M A L L E T T 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'ouver-ture du calice du verre , & donnant un coup fee fur fa canne avec le manche de fa pince, & le por-ter 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.

M A L L E T T

G L A S S

Mallctt & Son (Antiques) Ltd

Kstahhshed 1865

141 New Bond Street London WIY OBS

Telephone: 0171 499 7411 Fax: 0171 4953179

17th and 18th century European Glass Engravers on glass, both with the d i amond and the copper-wheel were active in Europe , particularly in G e r m a n y , Bohemia and the Low Countr ies long before the practise became c o m m o n in the Uni ted K ingdom. Lead glass (crystal) was developed in England but use was c o m m o n in the Low Countr ies much earlier than used to be thought , probably before the end of the 17th century. T h e result is tha t m a n y glasses that used to be described as English, because they were m a d e of lead glass, are now believed to have been m a d e in the Low Countr ies .

Diamond-po in t engraving requires artistic ra ther than technical skill. If an artist can d raw in pencil he can engrave on glass, but copper-wheel engraving is a difficult technique which uses a treadle lathe to spin a copper wheel mois tened with abrasive. In the 17th and 18th centuries these lathes were por table and the engravers were often i t inerant.

Although engraving on glass was more c o m m o n in main land Europe than England dur ing the 17 th and 18th centuries, some engraved glass f rom the British Isles, of ten of political significance, does survive.

In the 17th century the Prince Bishop of Liege ruled a city renowned for its glass-making.

T H I S C O V E R E D GLASS, with its copper-wheel engraving, is typical of a ceremonial goblet of the period although few survive today. One 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 common with many glasses of this period, this goblet is lightly crizzled. Height 12.5 in (31.7 cm) Liege f.I67()

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 rampant lion supporters. The reverse bears a calligraphic inscription Stadts Welvaren which translates The Prosperity of the Town.

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 p e r i o d a n d p r a c t i s e d b y l a rge ly a m a t e u r e n g r a v e r s . This glass d e m o n s t r a t e s b o t h t l ia t c o u n t r y ' s love oi" h e r a l d r y a n d a lso its 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 w a s t h e m o s t f a m o u s p r a c t i t i o n e r o f th is 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 R i j k . s m u s e u m of . Y m s t e r d a m , i n f l u e n c i n g m a n y fo l lowers .

H e i g h t 6 . 4 i n ( 1 6 . 2 c m )

T h e N e t h e r l a n d s c. 1 6 6 5

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 t h e t r a n s i t o r y n a t u r e of life. T h e p i p e for 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 7th c e n t u r y 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 h a s b e e n p r a c t i s e d s ince R o m a n t imes . 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 d r a w i n g skills a r e r e q u i r e d , a n d a lso c o m p a r a t i v e l y e x p e n s i v e e q u i p m e n t . F o r these r e a s o n s t h e e n g r a v e r s w e r e profe .ss ionals , 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 t h e y r a r e l y s i g n e d the i r w o r k .

H e i g h t 6 . 6 i n (16.7 cm)

T h e N e t h e r i a n d s f. 1665

A FLUTE W I N E GLASS wlicel-engraved with two putti. One 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 exc lus ive ly u s e d f o r t h e d r i n k i n g of r e d w i n e , as m a y b e seen 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.

H e i g h t 14 .7 in ( 3 7 . 3 c m )

T h e N e t h e r l a n d s c . 1660

- 'I

^ ' r r % M '

• f f t A •

w I 'fe

Sf

I: p-j '^^it-iis t- i-a

V • "

, . ... I

Left to right

A N E A R L Y GLASS B E A K E R with pinched decoration and trailed foot, an extremely rare survival of a common form. Height 7in (17.7cm)

The Netherlands or North German f.l640

A T A L L 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

which is arising a swarm of bees,

again with a country background;

and the third scene being that of a

lion lying asleep with a swarm of

bees rising from it's head.

German c.1750

A T H I S T L E S H A P E D G L A S S O n a

cut baluster stem, the bowl

engraved with a cartouche within

which, beneath a sun in splendour,

two hands are clasped in friendship.

The reverse engraved with the

motto De huge Frindsab.

Heisht 8.5in (21.f>rm)

I.aucnstcin c. I 740

A S I N G L E - S E R I E S A I R - T W I S T

W I N E G L A S S engraved with rococo

dccoration.

English or Nortii Netherlands r. 1750 75

A L I G H T B A L U S T R O I D W I N E GLASS

engraved with sprigs.

North Netherlands c. 1 750 75

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 SPICE 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 O H a tall four knopped stem and domed foot bearing two coats of arms within a canopy and surmounted by a crown.

T h e arms are those of VVillem IV Karcl Hendrick Friso, Prince of Orange and Nassau-Dietz. He lost Orange to Prussia 11 th April 1713, but by an accord with the King of Prussia his right to the title of Prince of Orange was revived on 16th

J u n e 1732. He was elected Stadhouder o( Friesland and Groningen and of Gelderland 1722, Stadhouder, Capta in-General and Admiral of Zeeland April 1747, Stadhouder Uni ted Provinces, Capta in and Admiral General of the Union 4th May 1747, the offices being declared hereditary in his family in both male and female lines 22nd November 1747. He conceded the qualification of Serene Highness at Vienna 3rd July I 750 by Emperor Francis I, Knight of the Gar ter 1733. Born at Leenwarden 1st September 1711, Prince William IV died at T h e Hague 22nd October 1751.

T h e arms on the right are those of his wife .'Xnne, Princess Royal of Great Britain (married at the French Chapel , St J ames ' s Palace, London, 25th March 1734), Regent of the United Provinces 1751-59 (born at Hanover 2nd November 1709, died at The Hague 12th J a n u a r y 1759) eldest daughter of George II, King of Great Britain and Ireland, Elector of Hanover .

Height 8.4in (21.3cm)

T h e Netherlands 1734.

Research by Victor Franco de Baux, BA AR HistS

12

A FINE GOBLET Oil air-twist stem engraved 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 the first sentence appea r s to be a well-wish which could be freely t rans la ted 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 knot over Zoon (Son).

T h e su rnames are not famil iar ones. The coat of a rms of three van U t e n h o v e families are illustrated in Rol land (Rietstap): f rom the prov ince of Ut rech t , f rom Bruges a n d f rom Ghen t . D u r i n g the first half of the 17th cen tu ry the re were van Utenhoves as Lords of the Ri jnesteyn estate (S\V of Ut rech t town).

Research by FG. LM Smit, Peterborough

Height 8 .7 in (22.2cm)

T h e Ne the r l ands 1752

'ft" imiiA/n M^H^

w

13

The use of colour in glass Colour in glass reaches back to the earliest days. Both the Egyptians and R o m a n s used colour in the produc t ion of vessels and ornaments .

Glass may be coloured by one of four methods . It can be stained, that is a p igment mix is pa in ted onto the surface of the glass and then fired to fix it. This is done in stained glass windows, where the staining refers to the grisaille decorat ion such as in d rapery or facial features ra ther than the coloured glass.

Glass may be flashed, that is colourless glass is covered or flashed with a thin layer of coloured glass when the colourant is so powerful that normal thickness would render it opaque .

Glass may be cased, that is colourless glass is overlaid or cased with quite a thick layer of coloured glass, which may be cut th rough to expose the colourless glass. In the example of C a m e o glass several different layers of glass are used which may be t ransparent , or opaque .

Glass may be self-coloured. In this case there is just one gather of coloured glass, so the glass is coloured throughout .

T h e next five pages all show examples of cased glass. T h e bottles on pages 46 and 47 show all types of coloured glass and cameo glass may be seen on page 56.

14

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, He was the younger son of the Duke of Saxe-Coburg-Gotha , T h e Queen ' s uncle. Victoria and Albert 's second son eventually inherited the title of the Duke of Saxe-Coburg-Gotha .

Queen Victoria regularly visited Goburg and the castle there retains a large collection of paintings and other memorabi l ia conccrning Queen Victoria who was also well known for her lo\ e of the Scottish Highlands.

Europe 's foremost glass engraver at this period was Franz Zach who had close connections with the Coburg court and this goblet is attr ibuted to his hand.

Height 8.8 in (22.5cm)

Bohemian c. 1850

15

s — ' J '

A R U B Y C A S E D - G L A S S T A N K A R D

attributed to Karl Pohl, the other eminent glass engraver of this period. The mounts are made of ])ewtcr. ri ie covf red tankard or stfin is a typically German drinking vessel for beer and examples are known in many other materials beside glass.

Height excluding finial 5 in {12.9cm)

Bohemian c. 18,^0

16

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 century-caused these glass engravers great economic hardship in their native Bohemia and many emigrated to either Britain or America.

A N AMBER CASED GLASS GOBLET

AND COVER engraved with the Tower of London.

Note the barge and the feri^- boat in the foreground on the River T h a m e s .

Height 9 .7in (24.5cm)

Bohemian 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 in (14cm)

Bohemian 1.1860

A FLASHED AMBER VASE engraved with a view of Osborne House as seen from the North, the reverse decorated with fruiting vine. The glass inscribed Osborne House Isle of Wight. Bohemian 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 . l 8 3 0

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 ed Signet Library

in Edinburgh.

The building, designed by Robert Reid and constructed between 1810 and 1822, housed, and 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 F L A S H E D G O B L E T e i ig ravcc l w i t h a i l i n t e r i o r \ i e \ v

o f C r y s tal 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 France in the 1820s. Gold sheet, which h a d to be 24 cara t otherwise glass would not adhere to it, was cut to the desired oud ine and then decora ted with coloured enamels a n d fired.

T u m b l e r s were only one of a range of objects which were decora ted using this process. Vases exist together with decanters , scent botdes and presse-papier and this t echnique a l though developed in France was eventually used in Bohemia , Belgium a n d the Imper ia l glassworks in Russia.

These tumblers were m a d e in the usual way but while hot, the enamel led foil was placed on the surface and then covered with a pad of glass. W h e n annealed and cold these tumblers were then cut.

A"! . - •••.iViV

20

21

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

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.

An English glass house f rom Diderot ' s Emyclopedie

22

T h e English Baluster Glass 1700 1720

A B A L U S T E R W I N E G L A S S

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

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

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 G O B L E T with a buckct bowl on a mixed spiral air cable and opaque white rope stem. f.l760

Hfight 6.7in (17cm)

A W I N E G L A S S with a sauccr topped bucket bowl on an air-twist stem. f.l765

A R A R E S I N G L E - S E R I E S O P A Q U E -

T W I S T W I N E G L A S S with a round

funnel bowl set on a folded foot

c.\755

A N O P A Q U E - T W I S T W I N E G L A S S

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

24

Five mid 18th century ale or champagne glasses

TALI, DRAWN TRUMPET

CHAMPAGNE FI.UTE with an air-twist

stem on a fo lded conical foot.

Heighl 8.6in (21.8cm)

C.1750

A FACET STEMMED ALE GLASS,

the Stem knopped with cut d iamond

facets, the foot cut and scalloped.

T h e bowl is bright cut with hoj)s and

barley.

(-.1770

A N UNUSUALLY TALL ALE GLASS with

ribbed bowl on a plain stem with

gadrooned domed foot,

c. 1740

DOUBLE-SERIES OPAYUE-TWIST ALE

GLASS. T h e rim of the bowl decorated in

white enamel by the Beilby workshop

with delicate tracery and scroll work.

A similar example is in tlie P'itzwilliam

Museum, Cambridge.

f.l77()

A FLUTE o f drawn form with a

slender i iowl, the stem filled

with spiral air threads and set

into a beaded inverted baluster

knop above a domed foot,

c. 1 73,5

25

Early 19th century English and Irish cut glass In 1745 an excise tax was placed on all lead glass p roduced within the British Isles. In 1780 the British par l iament , not ing the effect that this tax had on the economy of Ireland, removed the tax f rom glass m a d e in Ireland thus giving Irish glass-makers an advantage over their brothers in England and Scotland.

In 1783 a glasshouse was built in Cork on the

River Lee which opened in 1 784. This factory was known as the Cork Glass Co and cont inued in product ion unde r different owners until 1818.

T w o other glasshouses existed in Cork, the best known being the Waterloo Glass House Company, 1815 1835, which also m a d e marked decanters , and the lesser known Terrace Glass Works, 1818 1841.

A collcction of decanters all marked Cork Glass Co

A N U N U S U A I . L Y I . A R { ; E C O V E R E D G O B E E T on a lemon squeezer loot, wheel-engraved with the Royal C^oat of Arms.

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 Sunderland at this period. In i)arlicular the Wear Hint Class C:o of Depford, .Sunderland, were producing finely engraved ware.

Height 19 in (48cm)

2 7

Coasters, sometimes known as bottle-

stands or slides, together with trolley

coasters, were an essential part of a

gent leman's table. They were variously

made in silver, Sheffield plate, ormolu,

wood, lacquered papier mache, tole and

sometimes even in ivory.

Prince Puchler-Muskan, who 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 S E T OF S I X

S H E F F I E L D P L A T E C O A S T E R S ,

engraved and with pierced sides.

T h e base with their original

painted decorat ion.

f.l790

A P A I R OF B L A C K L A C Q U E R

D O U B L E T R O L L E Y C O A S T E R S

f.l815

T w o T U R N E D I V O R Y B O T T L E

S T A N D S , each conta ining a

serving botde.

•Mid 19th ccntur)-

A P A I R OF I'M'UM M.icHE

(BOAS T E R S , decorated with sponge-

work and gilt latticc decoration.

f.lBl.'o

28

A P A I R OF M A G N U M S I Z E D BLACiK

T O L E C O A S T E R S decorated with

chinoiserie scenes both on the outer

band and on tlie base.

(•.1800

A P A I R OF I'AI'll-.lt MACin'-: COASTERS decorated with gilt

feathers

C.1820

A L A R G E R E C i E N C Y B R O N Z E A N D

ORMOLU COASTER, the m a i n m o t i f

being of a pair of griffins flanking a

harp.

f.1810

A CUT MAGNUM DECANTER w i t h a

'tasting' stopper.

f.l800

A PAIR OF CUT DECANTERS w i t h

the monogram J A K .

f.l770

A M A G N U M O V A L C U T D E C A N T E R

on a pedestal base.

r.1850

A MACiNUM C U T D E C A N T E R

engra\ed on one side with hops

and barley and the other side with

the monogram JB.

(•.1770

29

10

Glass jugs have been m a d e in all sizes for use on the dining table. C u t decora t ion sparkles beautifully when set on a white tablecloth, part icularly by candlelight. Al though we now refer to the larger jugs as water jugs, in fact when they were m a d e they were p robab ly never expected to conta in water , which at that l ime was usually impure . T h e footed jugs which we now call ewers were then called claret jugs. T h e footless jugs would have been \ ariously used for wine, beer or milk and the small jugs were undoubted ly c ream jugs.

Al though the use of over-large spouts and some par t icular forms of cut t ing can be associated with Irish glass, the distinction between English and Irish workmansh ip is of ten dilficult to make as similar designs were used ei ther side of the Irish sea.

In par t icular the famous Samuel Miller pa t te rn book, which is associated with and was used by the Wate r fo rd Glasshouse, is now known to have been d rawn u p by Samuel Miller when he worked in Stourbr idge before he moved to Ireland.

30

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. Over three pages we illustrate bowls and dishes used for the ser\'ing and display of 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 )

D i a m e t e r I 4 . 3 i n ( 3 6 . 3 e m )

f . l 8 3 ( )

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.

Heis l i l 8 . 7 i n ( 2 2 . 2 c m )

D i a m e l e r 10.5 in ( 2 6 . 5 c m )

Probably Water ford r. 1820

Kx the collection o f the 6th .\Iarc|ues.s o f Bute I'rom the collection put together by his grand-father .

31

A PAIR OF IRISH COMPORTS

W I T H LIDS, the bowls with heavy swag cutting and the base with star cutting.

Height Sin (20.3cm)

Irish C.1840

A CELERY VASE decorated with convex bands and serrated rim. Height 8.8in (22.4cm) C.1830

32

A PAIR OF OCTAGONAL DISHES

cut with van Dyck rims.

Length 8.8in (22.3cm)

C.1810

A N EARLY I 9 T H CENTURY PAIR OF

OVAL DISHES w i th Serrated edges .

Length 8.5in (2L6cm)

C.1800

33

ml

O^: iP—:

\ " #

KEY T O T A B L E S E T T I N G

1 A pair of early oval bowls. See p. 33

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 . l 860

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

6 A shouldered decanter decorated all o \ e r with facet cutting. (-.1770

7 A set of four rummers with lemon-squeezer bases engraved with a head of barley and the initials (JCH. f . l 8 0 0 '

8 A silver mounted ivory pep|)er mill. Birmingham, 1932

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

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

11 A set of twelve fruit knives and twelve forks, in silver-gilt with mother-of-pearl handles. French f . l 850

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

13 silver table-bell in the forni of a tortoise. London 1897

14 A silver gilt bottle-label ibr Hock Paul Storr, London 1 8 1 2

T r a v e l l i n g se ts o f sp i r i t b o t t l e s w e r e q u i t e

u s u a l in t h e s e c o n d h a l f o f t h e 1 8 t h c e n t u r y .

C a r r i a g e j o u r n e y s w e r e l o n g a n d a r d u o u s ,

s e a j o u r n e y s u n c o m f o r t a b l e a n d t h e t r a v e l l e r

w a s n e v e r s u r e o f t h e q u a l i t y o f t h e

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

A S E T O F F O U R O C T A G O N A L D A R K G R E E N

D E C A N T E R B O T T L E S , t h c n a r r o w s ides gil t

d e c o r a t e d w i t h a b a n d o f t r a i l i n g f r u i t i n g

v i n e s , t h e w i d e s i d e s w i t h a t re l l i s d e c o r a t i o n .

T h e b o t t l e s l a b e l l e d MARASHLNO,

CURACO, KERCH WASSER, EAU DE VIE.

Height of bottle 8.9 in (22.5 cm)

f. 1800 together with a mid 19th century brass bound mahogany 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 wi t i i gil t l a b e l s f o r SHRUB

( an i n f u s i o n o f h e r b s in a sp i r i t b a s e , usually

brandy), HOLLANDS ( t he n a m e a t t l ie l i m e f o r

D u t c h o r ( i c n e v a G i n ) , RUM a n d BRAM)}'.

Height of bottle 7.6in (19.3cm)

f. 1 780 90 together with an early 19th century mahogan)- carry ing case

36

37

Glass was also used in the production of portrait medallions. James 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 GLASS P O R T R A I T MEDALLION" b y j a m e s Tassie signed on the truncation LINE GRAY/DIED 18TH FEB. 1792/Tassie f

H e i g h t S i n ( 7 . 6 c m )

John 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 GLASS P O R T R A I T M E D A L L I O N by jo 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 The 18th century had been a period of steady developments, both in the progressive change in form of drinking glasses and also in the demand for cut glass, indeed by the turn of the ccntury cut glass 'English Style' was being copied both in Belgium and Russia.

The 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.

The 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. The Jones family, who worked for John 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.

39

Apsley Pellatt at the Falcon Glasshouse in Blackfriars was one of London ' s leading glassmakers in the first half of the 19th century. He published two books which are still useful today, his memoirs which were published in 1821 and Curiosities of Glassmaking publ ished in 1849. H e lectured to the Royal Institution in London complete with a mobile furnace and he gave evidence to a select commit tee of the British House of C o m m o n s concerning the problems of jews in commerce .

In 1819 M r Pellatt perfected the manufac tu re of medall ions

which could be enclosed in glass and pa ten ted this process. These medal l ions he called Crystallo-ceramies\ they are more usually known today as sulphides.

A T W O B R A N C H C A N D E L A B R U M

with ormolu a rms and central fea ther finial, the pans with complex drops, the cut stem conta in ing a sulphide of the muse of music Euterpe. Height 12.8in (32.7cm)

.•\psley Pellatt, London.

f . l 825

40

i

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

form of a three mast, one hundred and twenty eight gun, Man-of-\Var flying the white ensign.

Both London and Birniinghani were centres for lamp-workers, or glass and toy manufacturers and this extraordinary boat is contemporar) ' with the French prisoner of war models made in wood or bone around 1800.

Length 18in (46cm)

Height 14in (35.5cm)

41

Victorian Engraved Glass In the 18th century pictorially engraved glass was the exception ra ther than the rule, al though some ra ther charming naive examples exist, normally of rural scenes and country pursuits.

In the first third of the 19th century good British engravers emerged, particularly in London and the T y n e & Wear area. The i r main work was in border decorat ion and coats of arms 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 London, Stourbridge and Edinburgh, who engraved in the most naturalistic manner . 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 and fruit on the cameo glass produced in Stourbridge.

A JUG engraved with a nightingale, perched singing in a naturalistic setting of sedge grass. T h e top and foot of the j u g engraved with a band of cutting.

Height 11.2in (28.3cm) f.l870

A F I N E L Y E N G R A V E D C L A R E T J U G

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

42

A JUG willi trefoil spout

engraved vvitli a riverside sceiic,

two storks with bulrushes

behind, together with three

kingfishers perched, one on a

tree stum|) and the other two on

a tree in bloom.

Height I I in (27.9cni)

f , l870

A WATER SET c o n s i s t i n g o f a

ewer and two goblets. An A r a b

on camel back is being handed

a dish by his servant with a

desert scene and castle behind.

Hfiirlu of cvvcr 12.7in (32.2rm)

f.l86()

43

Rock crystal was a t e r m used in S t o u r b r i d g e in the late 19th cen tu ry for a pa r t i cu l a r f o r m of highly pol i shed cut d e c o r a t i o n wh ich cop ied the w o r k ca r r i ed ou t by B o h e m i a n c r a f t s m e n on q u a r t z rock crystal in the 15th a n d 16th centur ies .

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

the rock crystal style a n d d e c o r a t e d wi th

honeysuckle , c h r y s a n t h e m u m s a n d bees.

Thomas Webb & Sons, Stourbridge

f . l 8 9 0

A S E T O F SIX W I N E G L A S S E S cut in the rock cr\ 'stal style a n d d e c o r a t e d wi th honeysuckle , c h r y s a n t h e m u m s a n d bees. Thomas Webb & Sons, Stourbridge f . l 8 9 0

It was no t unti l t he very end of the 18th c e n t u r y t ha t it b e c a m e the c u s t o m in E n g l a n d to have suites of glass laid o n a d in ing table , wi th a d i f fe ren t glass for each dr ink . T h e glasses w h i c h we n o w use for w a t e r wou ld originally have b e e n used for bee r , as at tha t t ime mos t of t he w a t e r avai lable was not cons ide red safe to dr ink .

A S E T O F F O R T Y - E I G H T G L A S S R U M M E R S

consis t ing of twelve w a t e r glasses, twelve r ed wine glasses, twelve whi te wine glasses a n d twelve po r t glasses. f . 1 8 0 0

D u r i n g the mid 19th cen tu ry the design ph i lo sophy fol lowed by R i c h a r d R e d g r a v e a n d o the rs was tha t deco ra t i on should fol low the p u r p o s e of the vessel, so tha t g a m e p a t e dishes were p r o d u c e d in the f o r m of g a m e , wine glasses were d e c o r a t e d with vine leaves a n d w a t e r glasses were d e c o r a t e d with r iverside p lants .

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 f i n g e r

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 .

K a c h p i e c e c u t w i t h b u l r u s h l e a v e s a n d

b u l r u s h e s .

c . l 8 5 ( )

44

The Civic Mazeppa

The Cossack Ivan Stcpanovich Mazeppa (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 Carbonari 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.

The 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)

10 11 12

A 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 wine and spirits m a d e at a time when

it was considered improper to put a manufacturer ' s

bottle on the table. T h e bottles without glass stop]K-rs

would have used a cork stopper with a label

indicating the contents.

46

47

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 B L U E O P A L I N E S T O P P E R E D W A T E R C A R A F E A N D

T U M B L E R decorated with cream enamelling and gilding in the form of arabesques. French f.l840

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

A G R E E N A N D A M B E R C A S E D G L A S S B E D S I D E

W A T E R C A R A F E S E T b y Saint Louis, the Lorraine glass manufacturer. French c.1850

A C A R A F E , T U M B L E R A N D D i s i i i n r u b y C o l o u r e d

g l a s s w i t h g i l d e d l i n e s o n e a c h p i e c e o f t h e w a t e r s e t .

Bohemian c. 1870

A R E D AND W H I T E L A T T I C I N G GLASS B E D S I D E W A T E R

C A R A F E SET b y Saint Louis. French c.1850

48

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 Roman cut glass bowl excavated at Leuna, Sa.xony, with its shallow cutting, typical of Roman 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 character ised by puri ty of line and is usually uncut , a l though the c o m p a n y did have its own cut t ing shop.

T h e c o m p a n y was also one of Britain's leading producers of s tained glass for ecclesiastical a n d civic buildings. Consequent ly they were able to p roduce glass in a wide range of colours.

I^ft to right

A G L A S S D E C A N T E R of greenish tint, the ovoid form with rounded base inset with pul led-up latticino threads, the tall t aper ing 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 green th readed pul led-up decora t ion on hollow inverted baluster stem. Th is glass is taken f r o m the suite of over four h u n d r e d pieces m a d e for the Italian d ip lomat C o u n t Minerb i in 1906.

Designed by Harry Powell

A V E N E T I A N I N S P I R E D S T R A W

O P A L F L U T E V A S E 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 three-sided twisted stem, the flared bucket bowl decora ted with pul led-up green trailing.

Designed by Harry 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 B E A K E R

of blue tint with appl ied milled r ing to base and three encircling comets. T h e inspiration for this vase was H u b e r t van Ravesteyn 's paint ing, Still life with pipes and glass which is in the Ri jksmuseum, Ams te rdam. Height 9.5 in (24.2cm)

Designed by Harry Powell c.1910

50

r

In the 1930s Wh i t e f r i a r s p r o d u c e d

a r ange o f vases in Scandanav i an

f o rms using a n e w range o f subtle

co lours v e r y d i f f e r en t f r o m the

b r i gh te r co lours used b y V i c t o r i a n

g lassmakers.

A N OVAL VASE in g r e en glass.

Designed by T o m Hill, 1937

A R IBBON-TRAILED VASE, des igned

as a l ampbase , b lue on sea g r e en

glass.

Designed by Barnaby Powell, 1932

A T A L L LOBED VASE in Sapphire

b lue w i th c i rcular f oo t .

Height 10.5 in (26.7 cm)

Designed by James Hogan c. 1940

A LAMPBASE in sky b lue glass w i th

app l i ed deco ra t i on in the f o r m o f

amethys t spots.

Designed by Barnaby Powell, 1932

A HORIZONTAL OPTIC RIBBED

FOOTED VASE in si lver g r e y glass.

VVealdstone range designed in 193 1

52

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. The designs were based on a hoard of recently excavated Roman glass found at Caerleon, South Wales.

Left to right

A P A I R O F C A E R L E O N G L A S S

V A S E S .

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 J U G w i t h a n a p p l i e d l i o n ' s

h e a d .

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

A T A L L VASEI.LNE G L A S S L I L Y

V A S E .

Height 50.2in (127.5cm)

Thomas Webb, Stourbridge c. 1910

5.3

Val-Saint Lambert in Liege,

Belgium, is a worthy successor

to the Voneche factory.

In the 1920's and 30's they

produced a few monumental

vases largely for export in the

then fashionable Arte Moderne style.

A L A R G E H E A V Y VASK cut in the Arte Moderne style, the

geometrical design accentuatcd by the dark amethyst

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

for 1938.

Hfighl 10in (25.4cm)

A MASSIVE v.ASE ctU with geometric designs and cased

in pale amethyst.

.\cici fUhecl signature lo l)asc Val-Saint iMinhert

Hfishl 12.Bin (32cm)

f.l938

54

Stourbridge also had its own designers. Keith Murray, a New 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 and 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 . l 935

A L A R G E V A S E decorated with matt and polished cutting depicting three stylised fishes.

Designed by Ludwig Kny.

Signed Stuart Crystal.

Height I 1.1 in (28.2em)

55

A WHITE-OVER-PINK-OVER-

YELLOW 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 of pink-over-whitc, the three cameos

picturing fuschia, tulips and cherr\- blossom.

Stuart Limited, Stourbridge.

r. l885

56

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.

^ a u h \ mm

wm

Lighting

A P A I R O F R E G E N C Y C U T G L A S S A N D O R M O L U T W O - L I G H T L U S T R E S attributed to John Blades of London. T h e central stem of each c a n d l e a b r u m has a curved shell finial, each candlc a r m with scalloped sconces and dr ip pans h u n g with faceted beads and pendan ts , raised on ormolu paw feet.

J o h n Blades was first recorded in 1 783 and by the t ime of his mar r i age in 1789 had been appo in ted Glass Manufacturer to His Majes ty George 111. M the t ime of his dea th in 1829 J o h n Blades was known as "the Grea t Glass M a n of Ludgate Hill'. f . l 8 2 0 Height 21 .75in (,5,5cm) Wid th 17 in (43 cm) Depth 6 in (15cm)

.58

A P A I R OF M A G N I F I C E N T S T A N D A R D O i l . L A M P S

by F&C Osier . T h e ormolu and mir rored base su rmoun ted by a cut stem and cross-cut oil reser\ 'oir. The Hicks duplex wick-holder is s t amped Osier patent. The shades are cut and decora ted to an e.xtraordinary

degree. Unconver t ed and in their original state. Height 29 in (83.5 cm) f.1890

* t t

K

A S U P E R B O R M O L U A N D G L A S S O I L L A M P .

T h e mir rored cent red pla teau is su rmoun ted by three figures of Pegasus. T h e stem consists of two parts both with geometr ic cut t ing and both engraved with waterside scenes of herons, sedges and flying kingfishers. Above the stem is a sphere decora ted with fur ther geometr ic cutt ing, abo\ 'c which three angels suppor t a font engraved 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.

T H I S C H A N D E L I E R has ten rope-twist arms with cut pans hung with two bands of festoons and pear-shaped drops.

The 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()

60

r

A N E I G H T L I G H T C H A N D K L I K R W I T H GUT A R M S . The receiver bowl of urn slia])e cut in a leaf pattern with a cut ball finial below.

The a rms of the chaiulelier are festooned with oval dro|)s and pendan t ball drops. The stem with a cut glass pineapple , above which are six downward facing crooks festooned with oval dro|5s and | jendant ball drops. Strings of d i amonds lead down f rom the u]jper canopy to the dr ip-pans below. I 'here are also six uniciiie upward 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(). . ' i in ( 6 7 . 2 , ' ) c m )

T h e m e t a l r e c e i v e r p l a t e s t a m ] ) e ( i

F&C (hier.

f.l86()

A G R A N D P A I R O F W A L L L I G H T S witli fivc a r m s , S t a m p e d o n the m c t a l v v o r k Osier. These fittings with their e laborate central spires and elegant finiais owe their inspiration to the A d a m wall lights of the late 18th century. These wall lights, however, are on a scale beyond the technology of an 18th century glass-maker. Overa l l b r i g h t 5()in ( 1 2 7 c m )

f . l 8 8 0

62

In 1839 the new Sul tan; Abdulmecid , was de te rmined to modernise Turkey and take notice of all the changes, industrial , scientific and political, tha t were taking place in Western E u r o p e following reforms initiated by M a h m u d the Jus t . As a sign of this, he abolished the turban at C o u r t and in t roduced the fez and his new palaces were inspired by western archi tecture . T h e harem was re ta ined but the divan, the central mee t ing room, now could house Wes te rn style furn i ture . T h e new palaces of Do lmabah^e , Yildiz and Beylerbeyi s tunned the visitor with their immense chandel iers a n d rows of free-s tanding torcheres, some in coloured glass and m a n y in clear glass. All the great glass-making centres in Europe were asked to supply items for these palaces. Bohemia supplied much of the coloured glass and both Osier of England and Baccara t of France supplied an e n o r m o u s quant i ty of items.

T h e fashion soon spread to the great nob lemen of Is tanbul who furnished their pavilions on the edge of the Bospherous with similar items.

u

/•••ifr'

T H I S T W E L V E L I G H T T O R C H E R E

was supplied by Baccara t to such a pavilion and has recently been restored by Mallett to its fo rmer glory. Height 92 in (2 m 33 cm) Diameter 41 ', 2 in (106 cm) r. 1860-1870

•csr^

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 made around 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 Mayor of Birmingham. Height 62in (157cm) C.1895

^IfS

All enquir ies concern ing this catalogue to J o h n P Smith or Mar ika Hughes

Mallet t & Son (Antiques) Ltd 141 N e w Bond Street London W I Y OBS Telephone: 0171-499 7411 Fax: 0171-495 3179

Mallet t at Bourdon House Ltd 2 Davies Street Berkeley Square London WIY ILJ

Telephone: 0171-629 2444 Fax: 0171 499 2670

© Mallett & Son (Antiques) Ltd 1997

Designed by J a m e s Shurmer

Photographed by C^live Bartlett

Printed in l-lngiand by Saunders and Williams Printers Lid

64