Mallett - Antique Glass by Mallett

MALLETT GLASS

. 3

3. d , petit gar^on pofant le pontis fous la patte du verre. b, pontis. c , maitre ayant moinll^ ia pince avec la falive, appuy^ fur la pofte qui fait I'ouverture du calice du verre , & donnant un coup fee fur fa canne avec le manche de fa pince, & le porter enfuite au chaufFage pour I'ouvrir. d d , bardelle. e, canne, / , tite du banc, g , auge i recoupe ou groifil.

Taken from EncyiiopMe

ou Dictionnaire

Raisoiine des Sciences, des Arts el des Metiers by Denis Diderot (1713 84), from the chapter entitled \'errerie en Bois, planche

XX.

MALLETT GLASS

Mallctt & Son (Antiques) Ltd Kstahhshed

1865

141 New Bond Street London WIY OBS Telephone: 0171 499 Fax: 0171

7411

4953179

17th and 18th century European Glass Engravers on glass, b o t h with the d i a m o n d a n d the copper-wheel w e r e active in E u r o p e , particularly in G e r m a n y , B o h e m i a a n d the Low C o u n t r i e s long b e f o r e the practise b e c a m e c o m m o n in the U n i t e d K i n g d o m . Lead glass (crystal) was developed in E n g l a n d b u t use was c o m m o n in the L o w C o u n t r i e s m u c h earlier t h a n used to be t h o u g h t , p r o b a b l y b e f o r e the e n d of the 17th century. T h e result is t h a t m a n y glasses that used to be described as English, because they were m a d e of lead glass, are n o w believed to have been m a d e in the Low Countries. D i a m o n d - p o i n t e n g r a v i n g requires artistic r a t h e r t h a n technical skill. If a n artist can d r a w in pencil he can engrave on glass, b u t copper-wheel e n g r a v i n g is a difficult t e c h n i q u e which uses a treadle lathe to spin a c o p p e r wheel m o i s t e n e d with abrasive. In the 17th a n d 18th centuries these lathes w e r e p o r t a b l e a n d the engravers were often itinerant. Although e n g r a v i n g o n glass was m o r e c o m m o n in m a i n l a n d E u r o p e t h a n E n g l a n d d u r i n g the 17 th a n d 18th centuries, some e n g r a v e d glass f r o m the British Isles, often of political significance, does survive.

In the 17th century the Prince Bishop of Liege ruled a city renowned for its glass-making. with its copper-wheel engraving, is typical of a ceremonial goblet of the period although few survive today. O n e side is engraved with a hunter accompanicd by his two dogs, firing his gun at a stag. The other side bears the arms of Hodiegc under a cardinal's hat. In c o m m o n with many glasses of this period, this goblet is lightly crizzled. Height 12.5 in (31.7 cm) Liege f.I67()

T H I S C O V E R E D GLASS,

A D I A M O N D - E N G R A V E D G O B L E T , engraved with the arms of Delft in the Netherlands, surmounted by a crown with two r a m p a n t lion supporters. T h e reverse bears a calligraphic inscription Stadts Welvaren which translates The Prosperity of the Town.

A W H E E L - E N G R A V E D G O B L E T depicting a woodland scene with a young boy sitting on a grassy bower blowing bubbles, and, on the reverse, a young hart leaping beneath the sun in splendour. C h i l d r e n b l o w i n g b u b b l e s s y m b o h s e s the transitory n a t u r e of

D i a m o n d - p o i n t e n g r a v i n g w a s p o p u l a r in H o l l a n d d u r i n g this

life. T h e p i p e f o r b u b b l e s w a s a p o p u l a r s u b j e c t in D u t c h I 7 t h

p e r i o d a n d p r a c t i s e d b y l a r g e l y a m a t e u r e n g r a v e r s . This glass

century

d e m o n s t r a t e s b o t h tliat c o u n t r y ' s l o v e oi" h e r a l d r y a n d a l s o its

momento mon p a i n t i n g s .

C o p p e r - w h e e l e n g r a \ ing has b e e n practised since R o m a n

love o f c a l l i g r a i i h y . W i l l e m v a n H e e m s k e r k was the most f a m o u s

t i m e s . U n l i k e d i a m o n d - p o i n t e n g r a v i n g , m o r e t h a n just

p r a c t i t i o n e r o f t h i s a r t a n d m a n y glasses f r o m his h a n d a r e in t h e

d r a w i n g skills a r e r e q u i r e d , a n d a l s o c o m p a r a t i v e l y e x p e n s i v e

Rijk.smuseum of .Ymsterdam, i n f l u e n c i n g m a n y followers.

e q u i p m e n t . F o r t h e s e r e a s o n s t h e e n g r a v e r s w e r e profe.ssionals, u n f o r t i u i a t e h ' n o w a n o n y i n o u s as they rarely signed their w o r k .

Height 6.4in (16.2cm) T h e N e t h e r l a n d s c. 1 6 6 5

H e i g h t 6 . 6 i n (16.7 c m ) T h e N e t h e r i a n d s f. 1 6 6 5

A F L U T E W I N E GLASS wlicel-engraved with two putti. O n e spins a peg-top on his finger while the other reheves himself. Both of relatively short duration, the spinning of a top and the action of the other boy may, like bubble blowing, be seen as allegories of the transience of life. T h e s e tall flutes, u.sually u n e n g r a v e d , w e r e a l m o s t e x c l u s i v e l y u s e d f o r t h e d r i n k i n g o f r e d w i n e , a s m a y b e s e e n in D u t c h O l d M a s t e r still lifes. W h i t e w i n e w a s d r u n k f r o m g r e e n roemers. Height 14.7in (37.3cm) T h e N e t h e r l a n d s c.1660

'fe

Sf ^

' r

•

fft

• I: p-j '^^it-iis t- i-a V •"

Left to right

with pinched decoration and trailed foot, an extremely rare survival of a common form.

A N E A R L Y GLASS B E A K E R

Height 7in (17.7cm) The Netherlands or North German f.l640

A TALL STEMMED W I N E

GLASS,

the bowl copper-wheel engraved with strapwork. The Netherlands c. 1750- 1775

A G O B L E T engraved with arabesques and two figures. The stem internally decorated with red threaded enamel. SUesian t.l750

...

A L A R G E G O B L E T with bucket shaped bowl on a wrythen moulded knop and a folded foot. The foot engraved with flowers, the bowl engraved with three scenes; the first being of two hands emanating from clouds, with one holding an eye, a country scene in the background; the second scene with one hand emanating from clouds out of

SINGLE-SERIES

AIR-TWIST

which is arising a swarm of bees,

again with a country background;

cut baluster stem, the bowl

WINE

and the third scene being that of a

engraved with a cartouche within

dccoration.

lion lying asleep with a swarm of

which, beneath a sun in splendour,

English or Nortii Netherlands r. 1750 75

bees rising from it's head.

two hands are clasped in friendship.

German c.1750

The reverse engraved with the

THISTLE

SHAPED GLASS O n

motto De huge Frindsab. Heisht 8.5in (21.f>rm) I.aucnstcin c. I 740

GLASS

LIGHT

engraved with rococo

BALUSTROID

WINE

engraved with sprigs. North Netherlands c. 1 750 75

GLASS

A TALL GLASS with iTiould-blown opposed masks, honey-comb moulded overall, the lower bowl in the form of a bell, with applied loop and attached clapper. These rare glasses were used to signify when the glass was empty and needed re-filling. The use of moulded masks on a glass such as this may be unique. Height 10.7in {27.3cm) Liege c. 1725

A L O W C O U N T R I E S D R I N K I N G H O R N with trailed decoration, hanging loops and traces of original gilding to rim and finial. Horns have been used for ceremonial drinking vessels since before the Middle Ages and examples are known with intricate gold and silver mounts for use on ceremonial occasions. At this period glass was extraordinarily expensive and this horn would have been a highly prized object. Length 13.2 in (33.3cm) Low countries c. 1590

A S P I C E S T A N D with four cocjuille shaped bowls, beneath a crown of clear-over-blue cased glass, decorated in fa<;on de Venise pincer work. This form of spice stand is quite well known in Frencli /fliVncf of this |)eri()d. I'his object was made in the worksliop of Bernard Perrolt in Orleans which at this time was the leading glasshouse in France. Glass tableware from tliis workshop is, however, extremely rare. Height lOin (25.4cm) French r. 1 720 11

A M A R R I A G E G O B L E T OH a tall four knopped stem and domed foot bearing two coats of arms within a canopy and surmounted by a crown. T h e a r m s are those of VVillem IV Karcl H e n d r i c k Friso, Prince of O r a n g e a n d Nassau-Dietz. H e lost O r a n g e to Prussia 11 th April 1713, but by an accord with the K i n g of Prussia his right to the title of Prince of O r a n g e was revived on 16th J u n e 1732. H e was elected Stadhouder o( Friesland a n d G r o n i n g e n a n d of Gelderland 1722, Stadhouder, C a p t a i n G e n e r a l a n d Admiral of Zeeland April 1747, Stadhouder United Provinces, C a p t a i n a n d Admiral General of the U n i o n 4th M a y 1747, the offices being declared hereditary in his family in both male a n d female lines 22nd N o v e m b e r 1747. H e conceded the qualification of Serene Highness at V i e n n a 3rd J u l y I 750 by E m p e r o r Francis I, Knight of the G a r t e r 1733. Born at Leenwarden 1st S e p t e m b e r 1711, Prince William IV died at T h e H a g u e 22nd O c t o b e r 1751. T h e arms on the right are those of his wife .'Xnne, Princess Royal of Great Britain (married at the French C h a p e l , St J a m e s ' s Palace, L o n d o n , 25th M a r c h 1734), Regent of the United Provinces 1 7 5 1 - 5 9 (born at H a n o v e r 2nd N o v e m b e r 1709, died at The H a g u e 12th J a n u a r y 1759) eldest d a u g h t e r of G e o r g e II, King of Great Britain a n d Ireland, Elector of H a n o v e r . Height 8.4in (21.3cm) T h e Netherlands 1734. Research by Victor Franco de Baux, BA AR HistS

A FINE GOBLET Oil air-twist stem e n g r a v e d by a good h a n d with the inscription: Binnen 'tjaar tot Ouders vreugt, Een ^oon gelyk aan hunne deugt. SI de Romare & A L Baronnesse Van Utenhove In den Egt vereenigt den 14 Maart A. 1752 which translates Within the year to parents'joy, A son equalling their virtue. Sfamuejl de Romare & Baroness A L van Utenhove joined in Matrimony March 14th 1752. This is obviously a m a r r i a g e got)lel a n d t h e first s e n t e n c e a p p e a r s to be a wellwish w h i c h c o u l d b e freely t r a n s l a t e d as May within the year and to the joy of the parents a son be born who witl equat them in virtue. N o t e the lover's k n o t over Z o o n (Son). T h e s u r n a m e s a r e n o t familiar ones. The c o a t of a r m s of t h r e e v a n U t e n h o v e families a r e illustrated in R o l l a n d (Rietstap): f r o m the p r o v i n c e of U t r e c h t , f r o m Bruges a n d f r o m G h e n t . D u r i n g t h e first half of the 17th c e n t u r y t h e r e w e r e v a n U t e n h o v e s as Lords of t h e R i j n e s t e y n estate (S\V of U t r e c h t town).

'ft" imiiA/n M^H^

Research by FG. LM Smit, Peterborough H e i g h t 8 . 7 i n (22.2cm) T h e N e t h e r l a n d s 1752

The use of colour in glass C o l o u r in glass reaches back to the earliest days. Both the Egyptians a n d R o m a n s used colour in the p r o d u c t i o n of vessels a n d o r n a m e n t s . Glass m a y be coloured by o n e of four m e t h o d s . It can b e stained, that is a p i g m e n t mix is p a i n t e d o n t o the surface of the glass a n d then fired to fix it. T h i s is d o n e in stained glass windows, w h e r e the staining refers to the grisaille d e c o r a t i o n such as in d r a p e r y or facial features r a t h e r t h a n the coloured glass. Glass m a y be flashed, that is colourless glass is covered or flashed with a thin layer of coloured glass w h e n the c o l o u r a n t is so powerful that n o r m a l thickness w o u l d r e n d e r it o p a q u e . Glass m a y be cased, that is colourless glass is overlaid or cased with quite a thick layer of coloured glass, which m a y be cut t h r o u g h to expose the colourless glass. In the e x a m p l e of C a m e o glass several different layers of glass are used which m a y be t r a n s p a r e n t , or o p a q u e . Glass m a y be self-coloured. In this case there is just o n e gather of coloured glass, so the glass is coloured t h r o u g h o u t . T h e next five pages all show examples of cased glass. T h e bottles on pages 46 a n d 47 show all types of coloured glass a n d c a m e o glass m a y be seen on p a g e 56.

A GOBLET with an oval panel engraved with a young boy in Highland dress seated in a landscape with his dog, set on a knopped hexagonal stem and flared foot. T h e Consort to Qiieen Victoria, Prince Albert, was born near Coburg, H e was the younger son of the Duke of SaxeC o b u r g - G o t h a , T h e Q u e e n ' s uncle. Victoria a n d Albert's second son eventually inherited the title of the Duke of S a x e - C o b u r g - G o t h a . Q u e e n Victoria regularly visited G o b u r g a n d the castle there retains a large collection of paintings and other memorabilia conccrning Q u e e n Victoria w h o was also well known for her lo\ e of the Scottish Highlands. Europe's foremost glass engraver at this period was Franz Zach w h o had close connections with the C o b u r g court a n d this goblet is attributed to his h a n d . Height 8.8 in (22.5cm) Bohemian c. 1850

â&#x20AC;&#x201D; ' J '

RUBY CASED-GLASS

TANKARD

attributed to Karl Pohl, the other eminent glass engraver of this period. T h e mounts are made of ])ewtcr. riie c o v f r e d tankard or stfin is a typically G e r m a n drinking vessel for beer a n d examples are known in m a n y other materials beside glass. Height excluding finial 5 in {12.9cm) Bohemian c. 18,^0

During the second quarter of the 19th century, the Bohemian copper-wheel engravers were the foremost engravers in Europe and their work on cased glass was exported throughout the world. Although their major customers were visitors to the Germanic spa towns, they also used contemporary prints to depict scenes in other countries particularly in the United Kingdom and the United States. Political turmoil in Europe in the third quarter of the 19th centurycaused these glass engravers great economic hardship in their native Bohemia and many emigrated to either Britain or America.

A N AMBER CASED GLASS G O B L E T

engraved with the Tower of London.

AND COVER

N o t e the b a r g e a n d the feri^- b o a t in the f o r e g r o u n d on the River T h a m e s . Height 9 . 7 i n (24.5cm) B o h e m i a n c. 18,50

A VASE engraved and inscribed A'W View of York Minster, cased in emerald green glass with a bulbous base. Height 5 . 5 i n (14cm) B o h e m i a n 1.1860

A FLASHED AMBER VASE engraved with a view of Osborne House as seen from the North, the reverse decorated with fruiting vine. T h e glass inscribed Osborne House Isle of Wight. B o h e m i a n c. 1860

A N AMBER CASED GI.ASS VASE

engraved with a

view of the old Houses of Parliament before the Great Fire of 1846. Bohemian f.l830 18

A T U M B i . E R F L A S H E D IN R U B Y G L A S S , t i t l e d Signet in

Library

Edinburgh.

The building, designed by Robert Reid a n d constructed between 1810 and 1822, housed, a n d still houses, the library of the Society of Writers to Her Majesty's Signet. T h e library, probabK' the oldest legal library in the world still extant, contains over 30,000 volumes of Scottish interest. Bohemian f. 1850

A R E D FLASHED G O B L E T eiigravccl with ail i n t e r i o r \ i e \ v o f C r y stal P a l a c e . Height 8.9 in (22.6cm) Bohemian 1851

T h e use of gold foil inclusions was developed in F r a n c e in t h e 1820s. G o l d sheet, which h a d to b e 24 c a r a t otherwise glass w o u l d n o t a d h e r e to it, was cut to t h e desired o u d i n e a n d then d e c o r a t e d with c o l o u r e d e n a m e l s a n d fired. T u m b l e r s were only o n e of a r a n g e of objects w h i c h were d e c o r a t e d using this process. Vases exist t o g e t h e r with d e c a n t e r s , scent b o t d e s a n d presse-papier a n d this t e c h n i q u e a l t h o u g h developed in F r a n c e was eventually used in B o h e m i a , Belgium a n d t h e I m p e r i a l glassworks in Russia. T h e s e t u m b l e r s were m a d e in the usual w a y b u t while hot, the e n a m e l l e d foil was placed on t h e surface a n d t h e n covered with a pad of glass. W h e n a n n e a l e d a n d cold these t u m b l e r s were then cut.

A"!.

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Glass in England

Since the 16th century glass making has prospered in the British Isles. In 1615 a royal proclamation forbade the use of wood in glass making:

It hath bene of all times truly esteemed as a principall Patrimonie of this Our Realm of England, and a precious inheritance both of Crowne and Subject, in that Our said Realme hathyeelded goodly quantities and aboundance of Wood and Timber, in a manner & nature almost incomparable; for that the timber therof is not only great and large in height and bulk, but hath also that toughnesse and heart, as it is not subiect to rive or cleave, and therby of excellent use for Shipping, as f God Almightie which had ordained this .Nation to be mighty by Sea and navigation, had in his providence indued the same with the principall materiall conducing thereunto: IVherfore it being Our princely office and care, to cherish & second the blessings of God upon Our people and Countries, and not to indure a wastfull destruction and consumption of them, and speciallie to provide that matters of superfluitie do not devoure matters of necessity and defence; understanding that of lateyeeres the wast of Wood and Timber, hath been exceeding great and intollerable by the Glasse-houses and

An English glass house from Diderot's Emyclopedie 22

Glasse-workes of late in divers parts erected: wee have thought it highly to conceme the good of Our people to give a speedy remedy to the same: in that there hath beene discovered and perfected a way and meanes to make Glasse with Sea-cole, Pit-cole, and other Fewell, without any manner of wood, & that in as good perfection for beauty and use, as formerly was made by wood. Therefore We doe by these presents straightly prohibite, constitute and ordaine, that from the day of the date of this Our Proclamation, no person or persons whatsoever, shal melt, make, or cause to be melted or made, any kind, forme or fashion of Glasse or Glasses whatsoever, with Timber, or wood, or any Fewell made of Timber or wood, within this Our Kingdome.

In 1674 George Ravenscroft was granted a monopoly and patent for the production of 'crystal' glass following his development of the use of lead in glass. By 1750 there were large and prosperous glass houses in London, Stourbridge, Bristol, Newcastle-upon-Tyne, Edinburgh, Norwich and Dublin.

T h e English Baluster Glass 1700

1720

A G O B L E T with a bell shaped bowl, the lower part enclosing a tear. T h e stem having a triple annulated knop and a ball knop, on a folded foot. Height 8.5in (2l.5rm)

BALUSTER WINE

GLASS

with folded foot and hollow inverted baluster knop. Height 7.Sin (19cm)

A BALUSTER G O B L E T with a round fijnncl bowl and a flattened ball knop with a tear, on a folded foot. Height 8.2 in (21 cm) 23

..0m-

Four mid 18th century wine glasses A

GOBLET

with a buckct bowl on a

mixed spiral air cable and o p a q u e

RARE SINGLE-SERIES

TWIST WINE GLASS

OPAQUE-

with a round

white rope stem.

funnel bowl set on a folded foot

f.l760

c.\755

Hfight 6.7in (17cm) A

WINE GLASS

with a sauccr

topped bucket bowl on an air-twist stem. f.l765

OPAQUE-TWIST WINE

GLASS

with a sauccr topped bucket bowl, the waist-knopped stem containing , enamel threads on a conical foot.

Five mid 18th century ale or champagne glasses TALI, DRAWN TRUMPET

A N UNUSUALLY T A L L ALE GLASS with

A FLUTE o f d r a w n f o r m with a

CHAMPAGNE FI.UTE with an air-twist

r i b b e d b o w l on a plain stem with

slender i i o w l , the stem filled

stem o n a f o l d e d conical f o o t .

g a d r o o n e d d o m e d foot,

with spiral air threads and set

Heighl 8.6in (21.8cm)

c. 1740

into a b e a d e d inverted baluster k n o p a b o v e a d o m e d foot,

C.1750 DOUBLE-SERIES OPAYUE-TWIST ALE A FACET STEMMED ALE GLASS,

GLASS. T h e rim o f the bowl decorated in

the Stem k n o p p e d with cut d i a m o n d

white enamel by the Beilby workshop

facets, the foot cut and scalloped.

with delicate tracery and scroll work.

T h e b o w l is bright cut with hoj)s and

A similar example is in tlie P'itzwilliam

barley.

Museum, C a m b r i d g e .

(-.1770

f.l77()

c. 1 73,5

Early 19th century English and Irish cut glass In 1745 an excise tax was placed on all lead glass

River Lee which o p e n e d in 1 784. T h i s factory was

p r o d u c e d within the British Isles. In 1780 the British

k n o w n as the Cork Glass Co a n d c o n t i n u e d in

p a r l i a m e n t , n o t i n g the effect that this tax h a d on the

p r o d u c t i o n u n d e r different owners until 1818.

e c o n o m y of Ireland, r e m o v e d the tax f r o m glass m a d e in Ireland thus giving Irish glass-makers an

T w o o t h e r glasshouses existed in C o r k , the best k n o w n being the Waterloo Glass House Company,

a d v a n t a g e over their b r o t h e r s in E n g l a n d a n d

1815 1835, which also m a d e m a r k e d decanters, a n d

Scotland.

the lesser k n o w n Terrace Glass Works, 1818

1841.

In 1783 a glasshouse was built in C o r k o n the

A collcction of decanters all m a r k e d Cork Glass Co

on a lemon squeezer loot, wheel-engraved with the Royal C^oat of Arms.

UNUSUAI.LY I.AR{;E C O V E R E D

GOBEET

This coal of arms prc-dalcs 'l lic /\( ! of Tiiioii of 1801. 1 liis tine engraving is t\pical of (he work being carried out in Newcastle and S u n d e r l a n d at this period. In i)arlicular the W e a r Hint Class C:o of Depford, .Sunderland, were p r o d u c i n g finely engraved ware. Height 19 in (48cm)

Coasters, sometimes known as bottlestands or slides, together with trolley coasters, were an essential part of a gentleman's table. T h e y were variously m a d e in silver, Sheffield plate, ormolu, wood, lacquered papier mache, tole and sometimes even in ivory. Prince Puchler-Muskan, w h o visited England in 1828, stated that dccanters were placed before the host, who then pushed them on stands or wagons to his neighbour on his left.

T w o

F R O M A SET OF SIX

SHEFFIELD PLATE

COASTERS,

engraved and with pierced sides. T h e base with their original painted decoration. f.l790

T w o

TURNED IVORY

STANDS,

BOTTLE

each containing a

serving botde. â&#x20AC;˘Mid 19th ccntur)A

P A I R OF

(BOAS T E R S ,

I'M'UM M.icHE

decorated with sponge

A P A I R OF B L A C K

LACQUER

work and gilt latticc decoration.

DOUBLE TROLLEY

COASTERS

f.lBl.'o

f.l815

PAIR

TOLE

OF M A G N U M

COASTERS

chinoiserie

SIZED

BLACiK

decorated with

scenes both on the outer

LARGE

RECiENCY BRONZE

AND

MAGNUM

OVAL

CUT

O R M O L U COASTER, t h e m a i n m o t i f

on a pedestal base.

being of a pair of griffins flanking a

r.1850

band and on tlie base.

harp.

(•.1800

f.1810

MACiNUM

CUT

DECANTER

engra\ed on one side with hops A

PAIR

I'AI'll-.lt MACin'-:

COASTERS decorated with gilt feathers

A CUT M A G N U M D E C A N T E R w i t h a

and barley and the other side with

'tasting' stopper.

the monogram JB.

f.l800

(•.1770

C.1820 A

P A I R OF CUT D E C A N T E R S

with

the monogram J A K . f.l770 29

Glass j u g s have b e e n m a d e in all sizes for use on the d i n i n g table. C u t d e c o r a t i o n sparkles beautifully w h e n set on a white tablecloth, particularly by candlelight. A l t h o u g h we n o w refer to the larger j u g s as w a t e r jugs, in fact w h e n they were m a d e they w e r e p r o b a b l y never expected to c o n t a i n water, which at that lime was usually i m p u r e . T h e footed j u g s which we now call ewers were then called claret jugs. T h e footless j u g s w o u l d have b e e n \ ariously used for wine, beer or milk a n d the small j u g s w e r e u n d o u b t e d l y c r e a m jugs.

A l t h o u g h the use of over-large spouts a n d some p a r t i c u l a r f o r m s of cutting can be associated with Irish glass, the distinction b e t w e e n English a n d Irish w o r k m a n s h i p is often dilficult to m a k e as similar designs were used either side of the Irish sea. In p a r t i c u l a r the f a m o u s S a m u e l Miller p a t t e r n book, which is associated with a n d was used by the W a t e r f o r d Glasshouse, is n o w known to have b e e n d r a w n u p by S a m u e l Miller w h e n he w o r k e d in S t o u r b r i d g e before he m o v e d to Ireland.

T h e decoration o f the dining table particularly for the dessert course was o f great importance to the late 18th century and early 19th century glass maker. O v e r three pages we illustrate bowls and dishes used for the ser\'ing and display o f fruit, both in its natural form and in its preserved form, usually by crystallisation with sugar. A VERY LARGE CIRCULAR CUT GLASS TWO-PIECE BOWL on Stand with diamond and step cutting. Height 8 . 5 in ( 2 1 . 6 c m ) Diameter I4.3in (36.3em) f.l83()

A SHALLOW ciRCtJLAR GLASS BOWL and detachable stand, the bowl with all over diamond cutting beneath a fan cut rim and with hobnail cut base, the stand with horizontal prisms abo\e a domed diamond-cut foot. Heislil 8.7in (22.2cm) D i a m e l e r 10.5 in ( 2 6 . 5 c m ) P r o b a b l y W a t e r f o r d r. 1 8 2 0 Kx the collection o f the 6 t h .\Iarc|ues.s o f B u t e I'rom the collection put t o g e t h e r by his g r a n d - f a t h e r .

A P A I R OF IRISH

COMPORTS

the bowls with heavy swag cutting and the base with star cutting.

WITH LIDS,

Height Sin (20.3cm) Irish C.1840

CELERY VASE

decorated with

convex bands and serrated rim. Height 8.8in (22.4cm) C.1830

P A I R OF O C T A G O N A L

DISHES

cut with van Dyck rims. Length 8.8in (22.3cm) C.1810 A N E A R L Y I 9 T H C E N T U R Y P A I R OF O V A L DISHES w i t h S e r r a t e d e d g e s . Length 8.5in ( 2 L 6 c m ) C.1800

KEY TO TABLE

iPâ&#x20AC;&#x201D;: "

T r a v e l l i n g sets of spirit b o t t l e s w e r e q u i t e

SETTING

u s u a l in t h e s e c o n d h a l f of t h e 18th c e n t u r y 1 A pair of early oval bowls. See p. 33

10 A set of four boat shaped cut salts on lozenge-shaped lemon-squeezer feet c. 1800

2 A pedestal cream-jug. c. 1830 3 A set of ten frosted glass plates with star-cut bases, c.1870 4 A set of six finger bowls, si.x wine glasses and a carafe engraved with bulrushes. f.l860

6 A shouldered decanter decorated all o \ e r with facet cutting. (-.1770 7 A set of four r u m m e r s with lemon-squeezer bases engraved with a head of barley and the initials (JCH. f . l 8 0 0 '

sea j o u r n e y s u n c o m f o r t a b l e a n d the travelle w a s n e v e r sure of the quality of the

11 A set of twelve fruit knives a n d twelve forks, in silver-gilt with mother-of-pearl handles. French f . l 8 5 0

a c c o m m o d a t i o n en route. A

SET OF FOUR O C T A G O N A L DARK

DECANTER

12 A set of six cut custard cups. C.1880 13

5 A mallet shaped decanter decorated all o\ er with facet cutting, c. 1770

Carriage journeys were long and arduous,

silver table-bell in the forni of a tortoise. L o n d o n 1897

14 A silver gilt bottle-label ibr Hock Paul Storr, L o n d o n 1812

d e c o r a t e d with a b a n d of trailing fruiting vines, t h e w i d e sides w i t h a trellis d e c o r a t i o T h e bottles labelled CURACO,

KERCH

MARASHLNO,

WASSER,

9 A large two-piece bowl. See p. 31

EAU

Height of bottle 8.9 in (22.5 cm)

f. 1800 together with a mid 19th century brass boun m a h o g a n y carrying case A M A H O G A N Y B O X C o n t a i n i n g a .set o f f o u r b l u e d e c a n t e r s w i t i i gilt l a b e l s f o r ( a n i n f u s i o n o f h e r b s in a s p i r i t b a s e , brandy),

HOLLANDS

SHRUB usually

(the n a m e at tlie l i m e

D u t c h o r ( i c n e v a G i n ) , RUM 8 A silver m o u n t e d ivory pep|)er mill. Birmingham, 1932

GREEN

B O T T L E S , t h c n a r r o w s i d e s gilt

and

BRAM)

Height of bottle 7.6in (19.3cm) f. 1 780 90 together with an early 19th century mahogan)- carry ing case

Glass was also used in the production of portrait medallions. J a m e s Tassie (1735-1799) was a Scottish artist and modeller who, on a visit to Dublin in 1763, was taught a method of casting in glass by Dr Henry Quin. Tassie modelled from life in wax and then, using an ingenious process, was able to make glass replicas which were marble-like and durable. A W A X P O R T R A I T M E D A L L I O N b v j a m e s Tassie signed on the truncation MRSARTH. STEWART/EDINB. 1795/Tassief A G L A S S P O R T R A I T M E D A L L I O N " b y j a m e s Tassie signed on the truncation LINE GRAY/DIED 18TH FEB. 1792/Tassie f Height Sin (7.6cm)

J o h n Helming (1771 1851) was also a Scotsman who learnt how to make castings in glass. Few of his portraits surv ive but his main work was in making j)laster replicas of marlile friezes, in particular tiie Elgin marbles. A G L A S S P O R T R A I T M E D A L L I O N b y j o l i n Helming, on a slate ground, signed on the truncation HRS CAROLIXE/PRINCESS OF WALES/ HE\:\T\G F 1818 38

The 19th century T h e 18th century had been a period of steady developments, both in the progressive change in form of drinking glasses and also in the d e m a n d for cut glass, indeed by the turn of the ccntury cut glass 'English Style' was being copied both in Belgium and Russia. T h e change in the 19th century was much more hectic. Industrial technology gave much more control to the manufacturer and the chemists gave a much wider range of colours to the designer. T h e designer became a much more important influence. Richard Redgrave the painter, who, with Henry Cole, the founder of the Victoria & Albert Museum, had a great influence on mid 19th ccntury design, designed glass for the Great Exhibition of 1851. T h e Jones family, who worked for J o h n Blades and eventually took over his company, also worked for Copeland, the porcelain manufacturer. In the same way, Keith Murray in the 1930's designed both for Stevens & Williams' glass and Wedgwood's pottery. Henry Powell was himself as much a designer as a proprietor of the Whitefriars glasshouse, and he also employed designers such as Philip Webb.

Apsley Pellatt at the Falcon Glasshouse in Blackfriars was o n e of L o n d o n ' s leading glassmakers in the first half of the 19th century. H e published two books which a r e still useful today, his memoirs which were published in 1821 a n d Curiosities of Glassmaking p u b l i s h e d in 1849. H e lectured to the Royal Institution in L o n d o n c o m p l e t e with a mobile f u r n a c e a n d he gave evidence to a select c o m m i t t e e of the British H o u s e of C o m m o n s c o n c e r n i n g the p r o b l e m s of j e w s in commerce. In 1819 M r Pellatt perfected the m a n u f a c t u r e of medallions 40

w h i c h could b e enclosed in glass a n d p a t e n t e d this process. T h e s e medallions he called Crystallo-ceramies\ they a r e m o r e usually k n o w n today as sulphides. A TWO BRANCH

CANDELABRUM

with o r m o l u a r m s a n d central f e a t h e r finial, the p a n s with c o m p l e x drops, the cut stem c o n t a i n i n g a sulphide of the m u s e of music Euterpe. Height 12.8in (32.7cm) .â&#x20AC;˘\psley Pellatt, L o n d o n . f.l825

G L A S S M O D E L O F A S H I P ill t h e

form of a three mast, one hundred and twenty eight gun, Man-of-\Var flying the white ensign. Both L o n d o n a n d Birniinghani were centres for lamp-workers, or glass and toy m a n u f a c t u r e r s and this extraordinary boat is c o n t e m p o r a r ) ' with the French prisoner of war models m a d e in wood or bone a r o u n d 1800. Length 18in (46cm) Height 14in (35.5cm)

Victorian Engraved Glass In the 18th century pictorially engraved glass was the exception r a t h e r than the rule, although some r a t h e r c h a r m i n g naive examples exist, normally of rural scenes a n d country pursuits. In the first third of the 19th century good British engravers emerged, particularly in L o n d o n a n d the T y n e & W e a r area. T h e i r m a i n work was in b o r d e r decoration and coats of a r m s and some very fine architectural work was also executed. In the second half of the 19th century there were several highly talented engravers, some British, some immigrant Bohemians, working in L o n d o n , Stourbridge a n d E d i n b u r g h , w h o engraved in the most naturalistic m a n n e r . The nightingale illustrated above is a particularly fine example of their exact delineation of nature, a tradition which carried on in their depiction of fiowcrs a n d fruit on the c a m e o glass p r o d u c e d in Stourbridge. 42

A JUG engraved with a nightingale, p e r c h e d singing in a naturalistic setting of sedge grass. T h e top a n d foot of the j u g engraved with a b a n d of cutting. Height 11.2in (28.3cm) f.l870 A

FINELY ENGRAVED CLARET JUG

of slender baluster shape with ribbed handle, engraved with a swan on a p o n d flanked by trees and foliage, the circular foot cut with a sunburst. Heighl 10.5 in (26.5cm) C.1870

A JUG willi trefoil spout

A W A T E R SET c o n s i s t i n g o f a

e n g r a v e d vvitli a riverside sceiic,

e w e r a n d two goblets. A n A r a b

two storks with bulrushes

on c a m e l back is being h a n d e d

behind, together with three

a dish by his servant with a

kingfishers p e r c h e d , one on a

desert scene a n d castle behind.

tree stum|) a n d the other two on

Hfiirlu of cvvcr 12.7in (32.2rm)

a tree in bloom.

f.l86()

Height I I in (27.9cni) f,l870 43

Rock crystal w a s a t e r m u s e d in S t o u r b r i d g e in t h e late 19th c e n t u r y for a p a r t i c u l a r f o r m of h i g h l y p o l i s h e d cut d e c o r a t i o n w h i c h c o p i e d the work carried out by B o h e m i a n craftsmen o n q u a r t z r o c k crystal in t h e 15th a n d 16th centuries. A

S E T O F S I X C H A M P A G N E G L A S S E S CUt i n

t h e r o c k crystal style a n d d e c o r a t e d w i t h h o n e y s u c k l e , c h r y s a n t h e m u m s a n d bees. Thomas Webb & Sons, Stourbridge f.l890

SET O F SIX W I N E GLASSES

cut in t h e r o c k

cr\'stal style a n d d e c o r a t e d w i t h h o n e y s u c k l e , c h r y s a n t h e m u m s a n d bees. Thomas Webb & Sons, Stourbridge f.l890

It w a s n o t until t h e v e r y e n d of t h e 18th c e n t u r y t h a t it b e c a m e t h e c u s t o m in E n g l a n d to h a v e suites of glass laid o n a d i n i n g t a b l e , w i t h a d i f f e r e n t glass for e a c h d r i n k . T h e glasses w h i c h w e n o w use f o r w a t e r w o u l d originally h a v e b e e n u s e d for b e e r , as at t h a t t i m e m o s t of t h e w a t e r a v a i l a b l e w a s n o t c o n s i d e r e d safe to d r i n k . A

SET OF F O R T Y - E I G H T GLASS

RUMMERS

c o n s i s t i n g of twelve w a t e r glasses, twelve r e d w i n e glasses, twelve w h i t e w i n e glasses a n d twelve p o r t glasses. f.1800

D u r i n g t h e m i d 19th c e n t u r y t h e design philosophy followed by R i c h a r d R e d g r a v e a n d o t h e r s w a s t h a t d e c o r a t i o n s h o u l d follow the p u r p o s e of t h e vessel, so t h a t g a m e p a t e dishes w e r e p r o d u c e d in t h e f o r m of g a m e , w i n e glasses w e r e d e c o r a t e d with vine leaves a n d w a t e r glasses w e r e d e c o r a t e d with riverside p l a n t s . A

S U I T E O F G L A S S C o n s i s t i n g of six

finger

b o w l s , six w i n e g l a s s e s a n d a c a r a f e . Kach piece cut with bulrush leaves bulrushes. c.l85()

and

The Civic Mazeppa T h e Cossack Ivan Stcpanovich M a z e p p a (f. 1645-1709) was a Russian nobleman whose exploits became famous through many plays, operas, novels and paintings. While in Poland he was surprised with a nobleman's wife and sent home by the nobleman bound naked to a horse. Later Peter the Great made him Prince of the Ukraine. He then allied himself to Karl XII of Sweden but his attempts to gain independence for the Ukraine from Russia failed. He died shortly after the bottle of Puttowa. Lord George Gordon Byron (1788 1824) spent his first ten years in poverty in Aberdeen. In 1798 he inherited his title from his great-uncle. He was educated in London and Cambridge, and in 1815 was briefly married. Byron, exiled himself in 1816 after his failed marriage and lived in Italy where he took the Countess Guiccioli as his mistress, (with her sixty year old husband's blessing!) Byron's satirical verse concerning Liverpool, Palmcrston, Wellington and others did not endear him to the government or the public. In Italy he supported the C a r b o n a r i and when they collapsed he went to Greece where he successfully organised the Greek war of Independence. He died in Greece in 1824. In 1817 1818 he wrote an epic poem Mazeppa. T h e cartoon on the bottle shows Byron's body being brought back to England in 1824. His body is bloated as he had great difriculty with his weight and there arc reports of his knuckles being so fat that they were almost in\ isible. The scene has an Italian policeman in the background with a sign ,\b thoroughfare and would have been taken from a political cartoon of the period, probably in I'linc/t or The Times. llcis;lil 12.7in (32..T(in)

C O L L E C T I O N OF C O L O U R E D B O T T L E S U S c d f o r

the scr\ ing of w i n e a n d spirits m a d e at a time w h e n it w a s c o n s i d e r e d i m p r o p e r to put a m a n u f a c t u r e r ' s bottle on the table. T h e bottles without glass stop]K-rs w o u l d h a v e used a cork stopper with a label indicating the contents.

Even today the well appointed guest bedroom will always have on a bedside table a carafe full of water in case the guest should wake up thirsty. A BLUE OPALINE STOPPERED WATER

CARAFE

G R E E N AND AMBER CASED GLASS

W A T E R C A R A F E SET b y

BEDSIDE

Saint Louis, the Lorraine

glass manufacturer. French c.1850

AND

decorated with cream enamelling and gilding in the form of arabesques. French f.l840

TUMBLER

A F I N E O P A L I N E G L A S S W A T E R S E T Consisting of a carafe and stopper with a tumbler and dish. All the pieces are beautifully enamelled with gilt decoration and flowers. French c.1840

CARAFE, TUMBLER AND D i s i i in r u b y

Coloured

glass with gilded lines o n e a c h piece of the w a t e r

set.

Bohemian c. 1870 A RED AND W H I T E L A T T I C I N G GLASS BEDSIDE C A R A F E SET b y

French c.1850

Saint Louis.

WATER

In 1834 J a m e s Powell purchased the long established Whilefriars glassworks situated in central London between Fleet Street and the River Thames. By the 186()s Whitefriars had become the leading exponents of new design, making glassware designed by Pliilii) Webb and the architect T. G. Jackson as well as articles designed by Harry Powell who \ isited the major museums in l'Airo]je seeking inspiration.

Harry Powell's interest in archaeological glass led him to the British Museum in 1894 where he examined a R o m a n cut glass bowl excavated at Leuna, Sa.xony, with its shallow cutting, typical of R o m a n glass of the first century AU. A S U I T E O F S U M . L O W - C U T G L A S S in the Roman pattern with glasses for red wine, white wine and finger bowls. 49

Powell's early work is c h a r a c t e r i s e d by purity of line a n d is usually u n c u t , a l t h o u g h the c o m p a n y did have its o w n cutting shop. T h e c o m p a n y was also o n e of Britain's l e a d i n g p r o d u c e r s of stained glass for ecclesiastical a n d civic buildings. C o n s e q u e n t l y they were able to p r o d u c e glass in a wide r a n g e of colours.

I^ft to right A

GLASS D E C A N T E R

of greenish

tint, the ovoid f o r m with r o u n d e d base inset with p u l l e d - u p latticino t h r e a d s , the tall t a p e r i n g neck applied with a trail. Height 11.2in (28.5 cm) Designed by Harr>- Powell c.1906

A C R Y S T A L W I N E G L A S S with g r e e n t h r e a d e d p u l l e d - u p d e c o r a t i o n on hollow inverted baluster stem. T h i s glass is taken f r o m t h e suite of over four h u n d r e d pieces m a d e for the Italian d i p l o m a t C o u n t M i n e r b i in 1906. Designed by H a r r y Powell A

VENETIAN

INSPIRED

OPAL FLUTE VASE

STRAW

m a d e f r o m heat-

reactive glass. Designed by Harr>- Powell c.1880 1900

A T A L L W I N E G L A S S on a threesided twisted stem, the flared b u c k e t bowl d e c o r a t e d with p u l l e d - u p green trailing. Designed by H a r r y Powell for C^ount Minerbi r.l906. Illustrated in the Studio Year Book of 1907 A

SERPENT

V A S E O R COMF.l

BEAKER

of blue tint with applied milled ring

to base a n d t h r e e encircling comets. T h e inspiration for this vase was H u b e r t van Ravesteyn's painting, Still life with pipes and glass which is in the R i j k s m u s e u m , A m s t e r d a m . Height 9.5 in (24.2cm) Designed by H a r r y Powell c.1910

I n t h e 1930s W h i t e f r i a r s p r o d u c e d

A N O V A L VASE i n g r e e n glass.

a r a n g e o f v a s e s in S c a n d a n a v i a n

a p p l i e d d e c o r a t i o n in the f o r m o f

f o r m s using a n e w r a n g e o f subtle

L A M P B A S E in sky b l u e glass w i t h

a m e t h y s t spots.

colours v e r y different f r o m the

R I B B O N - T R A I L E D VASE, d e s i g n e d

b r i g h t e r c o l o u r s used b y V i c t o r i a n

as a l a m p b a s e , b l u e o n sea g r e e n

glassmakers.

glass.

F O O T E D VASE in s i l v e r g r e y glass.

RIBBED

VVealdstone range designed in 193 1 A T A L L LOBED VASE in S a p p h i r e blue with circular foot. Height 10.5 in (26.7 cm) Designed by James Hogan c. 1940

Stourbridge continued with their rather more robust tradition of design and colour although occasionally they did take inspiration from an earlier age. In 1923 the long established company of Stevens & Williams introduced a limited range of Art glass made in their Tipton factory. T h e designs were based on a hoard of recently excavated R o m a n glass found at Caerleon, South Wales.

Left to right A PAIR OF CAERLEON

GLASS

VASES.

A TALL VASE w i t h t w o h a n d l e s a n d a p p l i e d l i o n ' s h e a d seals. Height 12.2in (30.8cm) A JUG w i t h a n a p p l i e d

lion's

head.

Kx Cyril Manley collection (C:yril Manley was the first great collector of Victorian glass). A TALL

VASEI.LNE

GLASS

LILY

VASE.

Height 50.2in (127.5cm) Thomas W e b b , Stourbridge c. 1910

5.3

Val-Saint Lambert in Liege,

Belgium, is a worthy successor

geometrical design accentuatcd by the dark amethyst

to the Voneche factory.

casing. This \ ase ap]Dears in the company pattern book

In the 1920's and 30's they

for 1938.

produced a few monumental

Hfighl 10in (25.4cm)

LARGE

H E A V Y VASK

cut in the Arte Moderne style, the

vases largely for export in the then fashionable Arte Moderne

A MASSIVE v.ASE ctU with geometric designs and cased

style.

in pale amethyst. .\cici fUhecl signature lo l)asc Val-Saint iMinhert Hfishl 12.Bin (32cm) f.l938

Stourbridge also had its own designers. Keith Murray, a N e w Zealander wiio trained as an architect, worked both for Stevens and WiUiams designing glass and for Wedgwood designing pottery. His designs show a purity of form usually unhindered by surface decoration, Ludwig Kny, son of the great Victorian engraver Frederick Kny, worked for Stuart and Sous of Stourbridge, where his work is recoguisably bold a n d uufussy.

A L A R G E V A S E in pale blue glass decorated with systematically placed bubbles. Signed on the base, Keith Murray Sterens & Williams, Brierley Height lOin (25.4cm) f.l935

LARGE VASE

decorated with matt and polished

cutting depicting three stylised fishes. Designed by Ludwig Kny. Signed Stuart Crystal. Height I 1.1 in (28.2em)

A WHITE-OVER-PINK-OVERYELLOW OVOID CAMEO GLASS VASE carved with a bearded iris and a bumble bee, the reverse decorated with a butterfly. Height 9in (22.8cm) f.l885

A CUT GLASS DECANTER with three applied cameos o f pink-over-whitc, the three cameos picturing fuschia, tulips and cherr\- blossom. Stuart Limited, Stourbridge. r.l885

Before the invention of the electric Hght bulb in 1880, the sun and the flame were the only available light sources for the home. Candles of tallow (which smelt unpleasant), beeswax (which was extraordinarily expensive) or petroleum based waxes (which were only developed in the 1850's) were the most convenient form of lighting. Oils of different types were burnt and also, after 1820, coal gas.

Lighting

mmh \

A P A I R OF R E G E N C Y C U T GLASS AND ORMOLU T W O - L I G H T LUSTRES attributed to John Blades of London.

T h e central stem of each candleabrum has a curved shell finial, each candlc arm with scalloped sconces and drip pans hung with faceted beads and pendants, raised on ormolu paw feet. J o h n Blades was first recorded in 1 783 and by the time of his marriage in 1789 had been appointed Glass Manufacturer to His Majesty George 111. M the time of his death in 1829 J o h n Blades was known as "the Great Glass Man of Ludgate Hill'. f.l820 Height 21.75in (,5,5cm) Width 17 in (43 cm) Depth 6in (15cm) .58

P A I R OF M A G N I F I C E N T

STANDARD

Oil.

LAMPS

by F & C Osier. T h e o r m o l u a n d m i r r o r e d base s u r m o u n t e d by a cut stem a n d cross-cut oil reser\'oir. The Hicks d u p l e x wick-holder is s t a m p e d Osier patent. The shades a r e cut a n d d e c o r a t e d to a n e.xtraordinary degree. U n c o n v e r t e d a n d in their original state. Height 29 in (83.5 cm) f.1890

t t

SUPERB

O R M O L U AND GLASS OIL

LAMP.

T h e m i r r o r e d c e n t r e d p l a t e a u is s u r m o u n t e d by t h r e e figures of Pegasus. T h e stem consists of two parts b o t h with g e o m e t r i c cutting a n d both e n g r a v e d with waterside scenes of herons, sedges a n d flying kingfishers. A b o v e the stem is a sphere d e c o r a t e d with f u r t h e r g e o m e t r i c cutting, abo\'c which t h r e e angels s u p p o r t a font e n g r a v e d with egrets.

I'he wick holder is cngi iucd l ouiigs Duplex. The cut glass and froslcd shade is tlie original. The melahvork altril)iited to I'.lkinglon of Biniiinghain. Tlie glasswork allriliuled to I'&C: Osier. Overall height: Sft (91..'")cni) f.l88()

G Perry was London's most successful chandelier maker during the first half of the 19th century with showrooms in 72 Old Bond Street, London.

has ten rope-twist arms with cut pans hung with two bands of festoons and pear-shaped drops.

THIS

CHANDELIER

T h e cut stem pieces have canopies above and below, hung with pear-shaped drops. Height 45 ins (1 14 cm) Diameter 31ins (79 cm) f.l84()

T h e receiver bowl of urn slia])e cut in a leaf pattern with a cut ball finial below.

A N EIGHT LIGHT CHANDKLIKR W I T H GUT ARMS.

The a r m s of the chaiulelier a r e festooned with oval dro|)s a n d p e n d a n t ball drops. The stem with a cut glass p i n e a p p l e , a b o v e which are six d o w n w a r d facing crooks festooned with oval dro|5s a n d | j e n d a n t ball drops. Strings of d i a m o n d s lead d o w n f r o m the u]jper c a n o p y to the d r i p - p a n s below. I'here are also six uniciiie u p w a r d lacing crooks with integral spires.

H e i g h t 4 5 ill (1 14 c m ) D i a m e t e r 2()..'iin ( 6 7 . 2 , ' ) c m ) The metal receiver plate stam])e(i F&C

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GRAND PAIR OF WALL LIGHTS

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Osier.

These fittings with their e l a b o r a t e central spires a n d elegant finiais owe their inspiration to the A d a m wall lights of the late 18th century. T h e s e wall lights, however, a r e on a scale b e y o n d the technology of an 18th c e n t u r y glass-maker. O v e r a l l b r i g h t 5()in ( 1 2 7 c m ) f.l880

In 1839 t h e n e w S u l t a n ; A b d u l m e c i d , was d e t e r m i n e d to m o d e r n i s e T u r k e y a n d take notice of all the changes, industrial, scientific a n d political, t h a t w e r e taking place in W e s t e r n E u r o p e following r e f o r m s initiated by M a h m u d the J u s t . As a sign of this, he abolished the turban at C o u r t a n d i n t r o d u c e d the fez a n d his n e w palaces were inspired by western a r c h i t e c t u r e . T h e harem was r e t a i n e d but the divan, t h e central m e e t i n g r o o m , n o w could house W e s t e r n style f u r n i t u r e . T h e n e w palaces of D o l m a b a h ^ e , Yildiz a n d Beylerbeyi s t u n n e d the visitor with their i m m e n s e chandeliers a n d rows of frees t a n d i n g torcheres, some in c o l o u r e d glass a n d m a n y in clear glass. All the g r e a t glass-making centres in E u r o p e were asked to supply items for these palaces. B o h e m i a supplied m u c h of the c o l o u r e d glass a n d b o t h O s i e r of E n g l a n d a n d B a c c a r a t of F r a n c e supplied an e n o r m o u s q u a n t i t y of items.

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T h e fashion soon spread to the great n o b l e m e n of Istanbul w h o f u r n i s h e d their pavilions o n the edge of t h e B o s p h e r o u s with similar items. THIS TWELVE LIGHT

TORCHERE

was supplied by B a c c a r a t to such a pavilion a n d has recently b e e n restored by Mallett to its f o r m e r glory. Height 92 in (2 m 33 cm) Diameter 41 ', 2 in (106 cm) r. 1860-1870

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A cut glass standard lamp signed F&C Osier. Osier enthusiastically utilised the electric light bulb invented in 1880. This standard lamp, E271 in the Osier catalogue, was m a d e a r o u n d 1895 and bears the inscription Presented to J L Sayer Esquire CC by the Streets Committee of Sewers. M r Sayer went on to become Lord M a y o r of Birmingham. Height 62in (157cm) C.1895

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All enquiries c o n c e r n i n g this catalogue to J o h n P S m i t h o r Marika Hughes Mallett & S o n (Antiques) Ltd 141 N e w B o n d Street L o n d o n W I Y OBS Telephone: 0171-499 Fax: 0171-495

7411

3179

Mallett at B o u r d o n H o u s e Ltd 2 Davies Street Berkeley S q u a r e L o n d o n WIY ILJ Telephone: 0171-629 Fax: 0171

499

2444

2670

ÂŠ Mallett & Son (Antiques) Ltd 1997 Designed by J a m e s S h u r m e r P h o t o g r a p h e d by C^live Bartlett Printed in l-lngiand by Saunders a n d Williams Printers Lid