Nine Designs for Decorated Cups 1845 - 1855

Curator: Looking at this page from a personal sketchbook, "Nine Designs for Decorated Cups," likely made between 1845 and 1855 by Alfred Henry Forrester, one is immediately struck by the vibrant playfulness of these proposed cup designs. Editor: They remind me of elaborate pastries! It’s all so decorative, yet feels intimate and somewhat dreamy, like something out of a children’s story. Curator: Absolutely! Forrester, who worked as an artist and writer, including under the pseudonym Alfred Crowquill, seems to be indulging a fascination with ornamental detail here. Given the rising middle class and burgeoning market for affordable luxury goods during this period, design became quite politicized. The artist's background suggests a specific aim to respond to this interest with art that is also functional. Editor: That makes perfect sense. But even without knowing the context, they have a DIY vibe about them. Were these watercolors meant as proposals for larger-scale manufacturing, or were they expressions of someone's passion project at the time? Curator: They could function as either, I think! But they have much to say about class. The elaborate details, from the floral garlands to the geometric patterns, reflect a desire for elegance, and potentially speak to consumer aspirations of social mobility. One could also view this from a critical lens and comment on the imperial enterprise which makes such luxury possible. What does it mean to make dainty tea cups with wealth acquired through violence? Editor: That's a crucial perspective. Now I can't unsee the slightly grotesque aspects to some of the floral designs; this tension really draws me in. But despite the uncomfortable context, I still find a certain pleasure and wit in the craftsmanship. They evoke an odd tenderness and seem haunted by the dreams of their time, when such wealth could be more easily "ignored." Curator: They are certainly haunted. This intersectional analysis illuminates the socio-economic complexities embedded within seemingly benign domestic objects and commercial art. It demonstrates that even decorative arts are deeply enmeshed in issues of class, identity, and power. Editor: A delightful and sinister rabbit hole, all inspired by some pretty teacups! I appreciate that, as always. Curator: Likewise, a reminder that these objects contain echoes of colonialism and capitalist expansion, ones that are still felt today.