(http://glassgallery.yobunny.org.uk/albums/userpics/10318/normal_DSCF0026.jpg) (http://glassgallery.yobunny.org.uk/albums/userpics/10318/DSCF0026.jpg) | (http://glassgallery.yobunny.org.uk/albums/userpics/10318/normal_DSCF0051.jpg) (http://glassgallery.yobunny.org.uk/albums/userpics/10318/DSCF0051.jpg) | |
(http://glassgallery.yobunny.org.uk/albums/userpics/10318/normal_DSCF0027.jpg) (http://glassgallery.yobunny.org.uk/albums/userpics/10318/DSCF0027.jpg) | The Design The defining object in this rod and ball style is probably this table lamp (http://collections.vam.ac.uk/objectid/O7751) in the V&A collections, designed by Arthur Dixon, made by the Birmingham Guild of Handicraft, and given by Dixon to a fellow Arts & Crafts designer as a wedding present in 1895. The elegant simplicity of rod and ball construction rapidly became popular, and is frequently found in EPNS (and silver) stands for both utilitarian and fancy glass. What is interesting about this condiment set is its unity of design. Around the turn of the century British glassworks usually designed glass "for the Electro-plate Trade" 1, sold the glass on to these manufacturers, who then designed appropriate stands and frames for what they had bought in. So design was a two-stage process. Rarely do we find examples of EPNS-mounted glass that were obviously designed by one individual or team. Even the Walsh / Martin Hall pieces and documentation discovered by Eric Reynolds2 do not necessarily indicate one designer — more likely the collaboration of the two design teams. In contrast this condiment set exhibits remarkable unity of design, indicating one designer. Note:- One or two matching design elements could be dismissed as coincidental, but four should satisfy even the most hardened sceptic! | |
(http://glassgallery.yobunny.org.uk/albums/userpics/10318/DSCF0015%7E0.jpg) (http://glassgallery.yobunny.org.uk/albums/userpics/10318/DSCF0015%7E0.jpg) | The Components The set comprises:- All four glass items were hand made, blown using the same shape mould, attached to the pontil rod, then the top hand-worked to the individual shape required. | |
(http://glassgallery.yobunny.org.uk/albums/userpics/10318/DSCF0012inset.jpg) (http://glassgallery.yobunny.org.uk/albums/userpics/10318/DSCF0012%7E0.jpg) Click image to zoom out | Query 1 Unfortunately, the Registered number 555510 is not listed in the blue book3, but at least this source gives us the date of registration — 13/14 January 1910. No possiblities can be excluded, so Jim Edgley could have missed it if it was a glass registration, or the registration documents could have been lost. I think a Class 1 (metal) registration unlikely, as it would have been usually punched into the base, but it is not impossible. Which leaves Class 4 (earthenware), quite likely, as it is easy to visualise a similar condiment set in china instead of glass. Whatever, that registration number is quite likely to identify at least one of the manufacturers. Query 2 Does anyone recognize the engraver's style? The R is quite distinctive, with the lower end of the right stroke curling up. The d is almost on its left side, and has become almost an @ sign, very distinctive. And the underlining of the superscript d is almost a z. Please would any Whitefriars collectors with a pattern 916 vase (a wide trumpet shape on a raised flat foot) please check the registration usually found engraved under the base for similarities. See Jackson pl.117(iv)4, Gulliver p.865. The Burtles Tate vase shown in Gulliver p.535 has a completely different style of engraving, perhaps not surprisingly, as it dates from a quarter of a century earlier. I would be interested in engraved registration numbers it doesn't match, as well as those it does, particularly from the period 1900–1920, as all this information may reduce the attribution possibilities. Thanks in advance to anyone willing to help. | |
(http://glassgallery.yobunny.org.uk/albums/userpics/10318/DSCF0053inset.jpg) (http://glassgallery.yobunny.org.uk/albums/userpics/10318/DSCF0053.jpg) Click image to zoom out | Query 3 I can't find this EPNS maker's mark. It's not in Mappin6, nor Matheu-Raven7, nor have I found it on any of the established websites. I thought it would be easy, as the TW in TW&COLD.S was likely to be Thomas Woolley, Thomas Wilkinson, or Thomas White. An S at the end usually means Sheffield, but all three of these possibilities were Birmingham firms. I am optimistic that one of the three had a factory in Sheffield around 1910. The five digit pattern number seems to indicate a company of some substance. |
You certainly mastered BB code Bernard, has to be the best posting on this board!
... Question:- Are the stoppers numbered in any way ? ...
... It was interesting to hear Ray Annenberg discussing with you about the amount of work that had gone into the cutting. ...
Hi Bernard Mr Hobbs here my W/Fs vase is engraved Rd No 543290 i have had others acid stamped. JP .
That set looks ( after ) C Dresser in design , i will get my books out , the plain cutting also is his thing - not OTT .