A pair of large and important Chelsea figures of Peacocks, circa 1755

facing to the right and left, each modelled perched on the cross boughs of a tall tree stump applied with cherries or damsons, their plumage picked out in puce, iron-red, blue and yellow, the rocky mound bases applied with strawberry plants, red anchor marks, some restoration

Acquired from Winifred Williams, London, 15 November 1971

When viewed under a UV-light there are noticeable scattered patches of over-painting on both figures. The bird in the right of the catalogue illustration: The over-painting which glows under a UV-light is visible to the bird's comb at the terminal and to the beak. The neck has been restored. There is also restoration along the underside of the bird's body at the top of the legs, which suggests the model at some point has been broken into two pieces. The bird in the left of the illustration: Over-painting is visible at the bird's comb at the terminal and to the beak. Over-painting appaers at scattered areas over the body, which suggests the restoration was carried out to cover firing flaws. Due to the over-painting it is difficult to determine the exact extent of damage to the models. The Winifred Williams 1985 invoice for the pair mentions the following: 'Some skilful restoration has been carried out over original contemporary kiln faults mainly on the tails and necks'
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Only one other pair of Chelsea peacocks of this model appears to be recorded; from the General Sir Ivor Maxse collection, sold Sotheby's London, 1st February, 1946, lot 32. The birds came into the Untermyer Collection and illustrated by Yvonne Hackenbroch, Chelsea and Other English Porcelain, Pottery amd Enamels in the Irwin Untermyer Collection (1957) pl.12, fig.47. They are now housed in the Metropolitan Museum of Art, New York (Untermyer Collection, no.64.101.480.). Whereas the Untermyer peacocks are unmarked, the present pair bears the red anchor mark and have a more elaborate applied decoration to the tree stumps, consisting of cherries and damsons rather than leafy branches.

The popularity of Chelsea models of birds was at its height during the factory's raised anchor period. Some were modelled after the Meissen models by J.J.Kaendler, but the factory also sought for other sources of inspirations, and the majority of the birds (22 out of 34 models recorded) were based on coloured engravings included by George Edwards in his book, Natural History of Uncommon Birds, published between 1743 and 1751. The popularity of birds declined sharply during the following red anchor period. No peacocks appear among the different entries of birds in the 1755 Sale Catalogue and by 1756 no birds are listed except `a fine Bantam cock and hen'.