Leeds Creamware model of a horse

A Fine Leeds Pottery Pearlware Model of a Stallion in ‘Pratt’ colours, standing in a strong naturally braced position, the anatomical details of the body modelled to great dramatic effect, his head lifted with an alert expression, looking to one side with the ears pointed forwards and having red flared nostrils, wearing an ochre bridle applied with blue rosettes, the black enamelled combed mane and tail modelled in a windswept plinth fashion, standing on a chamfered rectangular plinth, the bevelled edges and corners with stamped and applied green neoclassical leaves and a red husk border, the base decorated with a green wash to simulate grass, with blue and ochre lines beneath the chamfered edge.

Circa 1825

Height: 16 ¾ ins (42.5 cm)
Length (of the plinth): 13 ¼ ins (33.5 cm)

The anatomical nature of the modelling of this horse is quite amazingly correct, leading one to believe that the modeller certainly had a thorough practical knowledge of the body or anatomy of the horse. This pottery model can certainly be put in the bracket of pure Sculpture, the dominant stance of the horse halts the eye of the viewer which has swept forward through the body of the horse from left to right by the careful crafting of the mane and tail which surges forward across the beast, creating a windswept sublime nature. The tradition of such dramatic models within ceramic sculpture comes from their use as eye-catching display models used by saddlery dealers, and those who dealt in horse medicine, the latter being particularly appropriate through showing such a well bred healthy horse. A similar example is illustrated by Pat Halfpenny., “English Earthenware Figures”, p. 126. The ‘pratt’ colours associated with this kind of colouration using ochre, green, blue and black, on this horse were made famous by a family of potters from Staffordshire who coloured groups in this way.

The shallow plinth on this horse represents the earliest of the configured modelling of the base, in later years a higher plinth was developed and this is an important feature to notice when dating this model.

Provenance:  John Charlsworth Porritt (born 1827.). J.C.Porritt was apprenticed to the Leeds Pottery in 1840 when he was twelve years old. His father also John Porritt probably also worked at the pottery. John Porritt Senior had married Hannah Chappel, probably a relative of either James or Stephen Chappel, two brothers who were manager and book-keeper at the Leeds Pottery from circa 1825.

Item No. 1249

 

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