by Artist (743)
Worcester Porcelain Factory
English, born established 1751
The Hope-Edwardes pattern of painted fruit surrounded by a cornucopia-shaped claret border with gold cornucopia shapes and flowers tooled in gilt derives its name from a service reputedly made sometime in the 1770s for Sir Thomas Edwardes. His decendents assumed the name Hope-Edwardes in 1854. The pattern was painted either at the London studio of James Giles or at the Worcester factory by Giles's former decorators. It is celebrated for its exuberant and finely wrought gilding, and is found on a full range of dessert shapes and on teawares in a distinctly different color scheme.
Giles operated a porcelain and glass-decorating shop in London from about 1763 to 1776. Between the years 1767 and 1771, he was Worcester's principal hand decorator, and advertised his atelier as the "Enameling Branch" of the Worester Porcelain Company. Giles made an arrangement with Worcester in 1767 to supply him with porcelain to be decorated in the latest "London taste." His style is characterized by exotic birds, flowers, and sliced fruit done in brilliant colors; elaborately tooled gilding on blue, claret and turquoise grounds; borders of scale patterns in various shades of overglaze pink and purple; and pastorals with figures in the style of the Flemish painter David Teniers. Giles's manner tended to be more flamboyant than that of the Worcester factory, as well as more adventurous. During its last ten years of existance, the studio was probably producing more polychrome-decorated pieces than the factory itself.
Visual Splendors: First Period Worcester Porcelain from the Loeb Collection, 1997
English, born established 1751
Teabowl
about 1776
Object Type:
Ceramic
Creation Place:
Northern Europe, English, Worcestershire
Dimensions:
1 5/8 in. x Diam: 3 in. (4.13 cm x 7.62 cm)
Medium and Support:
Porcelain
Accession Number:
1991.0018.0001.0001
Credit Line:
Gift of Mr. and Mrs. James Lucien Loeb
Currently On View
The Hope-Edwardes pattern of painted fruit surrounded by a cornucopia-shaped claret border with gold cornucopia shapes and flowers tooled in gilt derives its name from a service reputedly made sometime in the 1770s for Sir Thomas Edwardes. His decendents assumed the name Hope-Edwardes in 1854. The pattern was painted either at the London studio of James Giles or at the Worcester factory by Giles's former decorators. It is celebrated for its exuberant and finely wrought gilding, and is found on a full range of dessert shapes and on teawares in a distinctly different color scheme.
Giles operated a porcelain and glass-decorating shop in London from about 1763 to 1776. Between the years 1767 and 1771, he was Worcester's principal hand decorator, and advertised his atelier as the "Enameling Branch" of the Worester Porcelain Company. Giles made an arrangement with Worcester in 1767 to supply him with porcelain to be decorated in the latest "London taste." His style is characterized by exotic birds, flowers, and sliced fruit done in brilliant colors; elaborately tooled gilding on blue, claret and turquoise grounds; borders of scale patterns in various shades of overglaze pink and purple; and pastorals with figures in the style of the Flemish painter David Teniers. Giles's manner tended to be more flamboyant than that of the Worcester factory, as well as more adventurous. During its last ten years of existance, the studio was probably producing more polychrome-decorated pieces than the factory itself.
Visual Splendors: First Period Worcester Porcelain from the Loeb Collection, 1997
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With Saucer 1991.18.1.2
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Saucer
1991.0018.0001.0002
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