A very rare Chelsea acanthus leaf-moulded teapot and a cover, circa 1744-49

vibrantly modelled as overlapping strawberry leaves painted with scattered insects and flowers, resting on four short feet and affixed with a short spout, incised triangle mark, cover and handle replaced.

Dr. Paul Riley Collection
Acquired from Simon Spero, London, June 2001

Elizabeth Adams, Chelsea Porcelain, 2001, p. 28, fig. 3.7
'A Miscellany of Pieces', E.C.C. Transactions, 1999, vol. 17, part 1, p. 166, col. pl. X

The cover and handle are modern replacements
"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."

The 'acanthus leaf' pattern, also referred to as 'strawberry leaf', occurs on a wide range of wares from the triangle period, including coffee pots, teapots in two sizes, beakers, teabowls, saucers, creamboats and cream jugs in two sizes. Leaf-moulded wares, either left in the white or enamelled with flowers and insects, originally derived from Japanese porcelain and became popular in Europe in the 18th century. Chelsea took inspiration for many of its patterns and models from Continental factories, most notably from Meissen and Sèvres but also including Chantilly. It is interesting to compare two white acanthus or strawberry leaf-moulded coffee cups of this period, a Chantilly example, illustrated by Geneviève Le Duc. Porcelaine tendre de Chantilly au XVIII^e siècle, 1996,  p. 137, and the copy produced at Chelsea, illustrated by F. Severne Mackenna, Chelsea Porcelain, the Triangle and Raised Anchor Wares, 1948, pl. 2, no. 4. Both are identical in almost every element of the design; however the Chantilly plain loop handle is replaced on the Chelsea example with a more ornate moulded handle similar to the handle on the present teapot and other examples illustrated by Elizabeth Adams, Chelsea Porcelain, 2001, pp. 28 and 35, figs. 3.5-7 and 3.18, where this type handle is described as 'faux bamboo'. For a similar enamelled teapot in the Victoria and Albert Museum, see F. Severne Mackenna, Chelsea Porcelain, The Triangle and Raised Anchor Wares, 1948, pl. 8, no. 19. Another example from the Dr. Paul Riley Collection, is illustrated in the  Brian Haughton Antiques 2006 exhibition catalogue, The Elegance of Porcelain, p. 18, no. 11.