teacaddy
Language: English
Part of speech: noun
Forms: form: teacaddies
Senses: examples: text: Hoffman, on the other hand, saw nothing but spirits on every side; they nodded to him from every teacaddy and from every Berlin wig. […] Know ye China, the native land of winged dragons and porcelain teacaddies?
ref: 1836, Heinrich Heine, translated by G. W. Haven, Letters Auxiliary to the History of Modern Polite Literature in Germany, Boston: James Munroe & Company, pages 137 and 146:
text: 65 A Vienna teacaddy; a Dresden bowl; inkstand, and a bowl, cover and saucer […] 97 A pair of Continental teacaddies; a lamp-shaped figure vase, and a bowl with ormolu mounts
ref: 1933, A Catalogue of English Silver, Plated Ware, Old China, Prints, Curios, etc., pages 6 and 8:
text: An attractive “famille-rose” Tea Service, painted with panels of mandarins and ladies reserved on a sepia trellis ground enriched with iron-red and divided by brown monochrome landscapes, comprising:⁠—Teapot, Cover and Stand, Milk Jug and Cover, two Teacaddies and Covers, Basin, Sucrier and Cover, Spoon Tray, Saucer Dish, eleven Teabowls, five Cups and eleven Saucers, and another Teapot and Cover almost matching, Ch‘ien Lung […] European Figures. A Canton enamel Teapot and Cover of square section with upright loop handle, painted in “famille-rose” enamels with a Dutchman and his wife within panels, 6¾in.; and a Teacaddy and Cover painted with a Dutchman and lady at a picnic, 3⅝in., Ch‘ien Lung
ref: 1960, Catalogue of Chinese Porcelain and Works of Art, Sotheby & Co, pages 13 and 31:
text: Teapots, cups and saucers, teacaddies, jugs and mugs, are the easiest items to find. […] Left to right: a cream jug, a teacaddy with raised decoration which lacks its cork stopper, and a large beaker.
ref: 1973, Discovering Antiques: The Story of World Antiques, volume 5, New York, N.Y.: Greystone Press, →LCCN, page 570:
text: A Höchst arched rectangular teacaddy, blue wheel mark, impressed 14 NI, c. 1765, 11 cm. high. […] A Meissen Chinoiserie hexagonal teacaddy and cover, painted with six scenes, of a mother about to feed her baby beneath a hanging, a showman with a monkey on a barrel, a seated lady with pet birds, a mother putting on her child’s shoe, a lady and an old man talking on a terrace beneath a vase and a bird catcher with a bird on a staff beneath a palm tree, the raised ribs gilt, blue, enamel crossed swords mark, c. 1725, 9.75 cm. high.
ref: 1982, Judith H. Miller, Buyer’s Price Guide: Continental Porcelain, Tenterden, Kent: MJM Publications, →ISBN, pages 38 and 75:
text: By the middle 1760s, a Worcester tea and coffee service comprised forty-three pieces. Some of these shapes, such as teapots and creamjugs, had been in use at the factory for over ten years, but others, among them teacaddies and milkjugs, had been introduced more recently. […] In 1935, Mrs Dora Edgell Grubbe, a direct descendant of Giles, presented four plates to the Victoria and Albert Museum. It is generally accepted that these plates were painted by Giles and they, together with two teacaddies, one of which is now in the Ashmolean Museum in Oxford, represent a starting point in the attempt to identify the decoration carried out at the Giles atelier.
ref: 1984, Simon Spero, Worcester Porcelain: The Klepser Collection, Minneapolis, Minn.: The Minneapolis Institute of Arts in association with Lund Humphries Publishers, London, →ISBN, pages 44 and 129:
text: Aside from the oval, mostly lacquered teatable, there were the Chinese or Chinese-inspired teacups – which in Holland were always placed on saucers – the teapots and water kettles, the teacaddies, the sugar bowls, and the boxes for silver spoons used to stir the sugar in the tea. All these objects might be placed on a round or oval tea tray, made of faience or lacquered wood. Of the objects used in the Dutch “tea ceremony” the teacaddy shows the greatest variety, both as far as materials and decoration in concerned.
ref: 1984 winter, Petra Ten-Doesschate Chu, “The Chinese as Teachers of the Dutch: Chinese Influences on Dutch Art and Culture in the 17th and 18th Centuries”, in Asian Culture Quarterly, volume XII, number 4, page 7:
text: Teacaddies by name only, Stair’s constructed boxes look towards the symbolic functions of casket or funerary wares as much as to the more overtly domestic uses. […] From funerary urns to teacaddies, ceramics have been made and are being made that respond to architecture.
ref: 1999, Edmund de Waal, New Ceramic Design, Madison, Wis.: Guild Publishing, →ISBN, pages 29 and 34:
glosses: Alternative form of tea caddy.