Decorative Arts

The fine stitching used here is a version of needlepoint termed ‘petit point’ because of the small size of stitches used. In general needlepoint, designs are stitched onto fine canvas using a simple tent stitch, a small, diagonal stitch that crosses over the intersection of one horizontal and one vertical thread of the canvas forming a slanted stitch at a 45-degree angle. Petit point uses the same technique but with much finer stitching and thread on a much finer canvas often requiring magnification for the work to be carried out. It allows more intricate designs and shading effects as can be clearly seen here. The technique was particularly popular in France amongst the aristocracy in the early eighteenth century which perhaps determines the choice of subject here but with their intricate stitching and complementary frames, this pair of tapestries would definitely be a candidate for boudoir accessories in the present day.

Bertel Thorvaldsen (born Nov. 19, 1770, or Nov. 13, 1768, Copenhagen, Den.—died March 24, 1844, Copenhagen), sculptor, prominent in the Neoclassical period, who was the first internationally acclaimed Danish artist. Prominent in Roman intellectual and artistic circles, he influenced many emerging artists from Europe and the United States. Most of Thorvaldsen’s most characteristic sculptures are reinterpretations of the figures or themes of classical antiquity. The Alexander frieze of 1812 in the Palazzo del Quirinale, Rome, modeled in only three months in anticipation of a visit by Napoleon, is an example of the feverish energy with which he could at times work. Religious sculptures include the colossal series of statues of Christ and the Twelve Apostles (1821–27) in the Vor Frue Kirke in Copenhagen. He also made numerous portrait busts of distinguished contemporaries.

Carving was originally done by the Seri people, a nomadic tribe of no more than 500 who live in Mexico and then by town and city dwellers from Sonora and Baja California, who embarked on the trade after the figures became commercially popular. Seri carvings were essentially hand made whereas the mass produced pieces were created with the use of power tools.

The forms are derived from wildlife and are often abstract in style. While it may owe some elements to the use of machine tools, this carving is a fine example of the ‘ironwood’ style with its sleek lines imaginatively representing its subject. The modelling is expressive and well complemented by the patina and finish of the wood. From the above, dating is clearly to the second half of the twentieth century and perhaps more to its later years if this is an example of the ‘commercial’ pieces produced at that time.

Guido Cacciapuoti was a celebrated Italian ceramicist. Born in Naples in 1892 and from a family with a tradition in the creation of majolica pottery, Guido exhibited his work widely in the 1920s and finally, in collaboration with his brother, Mario, and Angelo Bignami as the administrative and commercial director, he founded the factory ‘Gres d'Arte Cacciapuoti Bignami & C.' in Milan in 1927. Mario unfortunately died three years later leaving Guido to carry on on his own until his death in 1953.

In the 1930s, Guido’s workshop became famous for the production of ceramic animal sculptures with fish being a particular speciality. More commonly seen are groups of John Dory, again with a red glaze, but the smoother lines here and the particularly intense colour reflect more closely the contemporary Art Deco style. Sought after in their own time, with patrons such as the King of Italy and Mussolini, Guido’s works are highly collectible today and this group would make a striking addition to a collection of Art Deco ceramics with considerable decorative appeal.

Duxer Porzellanmanufaktur, or the Dux Porcelain Manufactory, was started in 1860 by Eduard Eichler in what was then Duchov, Bohemia, later to become part of Czechoslovakia. Production was to continue until the beginning of the second world war and beyond and their later pieces are now generally referred to by the abbreviated name, ‘Royal Dux’. The distinctive pink triangle plaque mark was first used in the late nineteenth century but appears on pieces from all dates, the version found here indicating late twentieth century work which is also confirmed by format of the stamped blue mark.

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A pair of ceramic figures depicting two Chinese figures seated cross legged, usually termed an Emperor and an Empress. They are modelled dressed in colourful and patterned robes fastened with sashes at the waist and with frill collars. The lady holds a fan and the gentleman a pipe and both hold parasols fitted to their hands by wire and with decoration to the undersides. The heads are made separately, weighted at the bottom (see images 7, 13) and have wire supports to the side which rest on wires on each side of the top interior which are secured through holes on the exterior at the front and back. When pushed, the heads then move in a most lifelike fashion. The hollow interiors are glazed white with an unglazed foot rim, but there are no marks.

So called ‘nodding head’ figures began to be exported from China to the West in the mid eighteenth century following a tradition which dated back many years before. The figures were drawn from the Court or Chinese high society and at first were made from clay or wood with painted decoration, necessarily rather delicate interior accessories. A pair can be seen in the background of a picture painted by Zoffany of Queen Charlotte (1744-1818) with her two eldest Sons depicting an interior at Buckingham house (now Buckingham Palace) and dated to 1764 (see image 15). Rather larger models, almost life size, were displayed in the Gallery of the Brighton pavilion, reflecting the passion of the Prince Regent, George IV (1762–1830) for Chinoiserie in general.

But the form was also taken up by the kilns at Jingdezhen and the decorators at Canton and ceramic ‘nodding head’ figures were soon exported too, brightly painted in the popular ‘Famille Rose’ enamels (see image 16 for a typical example from the Qianlong period, 1736-1795). Sensing the popularity of the type, European manufacturers too began to produce their own versions, rather different from the Chinese originals and usually depicting the figures seated which was much less common for the Eastern examples. The most well known examples were made by Meissen and tended to have both moving heads and hands as well (see image 17) but a less expensive version of these (see image 18) was made by the firm Ernst Bohne & Sohne, prolific manufacturers of modest ceramic ornaments for the domestic interior including the well known ‘fairing’ figurines, examples of which can be seen elsewhere on this site. There are also figures with their mark which exactly resemble the model type offered in this sale, complete with the parasol, so it is a reasonable assumption that this pair of figures can be attributed to them as well. While perhaps less grand than their companions, this pair of eastern potentates have a charm of their own and, when set in motion, are uncannily lifelike. Gilbert and Sullivan for the 21st century!

Carving was originally done by the Seri people, a nomadic tribe of no more than 500 who live in Mexico and then by town and city dwellers from Sonora and Baja California, who embarked on the trade after the figures became commercially popular. Seri carvings were essentially hand made whereas the mass produced pieces were created with the use of power tools.

The forms are derived from the wildlife to be found in Mexico and are often abstract in style. While it may owe some elements to the use of machine tools, this carving is a fine example of the ‘ironwood’ style and is, in fact, an unusual composition with the mother and baby duck carved in one piece. The modelling is expressive and well complemented by the patina and finish of the wood. From the above, dating is clearly to the second half of the twentieth century and perhaps more to its later years if this is an example of the ‘commercial’ pieces produced at that time.

The Noritake compnay was set up by the Morimura family at Noritake near Nagoya in the early twentieth century. Called at first 'Nippon Toki Kaisha Ltd' on its founding in 1904, the business soon changed its name to 'Noritake' and began the manufacture of porcelains for the domestic and export markets. The mark seen here is interesting. It comprises a 'Komaru' symbol, crowned with "Noritake" and with the mark 'Made In Japan'. The centre symbol said to be taken from the Japanese character "Komaru", meaning "overcoming difficulties". According to the Noritake company tradition this mark was designed when contact with the different culture of the west early in the 20th century caused problems of adaptation. It is also known as the 'tree crest mark' which is the clan crest of the Morimura family. This mark is said to have been registered in London for the UK market by 1908. The curled up ends of the Komaru symbol seen here distinguish this mark from later versions and allow a dating of this piece to the early twentieth century.

Noritake porcelain became synonymous with finely potted tea and breakfast services made in great quantities for export. This vase is a rather more unusual production and shows the factory capable of producing high quality pieces.

The sparkling stones and high quality mounting (there is a considerable weight of silver in this piece) would have made this buckle a notable addition to the Victorian ladies' wardrobe and it could equally well catch the eye today.

Falcon Ware was the trade name for pieces produced by Thomas Lawrence, later Thomas Lawrence (Longton) Ltd, a business founded by Thomas Lawrence in 1885 which moved to the Falcon works, Longton, in 1895. In the same year he took his nephew, John Grundy into partnership and around 1920 Grundy became the Managing Director. Thomas Lawrence died in April 1932 and John Grundy became the sole proprietor until his death in 1938 when the business was sold to Grundy's son-in-law Mr Richard Hull (jnr) and Mr. E.J. Dennis and the name was changed to 'Thomas Lawrence (Longton) Limited'. At the same time the firm merged with Shaw and Copestake Ltd of which Richard Hull was a Director but the two businesses still operated independently until 1962 when the Thomas Lawrence business was fully subsumed by its partner with the ‘Falcon’ name ceasing to be used two years later in 1964.

Falcon Ware was known for colourful and decorative designs often with naturalistic themes. This jardiniere is an excellent and unusual example. The cipher ‘LG’, for Lawrence and Grundy, which is not so often found, implies a dating to the 1930s which corresponds with the general style of the piece with its hint of Art Deco associations.

This is an example of Japanese marquetry technique known as ‘Yosegi-Zaiku’ in which intricate geometric patterns made from small pieces of wood were used to decorate the surfaces of small pieces of furniture such as jewellery cabinets or ‘kotan-su’ (kodansu). The technique originated in the town of Hakone, near to Tokyo, in the Edo period (1601/3 to 1868) but continued into the Meiji era (1868-1912) and beyond. Some of the pieces produced have an elaborate array of designs, but what we appear to have here is a sample or specimen piece showing the types of effect the craftsman could produce. This is further complicated by the fact that the top right drawer, which has no decoration at all and is not signed underneath like the other two, appears to be a later replacement with a different form of handle. But there is still some charm and no small amount of skill here. Dating is most probably to the late nineteenth century and this experimental ‘kodansu’ could easily find a place in an early twenty first century setting.

The Jema factory in Holland was started by two brothers, Jelis Mager ( born 1912 in Rotterdam, Netherlands) and his brother Johan Willem Mager (born 1919 also in Rotterdam) both living in Maastricht who took over an existing ceramics factory, founded originally by J.Meussen, in 1942 and traded together in a partnership which was dissolved in 1955 when the firm JEMA KERAMISCH ATELIER N.V. (jema ceramic studio; the first JE standing for Jelis and MA standing for Mager) was created under a new agreement between them. Ceramic products of many types were produced with figurines a speciality and the business continued until 1984 when it became insolvent and closed its doors.

Most of the pieces seem to have been marked, usually with an impressed script as here indicating the factory itself and the model number of the piece. For modest decorative items the quality of the manufacture is of a high standard as can be seen in both the modelling and the glazing of this piece. Their animal figurines were immediately approachable and provided modest but amusing items of decoration.

This is a classic example of the early work of the distinguished British studio potter Alan Wallwork whose pieces now appear in many collections and galleries (see images 15,16). Born in Watford, Hertfordshire, in 1931, Wallwork’s training included a one year spell at Goldsmith’s after which he taught in local schools and then opened his first gallery at Forest Hill in 1958 where he both sold pieces by Lucie Rie and Kenneth Clark, amongst others, and also developed his own work. Eventually finding this too small he moved to a studio in Greenwich where he sold items to Heal’s and the Craft Potters Association, moving yet again to Dorset in 1965 where he continued production for many years. After an illness in the late 1990s, Wallwork opened yet another studio in France in 2004 where he continued to pot but with a rather reduced output. In his last years, his health unfortunately declined and he died in Dorset in 2019.

Wallwork’s work, distinguished by its rugged rustic forms enjoyed great popularity throughout his lifetime. In 2012 he wrote “My pots have no deep ‘message’, or not consciously. They have the simple forms I personally warm to and I try to give them a variety of pattern and texture that I find sympathetic to the touch, not just the eye. Colour is not all important, but surface is. I hope my pots invite being picked up and felt.”

The form of this piece, often described as ‘totem’, dates it to the years in Greenwich, 1960-1965, (see the website alanwallwork.co.uk for more detail on this). In common with other examples it is signed with a single ‘W’ which indicates that it was a studio or apprentice piece rather than hand produced by Wallwork himself, who usually marked his own pieces with both his initials ‘AW’, see ‘British Studio Potters’ Marks’ by Eric Yates-Owen and Robert Fournier (2nd edition 2005 p517). But this should not detract from the vase itself which retains the distinctive appeal of his work and is a particularly striking shape enhanced by the ‘native’ decoration.

Both the form and some of the glaze effects here reflect much earlier Chinese ceramic pieces which is fully consistent with the ‘studio pottery’ style of this piece. Poole Pottery established an art pottery studio within their factory in 1958 which, following the Scandinavian model, produced high quality studio ceramics alongside designs for new ranges until 1966 when they were replaced by the new Delphis, Atlantis and Aegean pottery lines which began production a year later. Dating here is therefore fairly precise and this bowl is an excellent example of ‘studio’ wares produced which could often equal the work of other independent studio potteries.

The firm which later became Shorter and Son was first set up by Arthur Shorter in 1878 with a partner James Boulton in Stoke on Trent. Their products were solidly in the main-stream of Victorian taste - majolica wares of all types predominated. Time saw another generation join the firm and various amalgamations took place. One of the sons, Colley Shorter, developed a close association with Clarice Cliff whom he eventually married. Her designs, while concentrated on the wares signed with her name, also fed in to the productions of Shorter and Sons and the range of their wares expanded considerably in the 1920s and 1930s.

‘Fish Ware’, as it became known was introduced in the late 1920s and rapidly became one of their best selling lines. Initially production was confined to flat ware and in 1935 a part service was acquired by the Duchess of York, later to become Queen Elizabeth. The range expanded and the design of the gravy boat and stand, introduced in 1936 (and included in the present selection), was attributed to Cliff herself. There were further additions and the late 1950s saw the addition of salt and pepper pots on a wavy tray (also included in the present selection). This service, then, probably dates to around 1960 a little before the firm was effectively taken over by Crown Devon in 1964 and the eventual loss of the identity of its wares. The popularity of the line is easily understood and our present selection is an excellent memento of the design.

Carlton Ware was the trade mark used by the pottery manufacturer Wiltshaw and Robinson, whose premises were located in Stoke on Trent, four years after the firm’s establishment in 1890. The firm mostly concentrated on decorative giftware and new methods of production introduced in the 1920s put it at the forefront of the earliest Art Deco pottery pieces produced, firstly with designs originating from Tutankhamun’s tomb and then with pieces with an Oriental influence of which this vase, in shape not often seen in this design, is a prime example.

These pieces represent something of a puzzle. Seen the right way round (with the handle on the right) they are plain and the decoration only reveals itself on the reverse. This suggests a playful intent to conceal which, when combined with the subject matter, suggests something a bit ‘naughty’ which could confirm the second interpretation of what the seated man is holding! The paste, and general style of the pieces, looks continental and a German origin might be a good guess, but no more than that. The blue glazed jug has an impressed mark to the base ‘186 [plus an unidentifiable number]’ which might be the date but is more likely the pattern number; a dating of around 1900 for both seems reasonable - certainly there is an ‘old’ look to the pieces. There are one or two similar examples but little in the way of firm information. One for a collector to puzzle out!

The mark is for New Hall Pottery Co Ltd which traded in Hanley, Stoke-on-Trent, from 1899 to 1956. During the early years of the twentieth century, the firm was mainly known for the production of toilet sets and jugs, in 1908 producing and selling more than 50,000 toilet sets of the Waverley shape alone. After the First World War, demand for these pieces slackened and the firm turned towards producing dinner and hotel wares. Trading was difficult in the years before the Second World War but production was allowed to continue during it, mainly for supplying the armed forces, and was able to return to normal afterwards with an overseas trade nearly exceeding that of past years until the firm ceased trading in 1956.

A variety of marks were used of which the one seen here was the simplest version. Since it also appears on toilet sets, a similar date of production seems likely and perhaps these vases were a part of the attempt to diversify as the demand for the staple product of the business was beginning to decline. Certainly, while modest pieces in themselves, they do have something of an ‘Art Deco’ look and can be regarded as amusing decorative items today.

This is an example of the naturalistic designs produced by Sylvac in the 1950s and 1960s. While they often chose to imitate tree bark, here they take their inspiration from the leaves themselves. The model occurs in various sizes and glazes including green and dark brown but the mustard colourings are, perhaps, the most pleasing. The smaller versions seem to be marked ‘4215’ as opposed to the numbers seen here ‘4206’.

‘SylvaC’ (the name was written with a capital ‘C’ after registration of the trademark in 1938) was a trade name of Shaw and Copestake, a company formed by Mr. William Shaw and a Mr. Copestake around 1900. Mr. Copestake sold his shares to a Mr. Richard Hull after about six months of business and this partnership continued until Mr. Hull’s death in 1935. He was succeeded by his son, Mr. Richard Hull junior. In the following year, the business became a limited company. Various mergers and acquisitions followed and in the 1950s new premises were built and production expanded considerably continuing until the early 1980s when changing markets and increased competition forced the company into liquidation.

Will H. Bradley (1868-1962) was an American artist and illustrator whose work enjoyed enormous popularity in the late nineteenth and early twentieth centuries, indeed he became America’s highest paid artist. Some of his most elaborate and original poster and advertisement designs were produced in the last years of the nineteenth century and he was an apt choice for Albert Overman’s then thriving business. His style was quintessentially Art Nouveau and is often compared to that of the English artist, Aubrey Beardsley, indeed he was sometimes dubbed as the ‘American Beardsley'. This poster design for Overman has been much copied and reproduced over the years with original examples residing in museum collections. The dating of this particular printing is not wholly certain; the reproduction is certainly way superior to that of more modern versions and the accompanying frame also indicates some age, perhaps to the 1960s or through to the 1980s. We have, then, both an elegant decorative item and an excellent addition to a collection important poster art.

Bianchini Ferier was a silk weaving manufacturer based in Lyons. Founded in 1888 by Francois Atuyer, Charles Bianchini and Francois Ferier, it first produced fine silk damasks mainly for the clothing industry. After gaining a silver medal at the Paris Exposition Universelle of 1889 it went on to enjoy great success and many well known artists created designs for it in the early C20th, most notably Raoul Dufy. Production continued until the early 1990s when the firm was acquired by Tissages Bauman.

This print resembles designs in the firm’s archives from the late C19th and was probably created in the early C20th. It was designed for framing and the dotted line definition of the composition can be seen at the edges. Presented now in a modern surround it provides an excellent example of the firm’s work and a reflection of the Art Nouveau style so popular when it was produced.

The company Søholm Stentøj was founded by Herman Sonne Wolffsen and Edvard Christian Sonne in 1835 at Rønne, the principal town of Bornholm, a Danish island off the south coast of Sweden. One of the most respected of the Danish potteries it continued producing a wide range of ceramics until the firm closed in 1996. Noomi Backhausen was a designer for Søholm from 1966 to 1990 and set up her own pottery in Rønne in 1996 after the closure of her old employers. This wall vase is a typical example of her abstract organic designs and would be a worthy addition to a collection of twentieth century Danish design.

Souvenirs and medals were produced, amongst which were silver plated powder compacts as here. The round container for the powder has a hinged lid revealing the powder well below, originally fitted with a mauve ribbon tasseled powder puff, and a mirror above. On the surface of the lid, which has a tab for lifting, is a stylised brass lion, a symbol of the British Empire, vitreous enameled in black, red and blue with the wording ‘British Empire Exhibition 1925 ’ There is a short rounded handle and the back has an engraved mark ‘Rd [registered] 689177’ for the patent number. While many were doubtless made (and there is another version with a more slender handle, with a ring at the end, and the background colourings of the lettering reversed) few of these compacts seem to have survived making this a desirable addition to a collection of British memorabilia.

Martin Andrews (see image 9) graduated from West Surrey College of Art and Design with a BA (hons) Glass in 1991. Following this he was based in London until 2000 when he then launched his current workshop at the Ruskin Glass Centre in Stourbridge. His work often draws on the earth's natural forms and patterns and his ‘beach’ range is a prime example of this. Most of his pieces are signed, but this bottle is not, perhaps because of its size, but its inclusion in the studio’s inventory makes its provenance beyond doubt.

‘SylvaC’ (the name was written with a capital ‘C’ after registration of the trademark in 1938) was a trade name of Shaw and Copestake, a company formed by Mr. William Shaw and a Mr. Copestake around 1900. Mr. Copestake sold his shares to a Mr. Richard Hull after about six months of business and this partnership continued until Mr. Hull’s death in 1935. He was succeeded by his son, Mr. Richard Hull junior. In the following year, the business became a limited company. Various mergers and acquisitions followed and in the 1950s new premises were built and production expanded considerably continuing until the early 1980s when changing markets and increased competition forced the company into liquidation.

Sylvac were famous for imaginative glazed wares, particularly animals, and this jug is a typical and pleasing example of their work.

Most of the original Loetz pieces were not signed and there were many contemporary manufacturers making pieces in a similar style. There are, furthermore, modern reproductions. The attribution ‘Loetz’, is, inevitably, generously and loosely applied but sometimes true certainty is hard to achieve. Much information and assistance can be obtained from the website Loetz.com. On that basis this attractive bowl with its crimped rim and wavy line design on a purple ground is best regarded as Loetz style but probably contemporary with the output of the Loetz factory itself. It has great decorative appeal nevertheless.

Elements of two contrasting contemporary styles combine here with features from both the Arts and Crafts and the Art Nouveau movement. The hammered pewter with the almost rustic nail head fixings and the red bead reflect the former but the elegant depiction of the lotus and butterfly, with more than a hint of the Orient, reflect the latter. The maker is anonymous but doubtless British and clearly a highly skilled craftsman. Much thought and expertise went into the design of this piece which would be a desirable addition for collectors of either or both of the pieces made under the influence of these two highly popular design movements.

Elements of two contrasting contemporary styles combine here with features from both the Arts and Crafts and the Art Nouveau movement. The hammered pewter with the almost rustic nail head fixings and the red bead reflect the former but the elegant depiction of the lotus and butterfly, with more than a hint of the Orient, reflect the latter. The maker is anonymous but doubtless British and clearly a highly skilled craftsman. Much thought and expertise went into the design of this piece which would be a desirable addition for collectors of either or both of the pieces made under the influence of these two highly popular design movements.

The intricate marquetry decoration used here, with its repeating star form pattern, is called ‘Khatam’ work. Khatam is the capital of Khatam County in Iran and is the centre for craftsmen working in this technique. Khatam is a Persian version of marquetry in which the surface of wooden articles is decorated with small pieces of wood, bone and metal formed into precisely-cut geometric shapes. The process is time consuming involving the cutting of the shapes and gluing them in place, followed by smoothing, oiling and polishing. In Persian, the work is known as ‘Khatam kari’, ‘the art of crafting Khatam ware’.

These desk sets occur in a wide variety of forms. The drawer is less commonly found and decorated pen holders are, as said above, most unusual. These sets seem to have been made from the 1950s onwards. The use of a ‘biro’ pen indicates a dating from the 1960s onwards and perhaps this example is a bit later than that, but the workmanship speaks for itself and the piece has survived in excellent condition with minimal damage, providing a truly elegant ‘desk tidy’ for the contemporary study!

This fine quality vase is from the Maya range made by Poole Pottery, some of the pieces still being in production today and described in the maker’s catalogue as follows “Poole Pottery’s Maya collection is inspired by British landscapes and earthy tones. The greens and blues in this stunning range represent the earth meeting the sky in a natural yet bold design. Here at Poole Pottery, all our Maya ceramics are hand-cast and made using our signature reactive glaze in the famous Middleport Pottery in Staffordshire. The distinctive pieces you see here are created via our Living Glaze technique, where layers of colourful glazes react with one another to create a unique, glossy and dynamic finish.” But this particular form does not appear in the current catalogue and does not seem to be otherwise available. The form of the mark appears on other Poole pieces of more recent manufacture and dating is probably to around twenty years ago. The initials are for the artist’s signature and Poole write “Items are personalised with the artist's own individual mark, adding value to the collectability of each piece.” Given its scarcity, this vase would make an interesting addition to a collection of Poole Pottery aside from being a highly decorative item in its own right.