The ovoid bodies are painted in coloured enamels and gilding, on one side with moulded barbed panels of peasants wassailing and dancing, after Teniers, the reverse with exotic birds in parklands in the manner of Vincennes.
The panels are reserved on a rich but mottled, purplish blue ground; the covers surmounted by a stylised strawberry finial, 50.3cm.
The 1763 Burghley Inventory records: ‘The North drawing room ….two large blue chelsea china jars pannel’d with white.’
The 1854 Burghley Inventory records: ‘Fourth George Room…..A pair of Purple jars with covers, white medallions with painted Birds and figures–Old Chelsea. These are cracked and repaired.’
A later comment is appended: ‘Magnificent. Should be re-mended.’
During the gold anchor period, from 1756-1769, Chelsea porcelain was influenced by the French manufactories of Sèvres and Vincennes. This was reflected in terms of pictorial content, strong colours and much use of gilding.