Product Description
Thomas Jekyll (attr.) Aesthetic Movement Iron Umbrella or Cane Stand c.1885
THOMAS JEKYLL (attr.) (1827–1881)
BRITISH AESTHETIC MOVEMENT
Umbrella stand c. 1885
Black nickelled and patinated cast and wrought iron,
sunburst detail and decorative fretwork
H: 25 1/4” x W: 13” x D: 9 1/2”
Base W: 9 1/2”
Although he was a successful architect, Jeckyll is best known today for his “epoch-making” designs in metalwork. His architectural practice routinely included the design of gates, railings, and metal fittings for domestic commissions and of coronas, candelabra, and altar rails for ecclesiastical ones. But it was his exhibition pieces for the ironworks firm of Barnard, Bishop & Barnards of Norwich that brought him his greatest renown. His “Norwich Gates” for the 1862 London International Exhibition set in motion the 19th-century wrought iron revival in Great Britain. Subsequent creations, including his “Four Seasons Gates,” exhibited in Paris in 1867 and Vienna in 1873, and his cast iron pavilion for the 1876 Philadelphia Centennial Exhibition, received substantial praise, in particular for their creative use of Asian principles and motifs. His innovative Anglo-Japanese designs for stoves, stove fronts, fenders, fire irons, and other domestic metalwork were also produced and sold in large numbers. As these designs were both artistic and affordable, they allowed the incorporation of objects of beauty into middle-class homes. He was one of the few figures in the design reform movement in Britain who managed to unite beauty and utility.
A very intricately worked late Victorian or Aesthetic Movement wrought and cast iron tall stand for umbrellas or canes with delicately riveted cross hatch fretwork and curling details and handle motif along with an attached iron base with a sunburst design all in the original black nickel finish.
Thomas Jekyll (attr.) Aesthetic Movement Iron Umbrella or Cane Stand c.1885
CLÉMENT MASSIER (1845-1917) France
MASSIER ART POTTERY Golfe Juan, France
“Bamboo and flying crane” vase c. 1900
Earthenware tapering form with applied handles, hand painted with bamboo and flying cranes with gilt motives and details
Marks: Clement Massier Golfe Juan (block impressed letters)
For more information and other works by the Massier family see: Lost Paradise: Symbolist Europe (Montreal, Quebec: The Montreal Museum of Fine Arts, 1995) p. 176, cat. 269; Jugendstil Art Nouveau, Floral and Functional Forms, Siegfried Wichmann (New York/Boston: Graphic Society/Little, Brown & Co., 1984) p. 45; Art Nouveau Belgium France. Exh. cat. Yvonne Brunhammer et al. (Houston, TX: Institute for the the Arts, Rice University, 1976); La Céramique Art Nouveau, Edgar Pélichet, Michèle Duperrex (Paris: La Bibliothèque des Arts, 1976) p. 89
H: 14 1/8” x D: 9 5/8”