Painting of the Day: A Family of Three at Tea, 1727

A Family of Three at Tea
Richard Collins, 1727
The Victoria & Albert Museum

This type of painting is what is termed as a “conversation piece,” essentially meaning relaxed portraits of family groups or gatherings of friends. Wealthy families commissioned such conversation pieces to show their family and friends in their finest clothes and jewels along with the most valuable possessions of the household. In short, they were a way of recording the sitters’ importance and social status.


This painting is the work of Richard Collins and was painted either in Lincolnshire or Leicestershire. Collins (active 1726-1732) was trained under the Swedish-born, London-based portrait painter Michael Dahl (born about 1659; died 1743), and worked as a portrait painter in both Leicester and Lincolnshire.

The canvas we see here is one of two paintings by Collins of the same family drinking tea. The other is called “The Tea Party is at Goldsmiths' Hall, London.” The identities of the sitters aren’t known, but obviously, they are a highly fashionable family. They are depicted, as the V&A says, “sitting around a tea table, obviously proud of their up-to-date and valuable silver and porcelain, and also of their knowledge of the correct manner of taking tea. The tea equipage is a typical one of the first half of the 18th century. It includes a sugar dish, a tea canister, sugar tongs, a hot-water jug, a spoon boat with teaspoons, a slop bowl and a teapot with a lamp beneath it to keep the contents hot.”

A Recipe for Punch, Chapter 8

Chapter 8
She Ain't Here


"Stupid girl!"  Jackson snapped.

"Pardon me?"  Maudie looked up from her work.

"What are you doing?"

"Makin' the sandwiches for upstairs tea."  Maudie frowned.

"Egg?  Chopped boiled egg?"  Jackson growled.

"His Grace always has chopped egg and streaky bacon sandwiches at tea.  Them and chicken with rosemary and stilton.  That's what he likes.  His Grace and His Lordship and His Ladyship.  Them's the savories they like for tea."

"You little idiot.  That's not what we serve here!"  Jackson continued.

"I'll thank you not to speak to my assistant that way!"  Mrs. Pepper shouted as she entered the kitchens carrying a rack of freshly-baked scones.  

"This is my household, Mrs. Pepper.  I'll address the staff as I wish."  Jackson answered.

"You may be in charge of your staff, Mr. Jackson.  But, these are my kitchens and Maude is my responsibility.  Furthermore, this is the household of the Duke of Fallbridge, not the household of bleedin' Mr. Jackson.  I believe I heard His Grace remind you of that very fact just his mornin' when we all arrived.  In these kitchens, I am the authority, and I take my orders from His Grace, not from you.  I know the masters will not be happy to learn that you've spoken to Maude so harshly."

"I am only trying to communicate that egg sandwiches are unacceptable.  We do not serve such things here."  Jackson continued.

"His Grace likes them, so, we do."  Mrs. Pepper replied.  "It's as simple as that."

"The Duchess of Fallbridge would never allow..."

"She don't gotta eat them, does she?"  Mrs. Pepper smiled.  "She's dead."

"How dare you?"  Jackson sputtered.

"She is dead, ain't she?"  Mrs. Pepper shrugged.  "Best you all here start to realize that.  And, best you remember to stay outta my kitchen."

"I am the butler..."

"That's fine."  Mrs. Pepper nodded.  "We got one at home, too.  He's also full o' bluster, our Mr. Speaight, but he's a kind man who wouldn't dream o' an unkind word.  He also knows his place.  Knows when he should keep his nose outta somethin'.   Maybe you been here alone for too long, so, let me tell ya how a household what's got a master works.  What the Duke, His Lordship and Lady Fallbridge eat is my business.  Their well-bein' is the business of Mr. Iantosca, Mr. Gurney and Violet.  Mrs. Gurney and Ethel look after the baby.  My son is the support for all of them and the master's dog.  Maudie looks after me.  You, Mr. Jackson can carry on as you always do and pay us no mind.  I'm sure you got plenty to do lookin' after this place.  So, I'll thank you to go on 'bout your business and we won't bother you as long as you don't bother us.  And, you get the added benefit o' the fact that I'm here to feed you and your staff, too.  So, looks to me like you're gettin' the better end o' the bargain.  Only if I ever 'ear you speakin' harshly to my Maudie or any o' us from London again, I'd take careful bites o' your supper, I would."

"Are you threatening me?"  Jackson growled.

"I wouldn't dream of it."  Mrs. Pepper smiled.  "Now, if you'll pardon me, we got egg sandwiches to finish.  No use havin' His Grace and them lovely gentlefolk wait for their tea--'specially after that long walk they took earlier.  Besides, if their tea is late, so will be downstairs tea, and that'd be a terrible shame what with this bein' the first day you've got a proper cook here again."

Defeated, Jackson snorted and left the kitchens.

"Cor!"  Maudie grinned.  "You told him proper."

Mrs. Pepper winked.  "He had it comin'."  She surveyed the sandwiches Maudie had made.  "Fine job, Love.  Maybe a few more with the stilton, you know how His Lordship tends to wold 'em down."

"Right."  Maudie nodded.

"Oh, I'd love to add some more rosemary to this chicken."  Mrs. Pepper sighed.  "Only there wasn't any more.  Terrible to think a house like this would have such a poor larder."

"You know,"  Maudie began.  "There's a queer sort of angle back in the larder--in the dark there.  Spotted some shelves and such back there.  And cupboards.  Maybe they got some herbs dryin' back there."

"Be a lamb and go look, would ya?"  Mrs. Pepper said.  "I'll finish up with the stilton."

Maudie hurried off.

After a few minutes without Maudie returning, Mrs. Pepper wiped her hands on her apron and walked toward the larder.  

"Maudie?"  Mrs. Pepper called.  "Did ya get lost in there?"

"No."  Maudie answered, coming out.  Her hands were shaking, and she held something in her apron.

"No herbs?"

"No.  Candles and some things..."

"What things?"

"Little...pictures.  Like little paintings of a lady.  And this..."  Maudie opened her apron to reveal a glittering notebook with a hard cover of enamel and gold, inlaid with diamonds in the shape of an "F" surmounted by a coronet.

"Blimey."  Mrs. Pepper exclaimed.

"What is it, Mrs. P.?"

"Dunno."  Mrs. Pepper shook her head.

"Should we oughta bring to His Grace?"  Maude asked.

"I think we'd best."  Mrs. Pepper nodded.



Did you miss chapters 1-7 of A Recipe for Punch?  If so, you can read them here.  Come back tomorrow for Chapter 9.  

Unusual Artifacts: A Ceramic Tea Canister, 1760-70

Bohea Tea Cannister
c. 1760
The Victoria & Albert Museum

As we already know, in the Eighteenth Century, tea was quite a luxury and was therefore stored in vessels which not only connoted its value, but kept it safe. It's difficult for us to think of such common items as salt and tea to have any real value when we look at them through modern eyes, but that just makes us wonder what, two centuries from now, will be commonplace that we presently assign great worth.

A fitting container for valuable tea, this tea canister and cover are made of salt-glazed stoneware. Rectangular, with a flat top and wooden cover, it is painted in strong colors with small figures in landscapes and, on the front, in a panel surmounted by a mask and flanked by flowers, urns and scrollwork, reads the inscription, "FINE BOHEA TEA."

This sort of domestic, ceramic tea canister tended to resemble miniature versions of the dramatic japanned metal vessels from which loose tea was dispensed in shops. This particular example was most likely made at one of the Yorkshire pottery concerns rather than in Staffordshire.

The fine quality and condition of this piece suggests that it was infrequently, if ever, used and may, in fact, have been employed as part of a shop window display. 

Object of the Day, Museum Edition: A Tin-Glazed Earthenware Tea Tray, 1743

Tea Tray
Delftware, 1743
The Victoria & Albert Museum

This delicate tea tray of tin-glazed earthenware depicts a scene of a tea-party in an interior, the whole of which is surrounded by an attractive foliate and scroll border. A Greek key pattern accents the lip around the edge. The reverse is marked with the inscription: 17- : E + A : -43. Two of the tray's original seven bun feet are missing.

Such tea trays were important items in the home as they were employed to carry the teapot and other utensils to the table. Since, in the early Eighteenth Century, tea was an extravagance few could afford, it was prepared by the staff of a wealthy household directly in front of guests and family (as opposed to in the kitchen) as a display of prestige. As the price of tea began to fall, the theatricality of tea-making became less fashionable.

Very few delftware tea trays like this one survive. This example is especially interesting in that the shape is based on silver trays made between about 1710 and 1730. Humorously, a tray of the same shape is shown in the tea-party scene which has been painted on the tray itself. A teapot and tea bowls are also depicted on the tray.

Items of tin-glazed earthenware were fired twice--the initial firing was done before any decoration or glaze was applied. The result of this "biscuit" firing was a hard and slightly porous object which was then dipped in glaze and set on boards to dry. They were then painted and decorated before being fired for a second time.

Mastery of Design: An Art Deco Diamond and Emerald Pin, 1927

Pin
Platinum, Gold, Diamonds, Stained Chalcedony, Emeralds
French, 1927
The Victoria & Albert Museum

Retailed by French jeweler Lacloche Frères in 1927, this sumptuous pin is the height of Art Deco style. Designed in the shape of a stylized Cyprus tree, the pin showcases the popular black and white style which dominated jewelry design of the 1920’s. Here, again, we find that black onyx has been substituted with stained chalcedony. A shock of color comes from beautiful natural emeralds.


Set in platinum with white gold prongs, the pin was bequeathed to the Victoria and Albert Museum by Miss J.H.G. Gollan.

Reverse

Treat of the Week: Black and White Cookie Edition

 

Wonderful aromas greeted Bertie and me upon our arrival at my parents' house for our weekly visit.  I knew at once that we were in store for a great meal.  Bertie did, too.  You should have seen that black nose going. 

We were both happy to follow our noses into the kitchen where my mother treated us to her exceptional baked ziti. Now, this just isn’t any baked ziti. No, no, this is alive with fresh herbs, spinach and beautiful mushrooms!  This was served with individual antipasti.  I always like to have my own little salad.  I always find it special and delightful.  Much like Bertie, I enjoy when things are, "mine."

Another thing I enjoy are Black and White Cookies.  Longtime readers know of my passion for these giant bits of joy and know I bemoan the lack of them in the Southern U.S.  The last time my mother made them was in 2010.

But, she made them this week!

Much joy and celebration!

My father texted me a photo of them the night before and said.  "These were delicious," implying he had eaten all of them.  I cursed him with a thousand plagues.  But, he was only kidding.  Curse removed.

As for the rest of you, you should only know such delight as a Black and White Cookie.

The Home Beautiful: A Magnificent Enameled Presentation Box and Champagne Flute 17th-20th C.

Champagne Glass and Presentation Case
Crown Copyright
The Royal Collection
via The Royal Collection Trust
Image Courtesy of Her Majesty Queen Elizabeth II

Click on image for larger size.

From the Royal Collection, we have this silver and blue enamel Art Deco pentagonal presentation box.  The two hinged front doors open to reveal a magnificent champagne glass on a silver stand.  Across the bottom of both doors and the silver stand, gilt metal plaques boast a continuous inscription which reads:

THIS ANCIENT ENGLISH CHAMPAGNE GLASS, MADE IN THE REIGN OF

KING CHARLES II,

SHORTLY AFTER THE DISCOVERY OF THE SPARKLING WINE OF CHAMPAGNE BY DOM PIERRE PERRIGNON, AND BELIEVED TO BE

THE OLDEST DRINKING VESSEL OF ITS KIND IN EXISTANCE, WAS PRESENTED WIH HOMAGE AND RESPECT TO THEIR MAJESTIES KING

GEORGE V AND QUEEN MARY TO MARK THE MEMORABLE AND HAPPY OCCASION OF THE SILVER JUBILEE OF THEIR ACCESION TO THE THRONE 16TH MAY, 1935 BY THE WINE PRODUCERS AND PEOPLE OF CHAMPAGNE.

The entire box fits into a red leather carry case designed and made by Hermès.

This late seventeenth-century lobed drinking glass with splayed rim sits upon a baluster stem and a circular and spirally-molded foot.

As impressive as this important glass is, the Art Deco presentation case is equally important.

Enameler Jean Goulden (1878-1946) was commissioned to create the case by the large Champagne houses (Reims and Épernay), grape growers, cork makers and glass makers, after the ;eague had collectively purchased the champagne glass in London on November 6, 1934 from the collection of Grant R. Francis, who was known as one of the most important glass collectors of the twentieth century. 

Goulden's original designs for the casket exist in the collection of his son.  The artist had originally studied medecine and art in Paris before becoming a major-doctor during the first world war,  being stationed in Macedonia where he remained for some time as the guest of the monks' communities of the Mont of Athos.  There, he studied Byzantine enamels in the company of Paul Jouve (1880-1973). 

When Goulden returned to France, he joined Jean Dunard (1877-1942) who introduced him to the champlevé enameling technique.  Known for their fineness and rarity, Goulden's works are considered the best of the era and he is considered important in the development of the Art Deco style in the decorative arts.  His work is characterized by stong black lines and bright colors, and the use of a geometric or cubist style.