Notes:
Example of this beaker that sold 9 years ago for £1,500 and it was chipped
A similar teabowl can be found in the collection of the Fitzwilliam Museum, Cambridge (C.67B-1933). For an illustrated example of an original Japanese teabowl and saucer with the ‘Lady in the Pavilion’ pattern see Ayers, Impey & Mallet, ‘Porcelain for Palaces’ (1990), p.280, pl.328. The motif initially referred to a chapter of the Genji Monogatari, an epic 11th century classic work of literature written by a Japanese noblewoman, Murasaki Shikibu, which narrates the life, trials and exploits of Prince Genji, son of the emperor, while depicting in great detail the culture of Heian Period court life. The scene in question is from the fifth chapter, titled ‘young Murasaki’, in which Genji meets a girl named Murasaki who reminds him greatly of Princess Fujitsubo. The scene, in which Murasaki laments the escape of her pet bird, became a popular motif along with other famous sections of the tale, and has been illustrated and depicted on a wide range of Japanese art objects, including scroll paintings, lacquerware, folding screens and fabric design as well as ceramics. These Japanese wares inspired European interpretations of the design, with examples by Bow and Chelsea proving extremely popular during the porcelain boom of the eighteenth century.
Chelsea Porcelain Factory, London
Raised Anchor Period (1750–1756)
This Japanese-inspired teabowl was produced by the Chelsea porcelain factory during its 'raised anchor' period, when it directly imitated imported Asian ceramics. The 'Lady-and-Pavilion' pattern, one of Chelsea’s most popular designs, is notable for including a human figure—a rarity in their otherwise abstract or nature-themed wares. The teabowl was made in both eight- and ten-sided forms, though the ten-sided version is exceptionally rare.
English interest in Japanese porcelain began in the 1640s through imports by Dutch and Chinese traders. By the 1760s, English factories like Chelsea were not only copying but adapting these styles into original, oriental-inspired designs.
Chelsea was founded in 1743 by French craftsmen Charles Gouyn and Nicholas Sprimont, who drew inspiration from the prestigious wares of Sèvres and Meissen. Their high-quality, soft-paste porcelain catered to London’s luxury market. Chelsea’s production is divided into four stylistic periods, marked by distinct porcelain marks: the Triangle (1743–1750), Raised Anchor (1750–1756), Red Anchor (1753–1758), and Gold Anchor (1758–1769). After being sold to Derby in 1770, the factory operated as 'Chelsea-Derby' until 1784.
