Posts Tagged ‘imari’

CLOCKS, WATCHES AND BAROMETERS Bracket Clocks
Repeater clock by Edwardus East with signed and engraved
backplatc in cboniscd case 600 0
A three-train musical clock by Moore of Ipswich with eight tunes in ebony case with gilt metal mounts in mid-eightccnth-century style, 2 ft 2 in high 440 0
George III fruitwood clock by Recordon, late Emery, London, with painted dial and frets at side and front of case, 1 ft 2 in high 290 0
George III walnut clock, the dial signed Joseph Smith, Chester,
and of pronounced Continental character, 1 ft 6 in high 210 0
George III ebonised clock, the 7-in dial signed William Smith, with calendar and strike/silent dial. The movement is contained in an inverted bell-topped case, 1 ft 4 in high 190 0
Louis XV contra-boullc clock with enamel dial signed Darmezin, Paris, and movement signed Crepaux, Paris, in cartouche-shaped case, 3 ft 1 in high 190 0
Louis XV Boulle clock by Pcrrache, Paris, with an enamelled dial, the case surmounted by a youthful figure of Jove, richly mounted in ormolu, 2 ft 6 in high 170 0
George III mahogany clock by Massey, Bridge Road, Lambeth, the circular white-painted dial with a central calendar hand, 1 ft 4 in high 140 0
George III mahogany clock, the 7-in circular dial signed Lamb and Webb, London, with calendar and engraved backplate in bell-top case, 1 ft 4 in high 120 0
Mid-eighteenth-century veneered ebony clock signed John Small-wood, Lichfield, with pull quarter repeat, 1 ft 4 in high (later dial) 85 0
George III mahogany clock, the 8-in arched silvered dial signed Gravell and Tolkien, London, with engraved backplate and tic-tac escapement in broken arch-topped case, 1 ft 6 in high 60 0
Regency rosewood clock signed on dial John P. Smith, 1 ft 3 in
high 20 0
Carriage Clocks
Clock in gilt case by James McCabe, London 675 0
Repeating French brass clock with white dial signed Gibson
and Co Ltd, Belfast, 6J in high 68 0
French brass clock with white dial signed Rowel, Oxford, 4Ј in high
Repeating brass clock with white dial and glazed brass case, 5 in high
Gilt metal timepiece, the glazed case with pierced floral frets at the sides and front, 5 in high and with travelling case
Miniature silver-cased repeating clock with white dial. The case stamped J. Keller, 3J in high
Lantern Clocks
Brass clock with engraved copper dial and an alarm disk, 1 ft 1 in high
Late seventeenth-century brass clock, the dial engraved with flowers and with pierced dolphin cresting, 1 ft 3 in high
Longcase Clocks
Late seventeenth-century marquetry clock, the 11-in dial signed Robt. Williamson, London, with calendar aperture in a walnut case inlaid with shaped panels of birds and flowers, with a bullseye in the waist door and with spirally turned columns at the corners, 6 ft 7 in high (frieze of a later date)
Tall mahogany cased clock with chimes. The elaborately foliated brass dial with a silvered chaptered ring. The case inlaid with classic urns in coloured woods, the arched hood has brass spires and the waist has a bevelled glass door
A carved mahogany cased clock with a grotesque satyr mask to the hood over a brass floral scrolled dial. Westminster, Whittington and St Michael chimes, 7 ft 7 in
Mahogany clock made by Manley of Chatham
Eighteenth-century walnut clock with domed canopy and brass face, the movement by William Stapleton, London, 7 ft 4 in high
Walnut clock, the early eighteenth-century movement signed
Andr. Dunlop, London, the 12-in dial with chestnut and
flower spandrels, 7 ft 4 in high Georgian lacquer clock with brass face and striking movement.
The case, with ‘bullseye’ door, decorated with gilt chinoiseries
on a simulated tortoiseshell ground Eighteenth-century small clock by John Lee, Gookham; with
brass dial and foliated spandrels, in a black lacquer case
decorated with chinoiseries in red and gill
Mantel Clocks
An ormolu clock, the painted dial signed F. Linke, Paris, the movement in a glazed case in well chiselled ormolu with drapery, acanthus leaves and groups of fruit and ending in double cloven-hoof feet, 2 ft 11 in high
Bronze and ormolu mounted clock, the movement contained in a drum upon which is seated a Chinaman holding a parasol, the whole on the back of an elephant, 1 ft 4 in high
A French clock, inscribed Bonniere a Clermont, in a rococo porcelain case. The blue and gilt ground painted with musicians, lovers and flowers. On a similar stand
Louis XVI marble and ormolu clock, the striking movement with enamel dial signed Hessen. The arched architectural case with drapery festoon, pineapple finials, an urn and fluted columns, 1 ft 5 in high 110 0
Regency rosewood clock, the movement by Dwerrihouse &
Carter, Davies Street, 2 ft high 70 0
Philippe clock with glass panels in gilt metal case with corinthian columns and surmounted by an urn. Decorated with coloured enamels, 18 in 68 0
An Empire marble clock mounted in ormolu, the movement with outside count-wheel, the dial surmounted by a white marble urn and suspended between fluted columns capped by ormolu pineapples, 1 ft 4 in high 55 0
Watches
Gentleman’s 18-carat gold half-hunter watch 20 0
Early nineteenth-century verge watch by D. Nevern, in a tor-
toiseshell case, the dial enamelled with a wharf-side scene 13 0
Gentlemen’s 18-carat gold pocket watch by George Harvey,
Wellington 13 0
George III verge watch by William Fowler, London, in a silver
case, London 1783 9 0
Nineteenth-century verge watch by Nicoll, Great Portland
Street, in a tortoiscshcll case 7 10
Barometers
Early   Victorian   mahogany  stick   barometer  by  E. Davis,
Shrewsbury, 3 ft 3 in high 70 0
Regency rosewood inlaid with mother-o’-pearl banjo barometer
and thermometer 46 0
George III mahogany banjo barometer and thermometer with engraved scales by A. M. Ortelli, Godalming, the case outlined with fruitwood lines, 3 ft 2 in high 38 0
Georgian mahogany stick barometer and thermometer by Rout-ledge, Carlisle 38 0
Mahogany stick barometer and thermometer by Salmon, Bath 38 0
A Regency rosewood banjo barometer and thermometer by
Aprile Sudbury 34 0
Early nineteenth-century mahogany banjo barometer by Lione and Tarone, London, with a thermometer and the case inlaid with Prince of Wales plumes and a whorl pattern, 3 ft 2 in high 30 0
Early nineteenth-century mahogany banjo barometer by A.
Celti, Reading, the case inlaid with shells, 3 ft 2 in high 22 0
SILVER
(Troy weight: 20 pennyweights [dwt] = 1 ounce [oz])
Baskets for Bread, Cakes, Fruit, Sugar or Sweetmeats George II oval-shaped cake basket on four cherub mask and scroll feet. The sides pierced and engraved with flowers and
scrolls and the base engraved with a coat-of-arms, by Paul
Crespin, 1753, 62 oz 3,600 0
George III oval pedestal cake basket by John Ernes, London,
1804, 24 oz 10 dwt 400 0
George III boat-shaped pedestal sugar basket with engraved border, reeded edge and swivel handle by Peter, Ann and William Bateman, London, 1793, 5 oz 10 dwt 320 0
Victorian oval basket, the pierced panels embossed with beading
and garlands, London, 1895, 19 oz 62 0
Candelabra and Candlesticks
Pair of George I dwarf table candlesticks, the baluster shafts upon square terraced bases by William Darkeratt, 4J in high, London, 1726, 20 oz 1,500 0
Victorian tabic candelabra with two tiers of six scrolled branches issuing from a bold Corinthian column supported on a square terraced foot, with neo-classic rams’ mask and husk swags by R.H. over R.H., London, 1877, 30 in high 355 0
Pair of George III table candlesticks, the tapering baluster shafts upon half-fluted circular bases by John Green & Co, Sheffield, 1800 195 0
George III chamber candlestick and snuffer, the gadrooned edge
witli shell motif by William Cafe, London, 1761, 12 oz 130 0
Casters
Garniture of three George II vase-shaped sugar casters of plain
design by John Delmester, London, 1758, 15 oz 10 dwt 930 0
William IV Scottish baluster caster engraved with a crest above floral decoration on a granulated ground, by Elder & Co, Edinburgh, 1832, 4 oz 7 dwt 90 0
George III baluster caster with pierced cover and wrythen
finial, by Thomas Satchwell, 1780, 2 oz 4 dwt 85 0
George III vase-shaped caster the otherwise plain body engraved with contemporary crest. The mark of George Giles struck over another, 1783, 2 oz 8 dwt 65 0
Coasters—Wine
Set of four partly fluted circular coasters with gadrooned rims and engraved with crests by John & Thomas Settle, Sheffield, 1818 410 0
Pair of George III coasters with pierced waved galleries, London, 1794 270 0
Pair of William IV circular-shaped wine coasters with foliate borders and crested silver bosses to the wood base, by Henry Wilkinson & Co, Sheffield, 1831 150 0
Pair of George III coasters with beaded rims, the pierced sides stamped with arcading, urns and laurel festoons, maker’s mark missing, 1794 100 0
Coffee Pots
George I small plain cylindrical coffee pot with octagonal spout and low domed cover with baluster finial, by Paul De Lamcrie, London, 1725, 11 oz 3 dwt 1,900 0
George II baluster coffee pot, plain with foliate decorated spout, wood handle and hinged domed lid, probable maker Fuller White, London, 1759, 21 oz 1,350 0
Late George III tapering cylindrical coffee pot, the plain body engraved with contemporary armorials and a crest, by Peter, Ann and William Bateman, London, 1802, 35 ox 2 dwt 1,200 0
George IV coffee pot, vase-shaped, with moulded bands at the neck and waist, leaf-capped scroll handle and foliate finial on lid, by Pearce & Burrowes, London, 1826, 22 oz 5 dwt 210 0
Victorian vase-shaped coffee pot engraved with key pattern
decoration, London, 1872, 24 oz 135 0
Cruets
George II five-bottle cruet frame on four shell feet with detachable baluster handle. Five cut-glass silver-mounted bottles. By Jabez Daniel, 1750, 28 oz 7 dwt 105 0
George III cruet frame for six bottles with reeded loop end handles, ring holders, on four feet. Five glass bottles all chipped, one broken. By Henry Chawner, London, 1792 16 0
Cups and Goblets
Elizabeth I secular wine goblet, the bowl decorated with tulips and strapwork motifs, on a slender baluster stem and circular fluted foot, London, 1593, 5 oz 10 dwt 2,000 0
Pair of George III goblets of plain design, probably by William
Sumner, London, 1800, 20 oz 520 0
Pair of George III two-handled pedestal challenge cups and covers with reeded decoration and urn knops, by Samuel Hcnnell, London, 1806, 32 oz 5 dwt 400 0
George III tumbler cup engraved with armorials, gilt interior and the base with contemporary initials. Possibly by John Garter, London, 1766, 2 oz 1 dwt 150 0
Victorian wine cup, the beaker-shaped bowl and pedestal base cast and chased in low relief with grape-laden vine tendrils, by Hunt and Roskell, London, 1875, 10 oz 1 dwt 52 0
Cutlery—Canteens
George III fiddle thread pattern table silver: 24 tablespoons, 36 table forks, 12 dessert spoons, 12 dessert forks, 12 teaspoons, 6 sauce ladles, 2 soup ladles, 1 marrow scoop, majority by Richard Crossley, 1798/1800/1804, 146 oz 9 dwt 750 0
Victorian fiddle pattern table silver: 12 tablespoons, 12 table forks, 12 dessert spoons, 12 dessert forks, 6 teaspoons, 2 salt spoons, by George Angell, London, 1863, 116 oz 14 dwt 260 0
Cutlery—Forks Dessert
Twelve George I  three-pronged  forks with crest, different
makers, 1718, 14 oz 1 dwt 1,500 0
Twelve George IV fiddle pattern forks by James Scott, Dublin,
1822, 15 oz 75 0
Six George III fiddle pattern forks by G.D., London, 1794,
8 oz 14 dwt 65 0
SOME AUCTION ROOM PRICES ! 1968-69
Cutlery—Forks Table
Twelve Queen Anne three-pronged forks engraved with a crest,
by David King, Dublin, 1708/10, 28 oz Four George II three-pronged forks engraved with two crests,
1755, 7 oz 18 dwt Eleven Victorian fiddle shell pattern forks by George Angell,
1857/61, 36 oz 16 dwt
Cutlery—Forks Toasting
George III fork with knopped shaft and scrolled handle, probably by R. Preston, London, circa 1767, 7 oz 10 dwt. 17f in long
George III fork with knopped shaft and scrolled handle by John Deacon, London, circa 1775, 8 oz. 19i in long
Cutlery—Knives
Forty-eight Victorian table knives and twenty-four dessert knives, kings pattern, steel blades by J.A. or T.S., 1884
Twelve eighteenth-century dessert knives, the multi-faceted bloodstone handles with knopped urn finials and mounts engraved, the scimitar blades of steel. Circa 1700, (Some handles cracked)
Cutlery—Ladles
Four George III sauce ladles, crested Old English pattern by
Hester Bateman, 1783, 5 oz 19 dwt Pair of George III sauce ladles with ribbed and punched beaded
bowls, by Michael Keating, Dublin, circa 1780, 2 oz 16 dwt
Cutlery—Spoons Dessert
Nine engraved spoons, seven by William Soame, 1741, two 1748, 12 oz
Ten Hanoverian spoons engraved with crest, 1760, 11 oz 5 dwt Cutlery—Spoons Serving
Pair of George III Old English pattern spoons by Steven Adams,
London, 1772, 5 oz 15 dwt Pair of Victorian spoons by George Angell, 1854, 10 oz 14 dwt
Cutlery—Spoons Table
Six George I Hanoverian pattern spoons with rat-tail bowls
by Charles Jackson, 1723, 11 oz 2 dwt Six George III Old English pattern spoons with contemporary
initials J.G. by Hester Bateman, 1780, 11 oz 17 dwt
Cutlery—Spoons Tea and Coffee
Six William IV ‘bright-cut’ spoons, 1836, 3 oz 7 dwt Eight George IV fiddle shell pattern spoons by J. McKay, Edinburgh, 1827, 4 oz 8 dwt

SHERATON PERIOD
THE last of the eighteenth century designers, Thomas Sheraton, came to London from his native town of
Stockton-on-Tees about 1790 rare antique marble . Although he had undoubtedly been a practical cabinet maker, there is no evidence that he ever made any furniture in London myott son & co from the 1920s . Certainly he never had a prosperous business such as Chippendale and Hepplewhite had had antique gilt wood mirror frame . His fame in the furniture world rests upon his book, The Cabinet Maker and Upholsterer’s Drawing Book, published in 1791-1794, and appearing in further editions in later years antique mahogany tea table with glass tray .
It was essentially different from Chippendale’s book, the purpose of which was mainly that of a catalogue to appeal to wealthy patrons 1700’s trestle table . Sheraton’s drawing book was primarily a trade book intended to help the practical man, not only in providing designs but also in supplying a treatise in geometry, perspective, and drawing eighteenth century tripod table . In the long run it brought him posthumous fame, but as a commercial proposition it was a failure 17th/18th century style, open-rack oak dresser . Probably few practical men were interested in learning to draw in perspective or to know of the problems in geometry (except in the limited way it affected the setting out of their work), and in looking back the whole thing certainly seems an ambitious undertaking wellinton chest of drawers .
So far as the designs were concerned, Sheraton certainly showed originality in many of the mechanical movements he introduced, and in the design of his chairs, but it must be confessed that the general run of furniture was little more than a representation of the general style prevailing at the time antique oak drawleaf trestle table . It was noted in Chapter VIII that Hepplewhite and Sheraton furniture (excepting chairs) had a great deal in common ; so much so that it is often impossible to say to which it belongs for sale louis 16th walnut sideboard cabinet . It will be realised then that in speaking of Sheraton furniture it represents for the most part the work of a school of craftsmen working in a certain style sheraton 18th century dresser .
antiquegames writing table . BEECHWOOD
ARMCHAIR antique tripod tilt table .
About 180 mahogany bow fronted chest of drawers scottish .
The chair is painted In
black and gilt, and the
rails of the back have
small decorative panels
painted with floral and
musical Instrument sub-
jects masons patent ironstone chinese peony .
FIG english antique reproduction dining table round with add on leaves . 142a carved seating . MAHOGANY
ARMCHAIR where can i buy a rennie mackintosh table with brass lion paws .
Late 18th century thonet bentwood rocker .
The backs of Sheraton chairs were usually lower than those of other contemporary work cutlery boxes . The sweep of the arms into the back is a characteristic Sheraton touch central part of the library has a display cabinet .
Details found in Sheraton Chairs
In his chairs, however, he undoubtedly did strike an original note georgian kneehole cabinet . They are lighter than the majority of other late eighteenth century examples, the backs are lower, and instead of the top rail forming a more or less continuous sweep with the uprights (see Fig french console table 1830 . 131) it was frankly a separate item tenoned between the uprights dining tables art deco . The legs were either turned or square tapered (see Fig antique 2-tier pedestal table . 151), and the arms, instead of bowing out sideways, were usually shaped in
FIG antique maple desks . 143 arts and crafts +jupe table . MAHOGANY CHAIR art deco kneeling dancer lamp .
Late 18th century georgian peat bucket .
Sheraton used both square tapered and turned legs horses as allegorical figures in art . The cabriole
type was never used old english pattern forks with four tines .
side elevation only, generally springing from the back in a continuous sweep fine porcelain arc .
A good example is given in Fig smith furniture gateleg drop leaf table . 142 empire hall bench . Note the obvious way in which the back rails fit between the uprights (compare with Fig fake brass antiques . 131), and the sweep of the arms into the uprights spanish lacquered cabinet inlaid . The whole thing is different from anything else being made at the period art deco console and germany . The curve of the arms into the turned uprights, the curved turned legs, and the graceful design of the pierced back are typically Sheraton 19th century american rosewood rococo console table . It is painted all over (something else that no other designers SIDEBOARD DECORATED WITH SATINWOOD INLAY BANDINGS catherine the great of russia plates . Late i8th century charles neo classism boulle .
The bow front sideboard became extremely popular at this time antique trestle refectory table . Sometimes the space between the centre
legs was title in with a cupboard having a tambour front made to slide sideways pottery german weimar art deco .
Tapered Legs in Sheraton Chairs
attempted), and some extremely fine art work is put into the small panels of the back florence lamps giuseppe antique .
Another Sheraton chair, this time with tapered legs, is given in Fig who sells maggiolini furniture . 142a decoration metal bureau table desing . In this case the arms meet the turned uprights more or less at right angles, but they sweep into the back as in the previous example extending glass table with wrought iron legs . The back is practically square, and the uprights which continue down to form
II how drop leaf table evolved .C; antique serving cabinet . 1 a & s smee finsbury .15 round “dining table” “six legs” . WHEEL BACK CHAIR irish cabinet makers antique wine coolers .
About i800 antique porclean handled sheffeld flatware .
The finest chairs of this kind came from Norfolk and Suffolk value of primitive antique work bench . They became popular towards the end of the 18th century, and into the 19th century lowenfink . Earlier models had curved arm supports at the front instead of turnings antique drum shaped table .
the legs are shaped only in side elevation wood furniture legs clawfoot . They are straight when looked at from from the front art glass vases antique . This is another feature invariably found in Sheraton chairs, and never in contemporary work of other designers scriptoire . All these features also appear in the chair in Fig oak table 5 legs built in leaves rectangular antique . 143•
Sheraton died in i8o6, and it is unfortunate that towards the end his designs suffered severely decorative spindle legs from antique card table . Probably no man, no matter how individual, is quite free from extraneous circumstances bread/cake baskets 17th century . Prevailing fashions exert their sway, and designers
146 varguenos . TWO WRITING DESKS IN MAHOGANY WITH SATINWOOD BANDINGS antique pedestal mahogany table .
Late i8th century bauhaus style furniture +scale .
The Importation of Ykirious foreir4n fancy woods, satinwood, am boyna, rosewood, ebony, and so on led to the free use of
these for use in inlay bandint!s art nouveau antique drinking cabinet . Satinwood, too, was freely used in the solid, entire pieces being made up in it antique 17th century dresser .
Deterioration of Late Sheraton Work
are often faced with the choice of either following them or retiring from the scene antique mahogany card table, imperial . Many things were happening in Europe at the close of the eighteenth and beginning of the nineteenth century which were to affect design gilt metal mounted pier table . The French revolution, culminating in the establishment of the First Empire, produced a style in France which rapidly found its counterpart this side of the Channel, and the naval victories of this country had an extraordinary effect on furniture 1800 hundred french mantel and candle clock .
FIG antique art deco furniture black lacquer . 147 maurice adams art deco . MAHOGANY SIDE TABLE WITH BANDED DRAWERS anglo indian cabinets .
Late i8th century vintage buttterfly dropleaf tables .
A prominent feature of the Sheraton school was the very limited use of
carving antique 17th century dresser . Probably it was a reaction from its free use in the Chippendale
period dutch cabinet marquetry 18 .
Just as topical events of thirty or forty years ago were commemorated in fretwork designs, so the furniture of the early nineteenth century showed its reaction to the events then happening gillows bow front mahogany chest drawers .
Sheraton fell into the general line and published his E’?IcYc10P,Tdia of 1804-1807, in which was one of the most extraordinary collections of furniture designs ever put together regency occasional table . Naval emblems of all kinds—anchors, lifebelts, pulley blocks, ropes, and so on—abound, and it is a mercy that more of them were not made up,
To revert to his earlier and happier period, Sheraton’s chief form of decoration was inlay 19th century parian busts . Cross-bandings of fine
MAHOGANY WARDROBE WITH BUILT-UP VENEERED
DOORS
Late i8ti century antique chinese circular revolving bookcase .
The fine mahogany imported at this time led to the revival of the built-up
patterns in veneer as the grain had splendid decorative value 17 century elm gateleg table .
foreign woods, such as satinwood, rosewood, tulip wood, ebony, amboyna, and so on, were inlaid around the edges of drawer fronts and panels, and various built-up patterns in veneer were made use of with great effect period style display cabinets . The bow front sideboard in Fig antique ceramic tambour german mantle clocks . 144 shows the use of this cross-banding italy spoons that might be antiques . Painting also he used considerably, naturalesque floral subjects and panels in the style of Angelica Kauffman being the chief forms it took nicholas sprimont solid silver . Carving he used
E; <
FIG value of an antique pembroke table . 152 antique mahogany french bedside commode . MOULDINGS OF THE SHERATON PERIOD dutch 18th century walnut chest on chest .
Mouldings were invariably small and delicate islamic influence furniture . Occasionally carving and inlay
were introduced, though they were usually plain dining tables with wood inlay work .
sparingly and never in the full scrolling form favoured by Chippendale french console table 1830 .
A small Sheraton side table is given in Fig arts and crafts furniture, antique collectors . 147 flemish refectory table . Here again the drawers have an inlaid cross-banding around the edges antique german breakfast table . The turned legs are reeded down their length dresser accessories . Two other Sheraton pieces are given in Fig russian chippendale trays . 146 silver candleabras made in england . Note the inlay again decorative writing styles . Desks of this kind were often fitted with elaborate secret contrivances in which stationery boxes, drawers, and cupboards rose up at the touch of a spring how common is walnut drop leaf table .
The Sheraton Wardrobe
Fig antique chinese chamber pot . 148 shows a fine inlaid wardrobe in which built-up patterns in veneer are used effectively myott son&co hanley 1880 . The dentils in the cornice and the flutes in the frieze are carried out entirely in inlay american crafts armchair upholstered . The curved bracket feet are a typical feature of the late 18th century 17th century oak side table .
CHAIR WITH SABRE LEGS AND
CANED SEAT rococo style flower arranging .
About i8io pembroke style end tables .
This is an extremely fine example of the chairmaker’s craft 18th century marquetry . Despite the somewhat complicated curvature of the back the construction follows conventional methods, the tops of the back legs being tenoned into the cresting rail and the moulded shaping worked across the joints mark vezzi porcelain . The curved rails fit together with a form of halved joint cylindrical crock eared handles cobalt blue .

Pressed glass
The invention and development of mould pressing c.1820 revolutionized glass manufacture; previously an exclusive and highly priced commodity, decorative ,,lass became accessible to all. The technique involved pressing a gather of molten glass into a metal mould using a plunger. When the glass cooled, the mould was opened, and any excess glass attached to the seams was removed by hand.
NORTH AMERICA
The most important pressed-glass manufacturer in North America was the Boston & Sandwich Glass Co. 1826-88), founded by Deming Jarves (1790-1869), in Sandwich, Massachusetts. The firm produced inexpensive pressed-glass tableware in “lacy” glass with intricate stippled designs that resembled lace and covered the flaws caused by the pressing process; wares included table services and a range of coloured glassware. The earliest pressed patterns of Gothic arches, acanthus leaves, and scrolls were probably copied from cut glass. Another well-known company was the New England Glass Co. (1818-90), originally of East Cambridge, Massachusetts, and also founded by Jarves. Both firms specialized in the production of oil lamps and candlesticks with contrastingly coloured glass tops and bases. By the 1850s other pressed glass factories were also established throughout the Midwest.
Many firms produced brightly coloured pressed glass with a vivid orange or green iridescent surface, which is known as “Carnival” glass. It was made by spraying pressed glass with metallic powders, and was used to create eye-catching yet inexpensive tumblers, bowls, plates, and vases. Major makers include the Northwood Glass Co. (1888-1925) in Indiana, Pennsylvania, the Imperial Glass Co. (est. 1902) in Bellaire, Ohio, and the Fenton Art Glass Co. (est. 1904) in Williamstown, West Virginia. Between 1925 and 1950 mould pressing was widely used to mass-produce inexpensive glass items, such as trinkets, which were given away as premiums at petrol stations and in boxes of cereal, and also affordable pastel-coloured tablewares; these pieces are now known as -Depression” glass. Primary makers include the Jeanette Glass Co. (est. 1898) in Jeanette, Pennsylvania, and the Indiana Glass Co. (est. 1902) in Indiana, Pennsylvania.
BRITAIN
Mould pressing was used in the North of England before 1827, and from the mid-1870s was widely employed
by such firms as John Sowerby’s Ellison Glassworks (1847-1972) and George Davidson & Co. (est. 1867), both in Gateshead, Henry Greener & Co. (est. 1858) in Sunderland, and John Derbyshire & Co. (1873-6) in Manchester. Commemorative ware was
very popular in Britain, and in the 1870s John Derbyshire & Co. introduced patriotic mould-pressed figures to its range, including those of Britannia and Queen Victoria. In the 1860s
Henry Greener & Co. produced glass with a ground of small raised dots that was especially
well suited to press moulding. One of Sowerby’s most popular ranges was “Vitro-porcelain” glass, which closely resembled china. Launched in 1877, it was produced in several colours, including cream (registered as “Patent Queen’s Ivory Ware”), turquoise, white, green, and a marbled version known as “Malachite”. Ranges by George Davidson & Co., introduced in 1889, include opaque “Pearline” glass, which was produced in different shades of turquoise.
• DECORATION American pressed-glass designs are sharp; pieces with softer patterns are likely to be either copies or European; decoration is often in imitation of cut-glass designs; “lacy” patterns were also popular
• COLLECTING although primarily collected in the USA, pressed glass is now becoming more popular with collectors in Europe; generally, the more ornate the piece, the more desirable it will be
• BEWARE supposedly “rare” examples may be copies

Derby
William Duesbury the younger succeeded his
father in 1786 and guided the Derby factory through its best and most significant period. Production was aimed only at the wealthiest customers, with every piece finished to the highest standards.
DOMESTIC WARES
The speciality of Derby was cabinet wares, particularly cups or cans and saucers, or cabaret sets – far too expensive to use and intended purely to be admired. Decoration in panels or reserves was executed by such superb artists as Zachariah Boreman (1738-1810) and Thomas “Jockey” Hill (1753-1827) who painted landscapes, Richard Askew (active 1772-95) who was famous for figures, George Complin (active c.1755-95) who painted birds and fruit, and William Billingsley (1758-1828),the greatest of all English flower-painters. Derby rediscovered the charm of botanical decoration, and flower prints were accurately copied onto wonderful dessert services. Derby’s glaze was creamy white and very soft, accounting for a delightful, smooth, and subtle feeling quite unlike any other English porcelain. In consequence its wares are much in demand today, and the best vases and cabinet cups are hugely expensive.
During the early 19th century Derby excelled at copying colourful patterns inspired by old Japanese wares and really took this form of decoration to heart. Combinations of Chinese and Japanese designs were brought together in a totally English way to suit the
T The “Bemrose” garniture designed by Jean-Jacques Spangler (b.1752)
Named after William Bemrose, the collector and writer on Derby, this garniture borrows heavily from continental porcelain styles. These vases are also known as “Kedleston” after those in Kedleston Hall, Derbyshire. (c.1790-92; ht of vase 38.5cmll5in; value L)
Regency taste for Oriental styles. Derby sold its Imari patterns in competition with Coalport and Worcester, and mass-production methods were used to keep costs down. As a result the patterns were painted quickly,
giving each piece a spontaneity that can be highly decorative. Some of the Derby Imari designs have name such as the “Old Witches”, the “Tree of Life”, or the “Kings” pattern, which was a particular favourite.
FIGURES
Figure-making was always important at Derby, and in the 19th century the factory was still Britain’s principal producer; however, there was now serious competition from two other quarters. Staffordshire potters copied every new Derby figure in inexpensive earthenware as soon as it came on sale, and seriously threatened Derby’ monopoly. At the same time Meissen figures were imported in great quantity into Britain and found an appreciative market. Derby countered this new competition by copying other factories’ works. During the 1820s and 1830s the reproductions of the latest Meissen models even carried the Meissen crossed sword mark. However, the great period of Derby had ended in 1797 with the death of Duesbury, and the factory went into a steady decline, eventually closing in 1848. Other factories were subsequently established in Derby, the trios successful being the Derby Crown Porcelain Co. (est. 1870), which was styled Royal Crown Derby in 1890.
• pure white soft-paste porcelain (post-1770)
• GLAZE creamy; frequently stained by surface crazing
• DECORATION gilding is of the very best quality; some gilders are identifiable by a number; fine botanical studies; birds; landscapes; Japanese Imari patterns
• LEADING PAINTERS Boreman and Hill (landscapes), Askew (figures), Complin (birds among fruit), Billingsley (flowers)
• FIGURES style after Meissen; rich colouring, including use of deep blue and gold
Marks
1782-1825: marks carefully painted in blue or purple; after 1800 usually painted in red with less care
c.1820-40: although Robert Bloor suffered from mental illness from 1826, the period through to 1840 is named after him; mark printed in red

Dress Accessories
Style and fashion were an important part of the Deco era. Styles changed drastically for women, reflecting a more practical and carefree or casual attitude toward life. The clothing from the Deco years chronicles that transition. The long, corseted gowns of the late Victorian period changed to the knee length skirt and flat chested “boyish” look of the 1920’s. Padded shoulders, tight skirts and baggy trousers followed in the late 1930’s and 1940’s. Although there were changes in men’s clothing, styles remained conservative compared to the trends which came about with women’s apparel.
Although time has been unkind to old garments, vintage Deco clothing is collectible, and there are dealers who specialize in fine examples salvaged from the period. Markets for this type of clothing are usually commercial or public, sold for store displays, museum exhibits or theatrical production rather than for individual use. But dresses, suits and coats made from the 1920’s through the 1940’s currently attract some of the teen and college age generations who enjoy actually wearing the outfits. Estate sales and thrift shops may yield some amusing examples at nominal prices.
While it may be difficult to find a piece of Deco clothing which one would care to wear, a number of items used to accessorize such clothing can be worn with enjoyment. Purses, compacts, belt buckles, dress clips and all types of jewelry are quite compatible with today’s fashion. Dress accessories offer the collector an intriguing and almost unending source of Deco designs. It is apparent from the items shown, as is true for most surveys of the era, that dress accessories were primarily confined to women’s articles. But cuff links, stickpins and watches, for example, were made in Deco styles for men.
Compacts are a product of the Deco age. These neat items made for checking or repairing one’s make up, slipped easily into a purse or evening bag. While most contained a bit of mirror and a cake of powder, some were made with lipstick cases, change holders and money clips as well. The most expensive are made of gold and silver, but lower priced varieties made of plated or enamelled metals and celluloid or plastic are also available. Although small in size, compacts exhibit striking Deco traits. Notice the Egyptian influence on two examples, one with hierglyphics and one with Egyptian figures.
Mesh evening bags made from enamelled metals by American manufacturers such as Whiting and Davis were in demand during the 1920’s. Small beaded and fringed bags were also popular accessories for the jazz age costume. Evening bags have become a special topic of collector interest and there are few bargains to be found. It is difficult to find one for less than $50. Large beaded
purses, like the one illustrated, made during the latter part of the era do not cost nearly as much.
Collections of compacts and evening bags can be framed or housed in glass cases to add attractive touches to a room. The same can also be done for much less money with buttons or belt and shoe buckles. These little adornments are sometimes overlooked, but they often created the Deco accent for a garment. Such pieces usually outlived the clothing and many have been saved. Rummage through a box of old buttons and buckles, a Deco souvenir may be found—even a pair of fancy garters!
Jewelry is undoubtedly the most fascinating of all dress accessories. Although gold, silver and precious stones were fashioned into Deco designs, costume jewelry was born and thrived during those years. Many pieces were made from glass, enamelled metals, bakelite, celluloid and plastic. Rhinestones, like other good pieces of Deco costume jewelry, are attracting wide interest today. It is obvious that Deco designs have had a great influence on contemporary costume pieces. Reproductions also are surfacing on antique and collectible markets. Buyers should inspectjewelry carefully to determine if an item is new. Prices for authentic “period” period” pieces are often comparable with those of good quality modern costume jewelry.

Early porcelain
The porcelain factories established in France in the early 18th century manufactured soft-paste porcelain, since the kaolin necessary for the production of hard paste was not discovered in France until 1768. Early French porcelain, particularly that of Chantilly, is considered especially attractive by collectors because of its soft ivory or creamy colour. The first factory was established in the 1670s in Rouen by the Poterat family, but its output was much less significant than the later factories of Saint-Cloud, Chantilly, and Mennecy.
SAINT-CLOUD
In 1664 Claude Reverend obtained a privilege to experiment with the manufacture of porcelain in and around Paris. In 1674 he employed Pierre Chicaneau (d.1677), who is said to have discovered the recipe for soft-paste porcelain. Through the patronage of the Duke of Orleans, Chicaneau’s widow, Barbe Coudray (d.1717), was granted a privilege for the manufacture of faience and porcelain at Saint-Cloud in 1702.
A large range of wares was made at the factory, including ice pails, spice-boxes, snuff-boxes, bonbonnieres, and cutlery handles. A speciality was pot-pourri vases, usually left unpainted. Early decoration comprised underglaze blue borders of lambrequins. From c.1730 wares were left in the white and decorated with moulded prunes blossom, imitating Mane-de-Chine wares from Dehua in Fujian Province, China. More European designs, such as overlapping leaves and wading birds, were introduced as moulded decoration. In the same period, the painters copied Japanese wares in the Kakiemon and Imari patterns.
CHANTILLY
In 172.5 Louis-Henri of Bourbon, Prince of Conde, founded a porcelain factory on his estate at Chantilly. The factory is celebrated for its wares decorated in the style of Japanese Kakiemon and Chinese famine-vote porcelain. Many items – jardinieres, teapots, jugs, and plates – were probably copied directly from Oriental originals in the Duke’s collection. Figures of Chinese and Japanese characters were also a speciality of the factory before c.1750 and were decorated in the Kakiemon style.
After the mid-18th century, decoration of small scattered sprays of European flowers was introduced. In 1753 Louis XV issued an edict restricting the use of gilding and certain colours by French porcelain factories to protect the commercial interests of Vincennes. Permitted decoration generally consisted of simple floral designs in underglaze blue, or blue or pink enamels. During the 19th century Chantilly porcelain was extensively copied by the factory of Edme Samson & Cie in Paris.
MENNECY
In 1734 the faience manufacturer Francois Barbin (1689-1765) opened a factory producing soft-paste porcelain in Paris under the patronage of the Duke of Villeroy. Wares in the style of Vincennes, Saint-Cloud, and Meissen as well as imitations of Japanese Kakiemon porcelain were made. In 1748 the factory moved to Mennecy, near Paris, where custard-cups and covers, moulded with spiral or vertical fluting, and bell-shaped ice-cups, influenced by Vincennes and Sevres, were produced. These were painted with sprays Of flowers in a palette dominated by puce and red. Before 1750 the factory produced stiffly modelled Oriental figures, usually decorated in the Kakiemon palette, and after 1750 rustic peasants, children at play, allegorical figures, and, more rarely, commedia dell’arte figures.
Saint-Cloud (1664-1766)
• BODY creamy-white or ivory soft paste, with a soft glaze that is greenish where it gathers
• DECORATION ION lambrequin borders in underglaze blue; moulded prunes blossom; stiffly painted copies of Japanese Kakiemon and Imari patterns and palettes

• BODY soft-paste porcelain with a distinctive opaque, creamy tin glaze, which makes it look similar to faience; 19th-century copies are greyish and glassy
• DECORATION before the 1750s Kakiemon and famille verte patterns outlined in black – these wares are the most collectable; from the 1750s European flowers in underglaze blue, or blue or pink monochrome
• FIGURES Oriental figures painted in Kakiemon palette

Mennecy (1734-1806)
• BODY similar to Saint-Cloud, with a soft, ivory tone and a slightly green tint to the glaze
• DECORATION Kakiemon style; sprays of European flowers in a pastel palette dominated by puce and red
• FIGURES stiffly modelled figures of Orientals, painted in Kakiemon style; later, figures of peasants, children, putti, and allegorical subjects in line with Rococo taste

Kakiemon
A type of Arita ware, Kakiemon is a delicate porcelain with a distinctive palette. The name is derived from a family of potters and enamellers working in Arita, who are traditionally believed to have introduced overglaze enamelling on porcelain to Japan in the 1640s. The extremely fine, milky-white body (nigoshide) was believed to have been exclusive to the Kakiemon kiln, although this is now disputed. Wares include small dishes, bottles, bowls, and vases, many of which are of geometric form.
DECORATION AND FORMS
Although the Kakiemon kilns produced blue-andwhite porcelain, they are generally associated with wares expertly painted in a palette of iron-red, cerulean-blue, turquoise-green, yellow, aubergine, and gold. These delicate porcelains form a counterpoint to the heavier Imari wares.
Often asymmetrical, the designs enhance
the milky-white body of the best Arita porcelain. Kakiemon wares are usually painted with natural themes: birds in branches, flying squirrels, the “quail and millet” design, the “Three
Friends of Winter” (pine, prunus, and bamboo), trailing flowers, and banded hedges. Human subjects are rare; some have been given titles such as the “Woman and the Nightingale” and the “Hob in the Well”, the latter a design based on the story of a Chinese sage who saved his friend who had fallen into a large fishbowl.
The chrysanthemum, the national flower of Japan, is a very common form for
Kakiemon wares, as is the pointed bracket-shape. Many Arita wares, especially the Kakiemon type, are hexagonal or octagonal in form. An iron-brown dressing (fuchi-beni) was applied to the edges of many Kakiemon porcelains to embellish them and to protect the rims from being chipped; this was probably introduced around the mid-17th century, following the example set by Chinese potters. Kakiemon porcelain was arguably the most influential Japanese porcelain in Europe; after it was exported to Europe at the end of the 17th century, the forms and decoration were copied by many major factories including Meissen, Saint Cloud,Chantilly, Chelsea, and Bow.
• BODY a pure milky-white (nigoshide)
• GLAZE almost colourless
• PALETTE iron red, cerulean blue, turquoise, brown, yellow, and gold; black is used for detailing; iron-
brown edges (fuchi-beni) are typical
• FORMS geometric; dishes are hexagonal, octagonal, or decagonal
• DECORATION mainly flower motifs and only rarely figures; asymmetrical and sparse; popular patterns include the “quail and millet”, the “Three Friends of Winter” (pine, bamboo, and prunus), banded hedges, flying squirrels, and the ho-ho bird (phoenix)
• COPIES made in many European factories from the end of the 18th century, including Meissen, Chantilly, Saint Cloud, Chelsea, and Bow

Imari Porcelain
Imari is a port on the eastern coast of the island of Kyushu. The name has become associated with a certain type of porcelain, but it has two different Interpretations, one used in Japan and the other in the West. The Japanese terms Shoki and Ko Imari describe blue-and-white wares made in Arita. However, what is generally known in the West as “Imari” is export porcelain decorated in a palette that usually includes underglaze blue, iron-red, and gilding.
There are also other categories beyond the conventional colour scheme; for or example, “green family” Imari is dominated by green, with red or other colours being used in a minor role. Kenjo Imari (presentation ware) is
- sub-group,
another -group, which uses a similar palette but with a more formal arrangement of panelled zones of colour.
Initially developed in the second half of the 17th century, the Imari style matured c.1800.
The finest examples of the style feature a complex symphony of overlapping geometric or leaf-shaped panels often decorated with conflicting themes, as seen in the vase and cover below. Unfortunately the variety of these anti-rational patterns makes it difficult to categorize and present a chronology for this group of wares. Much decoration appears to be based on brocade a rich silk textile run through with gold or silver thread. The majority of Imari wares are decorative, with pieces intended for display en masse. In the late-17th and 18th centuries the most common objects made were high-shouldered, dome-covered jars, trumpet-shaped beaker vases, and saucer dishes. Tea and coffee wares were alsc produced, but these are scarce.
WEAR AND TEAR
Arita porcelain, particularly blue-and-white and Imari, is generally extremely robust and not easily cracked, unlike its more fragile Chinese counterpart. However, although Arita ware is strong, its softish, pale, greyish-blue glaze may be more easily scratched than that of Chinese wares. Some of the Arita export porcelains have crackled glazes, and an intended purchase must be carefully examined to make sure that the body itself is not cracked.
• PALLETTE the basic Imari palette comprises underglaze blue, which can be an intense, almost black, colour or a pale grey, iron red, and gold; other colours include yellow, manganese brown, green, and turquoise
• P0TTING Japanese porcelain is thickly potted and has a tendency to warp during firing, kiln supports were therefore used under the bases of even relatively small wares to prevent them from saggingCOPIES
• made in porcelain at Meissen and in tin-glazed earthenware particularly at Delft during the first third of the 18th centuryBEWARE
• some late-17th- and 18th-century Imari porcelain wares are inscribed with spurious Chinese reign marks

Arita blue-and-white wares
Almost all early Japanese porcelain was produced in Arita on Kyushu, the westernmost of the main Japanese islands and, significantly, the closest to Korea. It is most unlikely that the manufacture of porcelain would have developed in Japan as early as this without the know-how of Korean potters, who were brought to Japan when Toyotomi Hideyoshi returned from his invasion of Korea at the end of the 16th century. Early Arita porcelain is generally, if superficially, classified into three main types: Arita blue and white, Imari, and Kakicmon.
A Ming-style blue-and-white dish
This large dish is a fairly faithful rendition of late Ming kraak porcelain Emblems used by the Chinese as decorative motifs, including the “Eight Precious Objects” of the scholar (a musical stone, jewels, a coin, a pair of books, an open tied lozenge and a closed tied lozenge, and the artemisia leaf), were often copied by the Japanese. The artemisia leaf can be seen in this dish in the broad panels in the top right corner. (c. 1660-80; diam. 40cmll6in, value H)
DOMESTIC WARES
The earliest Arita wares wore crude-bodied, heavily potted porcelain, casually decorated in blue and white, and were generally not exported. These wares were clearly influenced by both Korean blue-and-white and imported late Ming porcelain. By the mid-17th century the Arita potters were producing a more refined and broader range of objects for the newly established export market, as well as for the domestic market. The type of decoration on these later wares was complex, combining natural themes with geometric patterns; dishes or bowls featured leaf or flower forms and, more rarely, bird or animal shapes. The underglaze blue used ranges from a poor-quality grey or blackish blue through to a bright purplish blue. Wares made for the domestic
EXPORT WARES
In 1647 the civil war in China between the Dynasty and the invading
disrupted the well-established trade between Japan and Europe. The Japanese were persuaded by Dutch East India Company to supply - white wares in the style of either the Chinese kraak porcelain or the Transitional
decorated with semi-botanical subjects narrative themes applied in a mechanical These are not close copies but loose
Japanese decorators were hampered by she they had to work from wooden models of originals supplied by the Dutch.
Wares produced at this time included
northern European metal or ceramic forms example the Enghalskrug (narrow-necked
or Kugelbauchkrug (bulbous globular rank:_
and the Birnkrug (pear-shaped tankard
specifically Chinese shapes as the kendi a
drinking vessel) and the klapmuts (a wide-dish) were also made. The trade with Europe continued until the kilns in China were reestablished in 1683, after which the Dutch mainly
returned to their patronage of Chinese porcelain. which was much less expensive than Japanese wares. However, porcelain made in the kilns at Arita continued to be exported to the West until the mid-18th century
market include small dishes and c.1640 Japanese wares include The third type of blue-and-white solely for the export market.