15929968580001312637261000Standard Recordobject-98861170249414825916074374790001702494117301fitz-onlineadlib-object-98861https://data.fitzmuseum.cam.ac.uk/id/object/9886127bffd38-7e02-30f3-937b-67b8209635ab11referenceterm-37642adlib-term-376428f36efe3-4fe1-3da2-9944-000db5687ad7porcelainreferenceterm-42692adlib-term-4269268c2b295-0e5f-3e4e-ac86-2aebb8653b91Studio Ceramicsblue and redreferenceterm-113656adlib-term-1136565b6197cf-eb3b-3574-8522-53b223cc4b49oxide coloursDecorationblue and pinkish-redreferenceterm-106226adlib-term-106226194567f2-2bcd-3446-ae31-652386611815paintingApplied ArtsGroup of three figures, porcelain with semi-opaque white glaze, painted in blue, and pinkish-red. Three nude figures, a man, a woman, and a man with a boar-like head, each tickling the waist of the one in front, in a tangled continuous group supported on the toes of one of each figure's feet. The man leans back, and has his left arm behind his back; the woman leans forward towards him with her left arm bent up, and the other outstretched, and the boar-headed man leans right forward so that his back is almost flat.C.4-20041accession numberC.4-200498861priref98861200420042004Entry form603urihttps://data.fitzmuseum.cam.ac.uk/id/object/98861https://data.fitzmuseum.cam.ac.uk/id/object/98861referenceagent-149638adlib-agent-1496387376d833-d0a7-3be0-916e-9c892b7a24d8The Fitzwilliam MuseumGift of Nicholas and Judith Goodison through the National Art Collections Fundreferenceagent-156032adlib-agent-1560323aded83c-6f5c-39b8-a50c-07f712e01b2cGoodison, Nicholas and Judith200420042004-04-26giventhe donors do not wish their titles to be used in the credit line (Sir and Lady)2003CE20032003potterreferenceagent-156351adlib-agent-156351f739b7c3-f638-30cb-ba65-00a3a1a44beaFlynn, MichaelText from object entry in A. Game (2016) ‘Contemporary British Crafts: The Goodison Gift to the Fitzwilliam Museum’. London: Philip Wilson Publishers: ‘Each piece seems to contain an internal fight, a clashing of gentility and violence, of soft and hard, sensitivity and wantonness. I tend to think that this is partly a result of Flynn’s long-standing interest in the 18th century, which gave us at the same time Meissen, Fragonard, Fuseli, and Goya.’ Paul Greenhalgh, Director, Sainsbury Centre for Visual Arts, University of East Angliareferenceterm-109891adlib-term-109891ad6efeb2-90e2-3107-ada3-8348ed09c40f21st Century, Earlyreferenceterm-107700adlib-term-1077008f5360fb-b262-3ae9-8942-b81cc0e3e848Elizabeth IIreferenceterm-107680adlib-term-107680f7a1775f-c677-384d-a269-0c6dac1a74c9literalWalesWalescountryCardiffreferenceterm-32652adlib-term-3265282d8ae3b-f165-395c-ba93-dfa1c282b7beglazereferenceterm-37642adlib-term-376428f36efe3-4fe1-3da2-9944-000db5687ad7porcelainHeightcm26.4Lengthcm34.5referencemedia-196707adlib-media-19670758d24f38-8a80-36ac-a288-bc69761a3b88jpegaa/aa33/large_C_4_2004_1_200806_mfj22_dc2.jpg1heightpixels682widthpixels102316162554676411imagejpegaa/aa33/mid_C_4_2004_1_200806_mfj22_dc2.jpg1heightpixels333widthpixels50016162554676411imagejpegaa/aa33/C_4_2004_1_200806_mfj22_dc2.jpg1heightpixels683widthpixels102516162554676411imagejpegaa/aa33/preview_C_4_2004_1_200806_mfj22_dc2.jpg1heightpixels167widthpixels25016162554676411image0media
imagereferencemedia-196708adlib-media-196708c810a419-d95f-386b-a775-3e2badfe0b5djpegaa/aa33/large_C_4_2004_2_200806_mfj22_dc2.jpg1heightpixels682widthpixels102316162772855361imagejpegaa/aa33/mid_C_4_2004_2_200806_mfj22_dc2.jpg1heightpixels333widthpixels50016162772855361imagejpegaa/aa33/C_4_2004_2_200806_mfj22_dc2.jpg1heightpixels683widthpixels102516162772855361imagejpegaa/aa33/preview_C_4_2004_2_200806_mfj22_dc2.jpg1heightpixels167widthpixels25016162772855361image1media
imagereferenceterm-110220adlib-term-110220e22d3544-a393-3f19-9be4-dc2632ca9942figure grouphistory noteContemporary Applied Arts, 2 Percy Street, London, W1T 1DD, from which purchased on 26 February 2004 by the donorsreferenceagent-149638adlib-agent-1496387376d833-d0a7-3be0-916e-9c892b7a24d8The Fitzwilliam MuseumPubl. p. 138 listed under '5509, Nicholas and Judith Goodison Gift, Cambridge, Fitzwilliam Museum'138-9referencepublication-5286adlib-publication-5286396efcd7-1019-3564-a7dc-7c12d16a639c2004 Review, The Annual Report of the National Art Collections FundRef. Michael Flynn110-15referencepublication-7736adlib-publication-7736c6c68bba-cac9-3f9e-b511-a36911c0345dModern British Potters and their StudiosPubl. pp. 138-9, no. 53, object description, illustration, and a quote from the director of the Sainsbury Centre for Visual Artsno. 53138-139referencepublication-8258adlib-publication-825871d79ea2-2385-305e-9044-fbb0cde9ffe7Contemporary British Crafts: The Goodison Gift to The Fitzwilliam Museumreferenceterm-117337adlib-term-1173374384df20-5604-3ac1-aff2-e396ed3bf20dContemporary Craftreferenceterm-42692adlib-term-4269268c2b295-0e5f-3e4e-ac86-2aebb8653b91Studio Ceramicsreferenceterm-110220adlib-term-110220e22d3544-a393-3f19-9be4-dc2632ca9942figure groupfigure groupsemi-opque whitereferenceterm-27616adlib-term-2761661e6a95d-84c8-3893-b6c8-213392262987glazing (coating)referenceterm-116699adlib-term-116699aeda8b32-c16d-3eda-bdec-8cc4ed32c43amodelledTickleobject
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