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GERTRUDE JEKYLL FOR JAMES POWELL & SONS. `MUNSTEAD` FLOWER VASE, CIRCA 1885. clear glass, the flaring neck above a tapering cylindrical body. 35.5cm high. Note; The renowned garden designer Gertrude Jekyll was asked by the London retailer James Green to design a range of flower vases, the result was known as the `Munstead range`, named after Munstead Wood, Jekyll`s own cottage designed by the architect Sir Edwin Lutyens (1869-1944).A sheet from a catalogue showing various sizes of this vase is currently in the collection of the Museum of London. This vase is larger than the largest (13inch) version illustrated on this sheet. To date only one other example of this size is known and was exhibited in London in 2008.
ATTRIBUTED TO GERTRUDE JEKYLL FOR JAMES POWELL & SONS. `MUNSTEAD` FLOWER VASE, CIRCA 1885. clear glass, the flaring neck above a ribbed tapering cylindrical body. 41cm high. Note; The renowned garden designer Gertrude Jekyll was asked by the London retailer James Green to design a range of flower vases, the result was known as the `Munstead range`, named after Munstead Wood, Jekyll`s own cottage designed by the architect Sir Edwin Lutyens (1869-1944). A sheet from a catalogue showing various sizes of this vase is currently in the collection of the Museum of London. This vase is larger than the largest (13inch) version illustrated on this sheet. To date only one other example of this size is known and was exhibited in London in 2008..
MOORCROFT POTTERY FOR LIBERTY & CO., LONDON. PAIR OF `TUDRIC` CANDLESTICKS, CIRCA 1920. pewter mounted glazed earthenware, each with broad drip trays above tapering columns, decorated in the `Midnight Blue` pattern, spreading hammered base, stamped marks `Tudric/ Moorcroft/ 01362` (2). 20cm high.
GRAYS. BOX AND COVER, CIRCA 1930. glazed earthenware, with marine transfer print and pink lustre decoration, printed mark, 13cm across; also FOUR DAVID LEACH DISHES, each incised with a plant form, impressed seal mark, 15cm long; and TWO POWELL & WELLS studio pottery door plates (7).
ART NOUVEAU PERIOD. THREE CASED SETS OF BUTTONS, EDWARDIAN PERIOD. to include a set of six Edwardian blue and green enamelled buttons, each of trefoil shape, case stamped MAPPIN & WEBB; a set of six pale blue enamelled smaller circular buttons, with tooled red leather fitted case; also a wooden cased set of six Japanese Satsuma buttons, each painted in gilt and coloured enamels with wisteria (3).
OLIVER BAKER (ATTRIB.) FOR WILLIAM H. HASELER. PAIR OF SILVER CANDLESTICKS, BIRMINGHAM, 1899. each with gently tapering nozzles above spirally scrolled supports terminating in a carrying handle, raised above a sphere on four pierced and curved legs with scroll feet, hallmarked Birmingham 1899 (2). 26.5cm high. Literature; Bury, Shirley `Liberty`s 1875-1975`, introductory essay, Victoria & Albert Museum catalogue, published London 1974, pages 13-16.. Note; Liberty & Co. began sponsoring a range of silverware late in 1898 or early 1899 and by the spring of that year enough silver had been commissioned for a small exhibition and the range was given the title `Cymric`.. The Birmingham firm of W.H. Haseler, makers of the current lot, would become the makers of the bulk of the `Cymric` range. A formal arrangement was made with Haselers in the autumn of 1899 however it is thought that a relationship with the firm existed before this time, indeed Liberty`s were thought to have `farmed out` orders for silver locally but came to rely on the services of Haselers. Although it is compelling to imagine that these unusual sticks formed part of this early project the absence of the L&Co. mark makes this less likely although not impossible as records of the relationship between the two firms do not exist. Liberty`s sent examples of Cymric work to the Arts & Crafts exhibition of 1899, and their star turn at this exhibition was the work in silver of the Birmingham painter and antiquary Oliver Baker. Baker was certainly produced designs for Haselers at this time, typically heavily scrolling archaic designs reflecting his work as an antiquary but incorporating the sinuous line of Art Nouveau..
ARTS & CRAFTS. COPPER AND ENAMEL LIDDED BOX, CIRCA 1910. the rectangular top with decorative hinges and central enamel panel, 18cm across; an embossed copper crumb tray; a pair of beaten copper chamber sticks; a single copper chamber stick; and a Scandinavian brass tray, cast with a longboat (6).
ARTS & CRAFTS. LARGE OAK SIDEBOARD, CIRCA 1910. the heavily moulded cornice above a mirrored back flanked by brass inlaid panels and turned columns, the base with two central drawers and two small doors with decorative hinges flanked by two further panelled doors on bracket feet. 184cm wide, 220m high, 67cm deep.
WYLIE & LOCHHEAD, GLASGOW. MAHOGANY AND INLAID DRESSER, CIRCA 1910. the overhanging cornice above central open shelves flanked by cupboards inlaid with stylised plant forms, the base with semi-bowed top above two drawers flanked by two further inlaid doors above a platform stretcher. 152cm wide, 168cm high, 53cm deep.
GEORGE WALTON. BREAKFRONT LIBRARY BOOKCASE, CIRCA 1900. oak with stained and leaded glass panels inset with copper and brass, the serpentine ledge back above an overhanging shelf with curved brackets to the sides, over six doors, each with stained, opalescent and leaded glass panels depicting stylised plant forms and embellished with copper and brass, enclosing adjustable shelves, the whole raised on square tapering legs with spade feet, bears makers circular ivorine label to the rear inscribed `George Walton & Co Ltd/ Designers, Manufacturers and Decorators/ 150 & 152 Wellington St, Glasgow/ Also at London and York/ Design no.`. 218cm wide, 154.5cm high, 38.5cm deep. Literature; Karen Moon `George Walton: Designer and Architect`, Oxford 1993, P. 82, pl. 106 Note: This fine oak cabinet with its distinctive stained glass doors was designed by the architect and designer George Walton in 1900. Walton was born in Glasgow on 3 June 1867, the youngest of twelve children. The painter Edward Arthur Walton, born in 1860, was his elder brother and the flower painter Constance Walton his sister. His father died in 1873 leaving the family in reduced circumstances and Walton had to leave school aged thirteen to become a clerk with the British Linen Bank, but while working there he also studied at Glasgow School of Art (as the School of Design had become in 1869).In 1888 Miss Catherine Cranston commissioned Walton to re-design the interiors of the tea rooms at 114 Argyle Street, Glasgow. Walton gave up banking and opened showrooms entitled George Walton & Co, Ecclesiastical and House Decorators, at 152 Wellington Street. The Walton firm quickly expanded into woodwork, furniture making and stained glass. In 1896 Walton received a further commission from Miss Cranston, to decorate the Buchanan Street premises. His collaborator was C. R. Mackintosh, for whom Walton made some early pieces of furniture. In 1897 Walton moved to London and, as well as retaining his Glasgow showroom, opened a branch in York. The catalyst appears to have been the commission to design the Photographic Salon in the Dudley Gallery which came to him through his friendship with the Glasgow photographer James Craig Annan. It led to a further commission from George Davison for the Eastman Exhibition in the New Gallery in Regent Street in the same year, and in turn to a series of Eastman Kodak showrooms in London, Glasgow, Brussels, Milan, Vienna and Moscow which brought him international fame.The bookcase offered here comes from this period and may have been made for a Kodak showroom. A contemporary photograph from 1900 shows a very similar bookcase in the interior of the Kodak showroom at 72-74 Buchanan Street Glasgow. From the opening of the first showroom in Clerkenwell Road London in 1898 the success of Walton`s designs meant that showrooms began to open at the rate of two a year. By the time the Buchanan Street branch had opened circa 1900 his showroom designs were following a familiar pattern. Delicate stencilled friezes in the `Glasgow Style` ran aroud the rooms above the picture rail and below were specially fitted cabinets in mahogany or oak. The cabinets had stained glass detailing derived from plant forms, with copper and brass detailing, relating to designs being produced by Charles Rennie Mackintosh at the same time (although without the carved details). It may be that the present cabinet was infact a domestic piece produced around the same time although it is compelling to imagine that it may have formed part of the interiors of this remarkable series of shops. The extraordinary innovation which Walton brought to retailing was the domestic nature of his designs which created a relaxed and unthreatening atmosphere in which to shop and which was to be much copied.
An Elkington & Co silver plated desk stand, late 19th century, the shaped and scroll pierced stand with acanthus leaf cast border, the central well with cherub cast cover, flanked to either side by ink well stands supporting glass inkwells, all raised on four bracket feet (at fault) 31.5cm wide
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1423168 item(s)/page