Black Presence at the Wallace Collection: Cup and Cover
Take a closer look at representations of Blackness at the Wallace Collection to uncover a range of complex and captivating narratives.
Cup and cover (19th Century) by UnknownThe Wallace Collection
Examine the diverse portrayals of Blackness at the Wallace Collection. These images reveal captivating stories and nuanced perspectives, such as this cup and cover.
It is one of several won by the founder of the French Jockey Club and the 4th Marquess’ half-brother, Lord Henry Seymour (1805–1859).
Cup and cover (19th Century) by UnknownThe Wallace Collection
It features various bedazzling jewels and enamels.
Whilst the horses’ heads reveals its function as horse-racing trophy.
A figure of St George slaying the dragon resides at the top.
The middle of the trophy is comprised of four enslaved figures. Both their hands and feet are chained.
Known as “blackamoors”, these are visual tropes depicting Black people or people of colour, typically from Sub-Saharan Africa.
Blackamoors are frequently found in decorative arts, serving structural and ornamental purposes.
They were also constructed to perpetuate nineteenth-century beliefs around racial hierarchies. This is echoed in the way the figures are typically positioned, explicitly associating them with enslavement and subjugation.
Today, blackamoor tropes are acknowledged as harmful and dehumanizing representations of Black people.
The term 'moor' has historically served the function of othering, originally used to refer to the Muslim populations of Portugal and Spain.
The non-native headwraps and clothing shown on the figures were likely intended to enforce this idea of difference, as well as early modern European conceptions of 'barbarism'.
Bust of a Woman (17th Century) by UnknownThe Wallace Collection
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