Creamer by Chelsea Factory

Creamer 1747 - 1750

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ceramic, sculpture

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animal

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sculpture

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ceramic

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flower

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sculpture

Dimensions H. 4 7/16 in. (11.3 cm)

Editor: So this Creamer, made by the Chelsea Factory between 1747 and 1750, is incredibly ornate! It's ceramic, almost sculptural in how it's formed, with those reclining animals at its base. I'm really struck by how the everyday object is transformed through the high level of craft and detail. What are your initial thoughts? Curator: My eyes immediately go to the interplay between the factory’s attempt to mimic natural forms, flowers, animals, even the branch-like handle, all rendered in meticulously crafted ceramic. Consider the social context: this isn’t just a creamer, but a display of wealth and refinement, reflecting the consumer culture emerging at the time. How does the material – this fragile, painstakingly molded ceramic – contribute to that meaning? Editor: It’s interesting how it elevates a mundane item to something almost precious. Do you think the artistic labor involved is supposed to be evident or concealed? Curator: Excellent question. I'd argue it's intentionally ambiguous. On one hand, the detail screams artistry and skilled labor. The underglaze painting, the applied molded decorations, all announce the maker's virtuosity. Yet, the function as a common tableware item pulls in another direction, domesticating the ‘high art’ associations. It asks us to reconsider the traditional divide between art and craft. How do you think the mass production techniques emerging at that time played a role in blurring those boundaries, especially in ceramics? Editor: I never thought about it like that before. The piece kind of becomes a record of all of its complicated layers. Curator: Exactly! Examining its materiality and methods of production encourages us to see beyond mere aesthetic appreciation. Editor: I see how focusing on the ceramic and its manufacture opens up a whole new understanding of this object's role in its time. Curator: Precisely. By exploring these aspects, the Creamer becomes less about inherent beauty and more about the story of its creation, use, and its reflection of the values of its era.

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