This is a very wonderful teacup and saucer with the famous "Boy in the Window" pattern, made by New Hall around 1815. 


The New Hall factory started as a cooperative of several Staffordshire potters making use of the porcelain license of Bristol Porcelain Company after this went in demise. It quickly grew out to be a leading porcelain maker, and the first to make true porcelain in Staffordshire.


This set is made in the typical "hybrid hard paste" porcelain, as New Hall had adapted the original hard paste recipe from Bristol, but adapted it slightly in order to save on production costs. You can tell this by the way the porcelain is less milky than bone china. As this hybrid porcelain was slightly cheaper to make and very popular among customers who were used to the more stony Chinese Export porcelain, New Hall was a late adapter of bone china, which was already used by most other factories around the time this set was made.


This set would have been part of a large tea service. The cup is made in the "London" shape, which was popular between 1813 and 1820. It is decorated with a very charming Chinoiserie pattern called "Boy in the Window". A woman is stood at a table and looks over her shoulder at two boys who are talking to her. Behind them, a third boy is watching them, peeking out of an open window. The whole scene is set in a warm orange and bright pink garden scene, with "Famille Rose" decorations in the rims and Rococo scroll reserves with river landscapes. 


This pattern has been done in several variations by many factories; another famous one is the one Miles Mason did, which is called "Boy at the Door" with the boy not peeking out of an open window but standing at a doorway. In each version (Worcester, Grainger, Herculaneum and several others) the scene is different and the boys and their mother are engaged in different pursuits, from writing to playing with a bird. 


These Chinoiserie patterns were often made because some of the more conservative British public didn't warm immediately to the newfangled English patterns, but wanted to see the same decorations they had been used to until the mid 1790s, when the porcelain import from China came to an end. So British porcelain artists scrambled to copy the old Chinese patterns and create new ones. This particular pattern probably was never one original Chinese pattern; it is more likely that several elements of popular Chinese patterns were thrown together and each factory made their own version, which then acquired the names afterwards.


The pattern as transfer printed in outline, and then the colours were filled in by hand. This was a cheaper process than hand painting each item; you only needed a skilled artist to create the etching used for the transfer prints, and the printing and colouring could be done by apprentices, who often were children.


The set is unmarked as was common at the time, but we know from documentation that this is pattern no. 425. You can see pictures of it in plates 59 and 60 of Geoffrey A. Godden's "New Hall Porcelains".


CONDITION REPORT The set is in excellent antique condition without any damage, repairs or crazing. The paintings have some wear throughout, as visible in the pictures. 


Antique British porcelain is never perfect. Kilns were fired on coal in the 1800s, and this meant that china from that period can have some firing specks from flying particles. British makers were also known for their experimentation, and sometimes this resulted in technically imperfect results. Due to the shrinkage in the kiln, items can have small firing lines or develop crazing over time, which should not be seen as damage but as an imperfection of the maker's recipes, probably unknown at the time of making. Items have often been used for many years and can have normal signs of wear, and gilt can have signs of slight disintegration even if never handled. I will reflect any damage, repairs, obvious stress marks, crazing or heavy wear in the item description but some minor scratches, nicks, stains and gilt disintegration can be normal for vintage items and need to be taken into account.

There is widespread confusion on the internet about the difference between chips and nicks, or hairlines and cracks. I will reflect any damage as truthfully as I can, i.e. a nick is a tiny bit of damage smaller than 1mm and a chip is something you can easily see with the eye; a glazing line is a break in the glazing only; hairline is extremely tight and/or superficial and not picked up by the finger; and a crack is obvious both to the eye and the finger. Etcetera - I try to be as accurate as I can and please feel free to ask questions or request more detailed pictures!


DIMENSIONS (diameters) teacup 9cm (3.5"), saucer 14cm (5.5").


SHIPPING I ship worldwide from the UK, mostly by Royal Mail 2nd Class for the UK and International Tracked and Signed for the rest of the world. I am happy to combine shipping charges on multiple items - please contact me to discuss. In principle I do not make a profit on shipping although for simplicity's sake I charge flat shipping fees. If the fee charged greatly exceeds the actual cost I will gladly refund you the difference - at the same time if it is slightly lower I will gladly make up the difference. In some countries shipping will end up significantly more than the expected fees and I will contact you to discuss our options. PLEASE CONTACT ME FOR ANY QUESTIONS REGARDING SHIPPING COSTS AND OPTIONS.

New Hall teacup, Boy in the Window patt. 425, ca 1815

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