

    Object Place: Probably Beverly, Massachusetts, United States

    Description

    Credit Line

    Gift of John Templeman Coolidge

    Details

    Dimensions

    11.75 cm (4 5/8 in.)

    Accession Number

    17.1602

    Medium or Technique

    Pewter

    Not On View

    Collections

    Americas

    Classifications

    Pewter

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  • Teapot

    Russian

    Object Place: Russia

    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.

    Credit Line

    Gift of Mrs. Henrietta Page

    Details

    Dimensions

    28 cm (11 in.)

    Accession Number

    18.416a-b

    Medium or Technique

    Metal; Gilded copper

    Not On View

    Collections

    Europe

    Classifications

    Metalwork

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  • Teapot

    about 1730–35
    Jacob Hurd (American, 1702 or 1703–1758)

    Object Place: Boston, Massachusetts, United States

    Description

    Provenance

    Josiah Quincy (b. 1710 - d. 1784) and Hannah Sturgis Quincy (b. 1712 - d. 1755), Barnstable, MA; to their daughter, Hannah Quincy Storer (b. 1736 - d. 1826) and her husband, Ebenezer Storer, Jr. (b. 1729 - d. 1807), Boston; to their daughter, Susanna Storer Eaton (b. 1782 - d. 1853) and her husband, Rev. Asa Eaton (b. 1778 - d. 1858), Boston; by descent to their grandchildren, William Storer Eaton (b. 1854) and Georgianna Goddard Eaton (b. 1857 - d. 1911); 1913, gift of William Storer Eaton to the MFA. (Accession Date: May 1, 1913)

    Credit Line

    Gift of William Storer Eaton in the name of Miss Georgiana G. Eaton

    Details

    Catalogue Raisonné

    Buhler, 1972, No. 167

    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.)

    Accession Number

    13.558

    Medium or Technique

    Silver

    On View

    Carolyn A. and Peter S. Lynch Gallery (Gallery 132)

    Collections

    Americas

    Classifications

    Silver hollowware

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  • Teapot

    German
    about 1735
    Made at Meissen Manufactory (Germany)

    Object Place: Germany

    Description

    This teapot takes the form of a phoenix, a mythical bird regarded in China as an omen of good luck. A Chinese red stoneware pot in the collection of Augustus the Strong served as the model. True to the Chinese original, the liquid pours from a hole at the base of the bird’s neck.

    Provenance

    Lent by Dudley L. Pickman, May 19, 1911; Gift of Dudley Leavitt Pickman to the MFA in 1934 (Accession Date: December 6, 1934)

    Credit Line

    Gift of Dudley Leavitt Pickman

    Details

    Dimensions

    11 cm (4 5/16 in.)

    Accession Number

    34.1348a-b

    Medium or Technique

    Hard-paste porcelain

    On View

    Angelica Lloyd Russell Gallery (Gallery 142)

    Collections

    Europe

    Classifications

    Ceramics, Porcelain

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  • Teapot

    1760–65
    Paul Revere, Jr. (American, 1734–1818)

    Object Place: Boston, Massachusetts

    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.

    Inscription

    Engraved with Ross crest; motto: "NOBILIS.EST.IRA.LEONIS"

    Provenance

    Early history unknown; John Ross of Philadelphia, m. Clementina Plumstead, daughter of William and Mary (McCall) Plumstead; her sister Miss Plumstead; returned to McCall family; Phoebe (Hoffman) Bickerton, whose mother was a McCall, from whom the piece was bought; given to the Museum in 1935 by the collector Pauline Revere Thayer.

    Credit Line

    Pauline Revere Thayer Collection

    Details

    Catalogue Raisonné

    Buhler, 1972, No. 346

    Dimensions

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

    Accession Number

    35.1775

    Medium or Technique

    Silver

    On View

    Carolyn A. and Peter S. Lynch Gallery (Gallery 132)

    Collections

    Americas

    Classifications

    Silver hollowware

    More Info
  • Teapot

    1796
    Paul Revere, Jr. (American, 1734–1818)

    Object Place: Boston, Massachusetts, United States

    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.

    Provenance

    Jonathan Hunnewell; subsequent history unknown; given to the Museum in 1935 by the collector Pauline Revere Thayer.

    Credit Line

    Pauline Revere Thayer Collection

    Details

    Catalogue Raisonné

    Buhler, 1972, No. 405

    Dimensions

    14.92 cm (5 7/8 in.)

    Accession Number

    35.1779

    Medium or Technique

    Silver

    Not On View

    Collections

    Americas

    Classifications

    Silver hollowware

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  • Tea service

    London, England
    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.

    Provenance

    Elizabeth Derby West (1762-1814); by descent to her granddaughter, Louisa Lander; Purchased by her cousin Martha Codman Karolik (1858–1948); Gift of Martha C. Karolik, The M. and M. Karolik Collection of Eighteenth-Century American Arts. (Accession Date: December 29, 1938)

    Credit Line

    Gift of Martha C. Karolik, The M. and M. Karolik Collection of 18th century American Arts

    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.)

    Accession Number

    38.1831-1837

    Medium or Technique

    Silver, parcel gilt, and ebonized wood

    Not On View

    Collections

    Europe

    Classifications

    Silver

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  • Teapot

    English
    1752–58
    Made at Chelsea Manufactory (England, active 1745-1769)

    Object Place: England

    Description

    Provenance

    By 1916, Charles A. King; 1939, gift of Mrs. Charles A. King to the MFA.

    Credit Line

    Gift of Mrs. Charles A. King

    Details

    Dimensions

    13 cm (5 1/8 in.)

    Accession Number

    39.301a-b

    Medium or Technique

    Soft-paste porcelain

    Not On View

    Collections

    Europe

    Classifications

    Ceramics, Porcelain

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  • Quilt with Green Teapot

    1975
    Peter Plamondon (American, born in 1939)

    Description

    Provenance

    The artist; with Alpha Gallery, Boston; to Stephen and Sybil Stone, MA, 1975; to MFA, Boston, 1983

    Credit Line

    Gift of Stephen and Sybil Stone

    Copyright

    Courtesy of Chase Gallery, Boston.

    Details

    Dimensions

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

    Accession Number

    1983.296

    Medium or Technique

    Oil on canvas

    Not On View

    Collections

    Americas, Contemporary Art

    Classifications

    Paintings

    More Info
  • La Jolie Visiteuse (The Pretty Visitor)

    Jean Baptiste Mallet (French, 1759–1835)

    Description

    Provenance

    Camille Groult, Paris; Galerie Charpentier, Paris, 21 March 1952, lot 46, where acquired by Georges Batz and Co., New York, for Wickes; Forsyth Wickes (1876-1964, New York, Paris, Rhode Island); acquired by bequest 1965

    Credit Line

    Bequest of Forsyth Wickes—The Forsyth Wickes Collection

    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.)

    Accession Number

    65.2585

    Medium or Technique

    Opaque watercolor on paper

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Watercolors

    More Info

Contents