Newsletter 25-2 For
Total Page:16
File Type:pdf, Size:1020Kb

Load more
Recommended publications
-
January to March 2018
SOUTHERN CERAMIC GROUP NEWSLETTER www.southernceramicgroup.co.uk/ Email : [email protected] Contents Editorial • Group & Members News Welcome to the January/March edition of the SCG Newsletter. The • What’s On newsletter is published electronically quarterly to members of the South- • Hey Clay ern Ceramic Group and is more widely distributed to associated pottery • Clay Group groups. • AGM • Glaze Group Meeting Notes We always welcome your contributions to the newsletter from events to • Members Profile technical articles to profiles. This edition is a great example of the varied • Demonstrations interests of the group, we hope you enjoy the newsletter and will consider • SCG Committee contributing in the future. Keith Menear Group & Members News New Members A very warm welcome to new members: Gael Emmett from Chichester Francheska Pattisson of Winchester Trish Marshall also from Chichester Nigel Hobbs from Bordon Membership is now 152 Next Committee Meeting. The committee meets every few months or so and our next meeting will be on Next meeting. 5th March 2018, 7.15 pm at Neil’s house. "Hilston House" Hambledon Road, Denmead, Waterlooville, Hampshire PO7 6HB . If you have anything you would like to bring to our attention please contact Sandie Dixon [email protected] or any other member of the committee. 1 SOUTHERN CERAMIC GROUP NEWSLETTER What’s On Su Cloud Ceramics. Workshops January-June 2018. The beginning of a new year and the perfect time to start a new project. Is your garden in need of a focal point? I have some new workshops on offer and some old favourites, which I hope will inspire you to come and create, in my purpose built ceramic studio. -
HO060710 Sale
For Sale by Auction to be held at Dowell Street, Honiton Tel 01404 510000 Fax 01404 44165 th Tuesday 6 July 2010 Ceramics, Glass & Oriental, Works of Art, Collectables & Pictures Furniture SALE COMMENCES AT 10.00am yeer Buyers are reminded to check the ‘Saleroom Notice’ for information regarding WITHDRAWN LOTS and EXTRA LOTS SALE REFERENCE HO09 Catalogues £1.50 On View: Order of Sale: Saturday 3rd July 9.00am – 12.00 Ceramics, Glass & Oriental Monday 5th July 9.00am – 7.00pm Lots 1 - 126 Morning of Sale from 9.00am Pictures Lots 131 - 195 Works of Art & Collectables Lots 200 - 361 Carpets, Rugs & Furniture Lots 362 - 508 TUESDAY 6TH JULY 2010 Sale commences at 10am. CERAMICS, GLASS & ORIENTAL 1. A pair of bookend flower vases in Whitefriars style. 2. A bohemian style green and clear glass vase, of trumpet shape, painted with floral sprays and gilt embellishment, 17cm high. 3. A pair of overlaid ruby glass decanters with floral knop stoppers. 4. An amber and milk glass globular vase, probably Stourbridge with vertical fluted decoration, 15cm high. 5. A pair of cut glass decanters with stoppers and one other. 6. A quantity of Carnival and other moulded glassware. 7. A quantity of cut and other glass. 8. A part suite of cut glass to include tumblers and wine glasses. 9. A quantity of various drinking glasses and glass ware. 10. A pair of cut glass decanters, two other decanters and stoppers, six tumblers and five brandy balloons. 11. A collection of twenty five various glass paperweights to include millefiore style paperweights, floral weights, candlestick and others. -
Newsletter 23-2 For
UK Belleek Collectors’ Group NNEEWWSSLL EETTTTEERR NNNNNNuuuuuummmmmmbbbbbbeeeeeerrrrrr 222222333333//////222222 SSSSSSeeeeeepppppptttttteeeeeemmmmmmbbbbbbeeeeeerrrrrr 222222000000000000222222 IIIttt hhhaaarrrdddllllyyy ssseeeeeemmmsss 333 mmmooo nnnttthhhsss aaagggooo ttthhhaaattt ttthhheee fffiiiirrrsssttt nnneeewww fffooorrrmmmaaattt nnneeewwwssslllleeetttttteeerrr wwwaaasss pppuuubbblllliiiissshhheeeddd ,,,, nnnooowww hhheeerrreee’’’’sss aaannnooottthhheeerrr.... AAA llllooottt hhhaaasss hhhaaappppppeeennneeeddd,,,, iiiinnnccclllluuudddiiiinnnggg ttthhheee bbbeeesssttt aaatttttteeennndddeeeddd AAAGGGMMM eeevvveeerrr,,,, aaa sssuuucccccceeessssssfffuuullll SSSiiiilllleeennnttt AAAuuuccctttiiiiooonnn,,,, aaa wwwooonnndddeeerrrfffuuullll dddaaayyy iiiinnn BBBooouuurrrnnneee EEEnnnddd wwwiiiittthhh JJJaaaccckkkiiiieee &&& JJJiiiimmm HHHooowwwdddeeennn,,,, aaannnddd ttthhheee eeexxxccciiii tttiiiinnnggg ––– ttthhhooouuuggghhh rrreeegggrrreeettttttaaabbblllleee ––– sssaaalllleee ooofff ttthhheee MMMiiiinnntttooonnn MMMuuussseeeuuummm pppiiiieeeccceee sss bbbyyy DDDooouuulllltttooonnn.... YYYooouuu cccaaannn rrreeeaaaddd aaabbbooouuuttt aaallllllll ttthhhiiiisss,,,, aaannnddd mmmuuuccchhh mmmooorrreee,,,, iiiinnn ttthhheee NNNeeewwwssslllleeetttttteeerrr.... I look forward to receiving articles for publication in your Newsletter, and please continue to send your personal news for publication to our Chairman, Jan Golaszewski. --- Gina Kelland UK Belleek Collectors’ Group Newsletter 23/2, September 2002 Contacts: Gina Kelland compiles the -
The Two Ages of Poole Pottery with Price Guide by Roland Head
Ceramics The Two Ages of Poole Pottery With Price Guide by Roland Head The company finally succumbed in December 2006, ending a period and both Stablers contributed greatly to a revived interest in ceramic of more than 130 years of production at the quayside in Poole. This sculpture at Poole. They created a wide range of sculptural ceramics demise seems to have had little, if any, effect on the secondary Poole and also several specially-commissioned architectural wares, such market, which remains in good health. Decorative wares produced as the Rugby School War Memorial. Of particular interest are the between 1924 and 1970 are most in demand. Most fall into two sculpted ceramic figures designed by Harold and Phoebe Stabler distinctly different categories. from around 1910 until the early 1930s. Very successful, they were produced in press-moulded form by Poole with some also being Poole Studio Ware made under license by Royal Doulton and Royal Worcester. Today, In 1958, Poole recruited Robert Jefferson as its chief designer. His good examples of these figures are fairly rare and routinely fetch work led to the introduction of new designs and techniques, and in hundreds of pounds each. The subject matter for these figures varies 1961, to the expansion and relaunch of the Poole Studio. Its output widely, with both animals and people popular choices. of boldly-painted and largely-abstract designs was formalised into the Delphis and Aegean ranges. It is the early, pre-Delphis studio Vases and Other Decorative Wares pieces that are most collectable, in particular those pieces by Tony Early decorative wares used a red earthenware body and were Morris, an artist who worked alongside Jefferson in developing the decorated with a hand-painted pattern on clear glaze over white slip. -
The Employment of Matter: Pottery of the Omega Workshops
Julian Stair The Employment of Matter: Pottery of the Omega Workshops Among professional artists there is … a vague idea that a man can still remain a gentleman if he paints bad pictures, but must forfeit the conven- tional right to his Esquire if he makes good pots or serviceable furniture., Pottery design in Britain at the beginning of the twentieth century was consid- ered to be in a perilous state, caught between the tail end of the Arts and Crafts movement – the ‘unornamental “ornaments” with which thoughtless people crowd their living rooms’* – and the unchecked might, or ‘decadence’,- of Stoke-on-Trent.. Christopher Dresser’s striking ceramic designs for Minton and the Linthorpe Art Pottery in the ,//0s had rarely escaped a stifling his- toricism; William de Morgan finally gave up potting to write novels in ,10+; and only a few small independent firms such as the Ruskin Pottery, which specialised in flamboyantly glazed vases in imitation of late Chinese porcelain, continued production (fig. ,., p. */). Despite the success of the Arts and Crafts movement in revitalising handicraft, pottery did not enjoy the success of other disciplines. As Alan Crawford writes, ‘pottery and weaving … before the war had been somehow less spectacular than the movement’s furniture and metalwork’.2 Although capable of embodying the immediacy of handwork, the transformation of the artist-craftsman’s sensibility into clay proved elusive. In this context, why did Roger Fry encourage the Omega Workshops to venture into the unfashionable and technically challenging -
Figure of Erin Is Perhaps It's Most Famous Figure, but the Lady Is Enigmatic
UK Belleek Collectors’ Group Newsletter 25/2, September 2004 The Mystery of Erin Belleek's Figure of Erin is perhaps it's most famous figure, but the lady is enigmatic. The figure has been made in just about all periods of Belleek's production and is generally taken to represent either Belleek Pottery itself or Ireland and Irish production. The name "Erin wakening from her slumbers", which is often given to the figure, is highly symbolic... but of what exactly? Does she represent Belleek Pottery when they first became able to produce fine Parian ware or is she allegorical of Hibernia (Ireland), or Irish artistic and industrial Production which had been at a very low level before the mid-1850's and with Belleek Pottery (amongst others) and the efforts of several famous Irish Patriots and Businessmen, truly did begin to waken and show remarkable results? A second mystery is who actually designed and modelled the piece. She is a Belleek Pottery creation, clearly designed to be produced only by Belleek Pottery: no other manufacturer has ever made the piece... but who was the designer? There are two main candidates for this: firstly Robert Williams Armstrong, as Belleek's creative driving force and secondly William Boyton Kirk, who worked mainly for William Henry Kerr at Worcester and was a very well known Irish sculptor and a prominent figure modeller in the 1850's Erin is a magnificent figure. Many Belleek designs are attributed to Armstrong and his name appears on most of the designs that Belleek registered. However, this does not mean that he actually designed all those pieces himself – he did design some of them and for the others acted to represent the Pottery (D. -
Antique Burr Walnut, Olive Wood, Ebonised Pedestal Desk
anticSwiss 24/09/2021 21:57:40 http://www.anticswiss.com Antique Burr Walnut, Olive Wood, Ebonised Pedestal Desk FOR SALE ANTIQUE DEALER Period: 19° secolo - 1800 Regent Antiques London Style: HIGH VICTORIAN +44 2088099605 (1860-1890) 447836294074 Height:77cm Width:118cm Depth:64cm Price:9000€ DETAILED DESCRIPTION: A Victorian burr walnut, olivewood, ebonised and ormolu mounted pedestal desk, attributed to Holland & Sons , Circa 1870 in date. The rectangular top with an inset black gilt tooled leather writing surface above three frieze drawers with three further drawers to each pedestal. The drawer panels in burr walnut with central Etruscan style harewood inlay with ebonised banding, crossbanded in harewood then feather banded in olive wood. The desk with ormolu banding around the drawers, the plinth corners and bases with ormolu mounts and the the side panels centred with ormolu figures of Ceres and Bacchus. The desk is raised on plinth bases on castors. Instill the elegance of a bygone era to a special place in your home with this fabulous antique desk. With original working locks and key. Dimensions in cm: Height 77 x Width 118 x Depth 64 Dimensions in inches: Height 30.3 x Width 46.5 x Depth 25.2 Holland & Sons 1 / 4 anticSwiss 24/09/2021 21:57:40 http://www.anticswiss.com The firm of Holland & Sons (1803–1942) became from 1843 one of the largest and most successful cabinet makers, and a rival to Gillows of Lancaster and London. The company's labelled Day books are now housed in the Victoria and Albert Museum Archive of Art and Design where they present a virtual 'who's who' of nineteenth century society. -
ICRC Bloomsbury in Dorset
Bloomsbury in Dorset: Manufacturing Modernisms at Poole Pottery 1914-1939 James King Abstract This essay evaluates the pursuit by Poole Pottery (the firm was called Carter, Stabler and Adams during most of the time period discussed here) of a variety of modernist aesthetics from 1914 to 1939 and argues that Poole's incorporation of various types of modernist fine art into its wares owes a great deal to its association with the Omega Workshops in the 1910s. Poole's involvement from about 1914 to after 1916 with Roger Fry, Vanessa Bell and Duncan Grant may be well documented1, but this essay speculates that Poole's indebtedness to the Omega Workshops and its adherence to Post- Impressionism is more pervasive and longer lasting than previously argued. More specifically, it also argues, that in the instance of Poole's most celebrated designer, Truda Carter, the Bloomsbury influence was transformative: when she arrived at Poole, she refined the work of James Radley Young, who had worked directly with the Omega Workshops. His geometrically inspired designs did not ultimately suit her, and she achieved her own distinct look by incorporating high modernist and post-impressionist design in her wares. In using the term high modernist, I am referring to pottery that deliberately incorporates borrowings from cubism and vorticism as design elements; I use the term Post-Impressionist to refer to design elements that specifically utilize naturalist elements while at the same time exaggerating them to push them in the direction of abstraction. KEY WORDS: Truda Carter, modernism, Post-Impressionist design, Poole Pottery ‘A More or Less Experiment’ Poole stood apart from its competitors because of its location in Dorset, far removed from the Potteries in Staffordshire. -
DORSET's INDUSTRIAL HERITAGE Ulh 17
AfarsWs\?l ) •O ITNDUSTRIALONDUS TR I AL • 7/ 'rl/ f / 71 TO l) / vlJI/ b 1-/ |, / -] ) I ) ll ,, ' I ilittu It ,rtlll r ffi I ll I E l! ll l[! ll il- c t!H I I I H ltI --'t li . PETER. STANIER' SeIISIIOG IDVIIUIH IDVIIUIH DORSET'SIVIUISNONI INDUSTRIAL HERITAGE Jeled Peter Stanier JaruEls I r \ • r IT, LaS \-z'- rnol rnol 'r.pJV 'r.pJV lllPno lllPno Lano'ss,our1 Arch, Tout Quarry. INTRODUCTIONNOII)NCOU1NI lHt lINnol lINnol ,o ,o ;er'r1snpu| ]asJoc ]asJoc eql eql qlrr' qlrr' sr sr pa!.raluo) pa!.raluo) lSoloaeq:.re lSoloaeq:.re dn dn e e uorsr^ THE COUNTY of Dorset summonssuouJLLrns up a Industrial archaeology is concerned with the vision 1o lP.rn.r lP.rn.r ]sed ]sed re] plaleru sr;er )llllpr )llllpr ruorl ruorl lllpoedsa pa^ouJar pa^ouJar ue:,futsnpur, 'seqr^rpe s,ueul s,ueul puPl puPl far removed from)pq) 'industry': an idyllic rural land- material relics of man's past activities, especially lnq lnq op op u aq] u aq1 ur qlrM'edels pepoo^ pepoo^ su,^ su,^ qtuaalaLr qtuaalaLr Suruur8aq 'lrnluer 'lrnluer -rale^^ -rale^^ 'selP^ 'selP^ scape, with chalk downs, wooded vales, water- in the nineteenth century, but beginning in1o the aqt aqt ue ue Lnlua: Lnlua: d d aql aql anbsarnp anbsarnp sa8ell^ oppau] pouad pouad e8eur e8eur prur s,^ s,^ qluaatq8ra qluaatq8ra meadows andpLre picturesque villages — an image mid-eighteenth century — the period of the le-r]snpu lq lq jo jo eqt eqt se se euros euros qrns Ll)nLu seu.roqf seu.roqf s8uqr.r,,rl s8uqr.r,,rl pa)uequa pa)uequa 'serrlsnpllr 'serrlsnpllr much enhanced by the writings of Thomas Industrial -
Potteries Auctions Catalogue 11 Feb 2017
Potteries Auctions Catalogue 11 Feb 2017 1 Royal Doulton Bunnykins figure Olympic DB28 £100.00 boxed. £25.00 - £50.00 20 Royal Doulton Bunnykins figure Cincinnati college 2 Royal Doulton Bunnykins figure of The Clown Touchdown DB98 black, white and red colourway, DB128, UKI Ceramics limited edition of 750 limited edition of 200 boxed. £50.00 - £100.00 boxed. £40.00 - £80.00 21 Royal Doulton Bunnykins figure Bedtime DB79, 3 Royal Doulton Bunnykins figure Out for a Duck special colour way boxed. £30.00 - £60.00 DB160, limited edition boxed. £25.00 - £50.00 22 Royal Doulton Bunnykins Figure Irishman DB178 4 Royal Doulton Bunnykins Figure Guardsman limited edition for UKI Ceramics boxed with cert. DB127 limited edition for UKI Ceramics boxed. £20.00 - £40.00 £25.00 - £50.00 23 Royal Doulton Bunnykins figure Juggler DB164, 5 Royal Doulton Bunnykins John Bull DB134 limited UKI Ceramics limited edition boxed with cert. edition for UKI Ceramics (boxed). £50.00 - £100.00 £25.00 - £50.00 6 Royal Doulton Bunnykins figure Scotsman DB180, 24 Royal Doulton Bunnykins Federation DB224 limited edition boxed with certificate. £25.00 - Limited edition for Dalbry Antiques Melbourne £50.00 Australia (boxed with cert). £25.00 - £50.00 7 Royal Doulton Bunnykins Wizard DB168 limited 25 Royal Doulton Bunnykins Figure England Athlete edition for UKI Ceramics (boxed with cert). £35.00 - DB216 limited edition for UKI Ceramics boxed with £70.00 certificate. £25.00 - £50.00 8 Royal Doulton Bunnykins figure Bowler DB145, 26 Royal Doulton Bunnykins Trick or Treat DB162 UKI Ceramics backstamp limited edition, boxed. -
Download the Fully Illustrated Catalogue
Cheltenham Modern Living 7th March 2019 covers.qxp_Layout 1 26/02/2019 11:42 Page 1 MALLAMS Mallams 1788 Modern Living MODERN LIVING THURSDAY 7TH MARCH 2019 CHELTENHAM THURSDAY 7th March 2019 www.mallams.co.uk CHELTENHAM Cheltenham Modern Living 7th March 2019 covers.qxp_Layout 1 26/02/2019 11:42 Page 2 Cheltenham Modern Living 7th March 2019 pages.qxp_Layout 1 26/02/2019 11:38 Page 1 Mallams 1788 Modern Living Thursday Viewing 7th March 2019 Tuesday 5th March 9am - 7pm at 11am Wednesday 6th March 9am - 5pm Auction Enquiries Mallams Condition Reports & Images Grosvenor Galleries [email protected] 26 Grosvenor Street Cheltenham GL52 2SG Conditions of sale This auction is subject to Important Contact Notices, Conditions of Sale and Darren Ball Reserves. [email protected] Condition Reports Bids Please note that there are no condition 01242 235712 reports printed in the catalogue or on any 01242 241943 (Fax) website listing. To bid via the internet please go to They are available on request from the www.the-saleroom.com office or by email Or to view the catalogue online go to [email protected] www.mallams.co.uk Cheltenham Modern Living 7th March 2019 pages.qxp_Layout 1 26/02/2019 11:38 Page 2 Droite de Suite Important Notices: and in addition to the buyer’s premium. The Changes to the Droite de Suite or Artist’s Artist’s Resale right is not subject to VAT. The Resale Rights charge for Works of Art sold at or above 1000 Euros and below 50,000 Euros is 4%. -
Furniture-Making in London C. 1700-1870: Craft, Design, Business and Labour
Furniture-making in London c. 1700-1870: craft, design, business and labour. Kirkham, Patricia Anne The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without the prior written consent of the author For additional information about this publication click this link. http://qmro.qmul.ac.uk/jspui/handle/123456789/1472 Information about this research object was correct at the time of download; we occasionally make corrections to records, please therefore check the published record when citing. For more information contact [email protected] I FURNITURE-IIAKING IN LONDON c. 1700-1870: CRAFT, DESIGN, BUSINESS AND LABOUR submitted for the degree of Ph. 0. Patricia Anne Kirkham jJestfield College ,------' / R 2 ABSTRACT This thesis is a study of furniture-making in London in the years between about 1700 and 1870. The aims of the thesis are outlined in the introduction, which also explains why the years 1700-1870 were chosen. The special character of furniture-making in London, particularly its geographical location and the division between the and 'dishonourable' sectors of the trade, is discussed in the introduction. In Section A, the first two chapters cover the various crafts involved in furniture-making, the demarcations between them and the division of labour within them while Chapter 3 examines the craft training and the decline of the apprenticeship system. Section 0 deals with business organisation. Chapter 4 considers the ways in which the various crafts were brought together in firms and Chapter 5 examines the numbers employed and stock held therein.