Historical Design I Christopher Dresser Linthorpe Art Pottery Rare Aesthetic Movement "Gourd" Vase

Christopher Dresser / Linthorpe Art Pottery Rare Aesthetic Movement "Gourd" Vase 1879-1882
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Christopher Dresser / Linthorpe Art Pottery Rare Aesthetic Movement “Gourd” Vase 1879-1882

CHRISTOPHER DRESSER (1834-1904) UK
LINTHORPE ART POTTERY, Middlesbrough
HENRY TOOTH Artistic Manager Linthorpe (1842-1918) UK

“Gourd Vase” 1879-1882

Glazed Earthenware

***Extremely rare Dresser / Linthorpe model.

Marked: LINTHORPE, Chr. Dresser (facsimile signature) HT, no. 326

Illustrated: Christopher Dresser: Truth, Beauty, Power exh. cat. (New York: Historical Design, 1998) p.75; illustrated in two drawings for gourd vases in Dresser’s 1881 design and account book under heading “Aug. 29, 1881. Sent to J. Harrison Esq. 41 Designs for Linthorpe.”

H: 7 3/4″

The contrasts in Dresser’s designs for different materials showed how his approach to design was also shaped by the properties and nature of a material. In 1879 Dresser was appointed art director at the newly established Linthorpe pottery, near Middlesbrough. Founded by John Harrison, a local businessman, the pottery’s aim was to use local clay to provide jobs for local men. Dresser’s design for the moulds for the pottery were inspired by a wide range of cultures from Japan, Peru, Mexico, Morocco and Ancient British forms. These very striking pieces, with the metal oxides in the complex and innovative glazes providing the only decoration. All of his designs were impressed with a facsimile signature. When Linthorpe closed in 1889, its moulds were acquired by a rival, Ault Pottery in Derbyshire. In 1893, Dresser signed a contract with Ault for new designs specifying that each pot should be marked with his facsimile signature.

Category: Christopher Dresser. Tags: 1879-1882, Christopher Dresser, Gourd, Linthorpe Art Pottery Rare Aesthetic Movement, vase.

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Christopher Dresser / Linthorpe Art Pottery Rare Aesthetic Movement “Gourd” Vase 1879-1882

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Christopher Dresser / James Couper & Sons Rare Clutha vase c. 1890

CHRISTOPHER DRESSER (1834-1904) UK

JAMES COUPER & SONS Glasgow, Scotland

“Clutha” vase c. 1890

Blown strawberry glass

This Dresser form appears as Linthorpe Pottery model no. 114.

Illustrated: Truth, Beauty, Power: Dr. Christopher Dresser 1834-1904,exhib. cat. Historical Design, Inc. (New York, 1998) p. 70.

Rare model.

H: 5 1/8” x W: 6”
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Flavio Poli / Seguso Vetri d’Arte Brown Murano Art glass vase c. 1950’s

FLAVIO POLI (1900-1984) Italy
SEGUSO VETRI D’ARTE Italy

Vase c. 1950’s

Asymmetric vase in a dark brown Murano glass cased inside with a layer of pale green and clear glass

H: 10 1/2″ x W: 5 1/2″ x D: 2 3/4″

Price: $4,000

Designer, businessman, ceramic artist. Born in Chioggia, he attended the Istituto d’Arte di Venezia and began work as a designer in ceramics. in 1929 he switched to glass and for Libero Vitali’s I.V.A.M. he designed animals, splendid Novecento-style nude figures in massiccio glass, as well as bowls and urns with figures resting on the inside, on lids or as handles. He subsequently collaborated with the Compagnia di Venezia e Murano, with the furnace of Mario and Lino Nason and with the engraver Gino Francesconi. in 1934 he accepted the artistic direction of Barovier, Seguso & Ferro, later to become Seguso Vetri d’Arte, and became partner three years later. Together with the master of the principal team Archimede Seguso, Poli was the author of grandiose lighting installations, of corroded vessels, of sculptures in bulicante glass, of animals in massiccio glass shaped while hot, productions which represented a milestone in the development of Murano glass. At the height of his artistic maturity, in the years between 1950 and 1960 he designed a series of sommerso glass pieces in a Nordic style, essential forms and sharp cold colors, which were awarded prestigious prizes (Compasso d’Oro). After leaving Seguso in 1963, between 1964 and 1966 he organized the artistic glass division at the Societˆ Veneziana di Conterie e Cristallerie.
Details

Christopher Dresser / James Dixon & Sons “Triple Arch” square handle toast rack c.1881

CHRISTOPHER DRESSER (1834-1904) UK
JAMES DIXON & SONS Sheffield, England

“Triple Arch” square handle toast rack c.1881

Silver-plate

Marks: JD&S (stamped), Chr. Dresser (facsimile signature), EP, #67, diamond or clover touchmark

Illustrated: 1885 Dixon catalogue, p. 95

For more information see: Truth, Beauty, Power: Dr. Christopher Dresser 1834-1904, exhib. cat. Historical Design, Inc. (New York, 1998); Charles Handley-Read, “High Victorian Design: An Illustrated Commentary” in ‘Design 1860-1960’ sixth conference report of the Victorian Society (London, 1968); Victorian and Edwardian Decorative Art: The Handley-Read Collection, ed. Simon Jervis (London: Diploma Galleries,1972); Christopher Dresser: pottery, glass, metalwork, (London: The Fine Arts Society Ltd., 1972); Isabelle Anscombe & Charlotte Gere, Arts & Crafts in Britain and America (New York: Rizzoli International Publications, Inc., 1978); Truth, Beauty and Design, Victorian, Edwardian and later Decorative Art (London: Fischer Fine Art Limited),; A Thing of Beauty: Art Nouveau, Art Deco, Arts & Crafts Movement and Aesthetic Movement Objects in Atlanta Collections (Atlanta, GA: The High Museum of Art, 1980), cat. no. M2; Widar Halén, Christopher Dresser (Oxford: Phaidon, 1990),; Judy Rudoe, Decorative Arts 1850-1950: A Catalogue of the British Museum Collection (London: Trustees of the British Museum, 1991),; Gerda Breuer, Von Morris bis Mackintosh – Reformbewegung zwischen Kunstgewerbe und Sozialutopie, Arts and Crafts (Darmstadt: Institut Mathildenhöhe, 1994/95); “The Silver Designs of Dr. Christopher Dresser,” Shirley Bury, Apollo (December, 1962);

Extremely rare model

H: 4 1/2″ x D: 4 1/2″ x W: 6 1/2″
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Christopher Dresser / Heath & Middleton Petite claret jug 1887

CHRISTOPHER DRESSER (1834-1904) UK

HEATH & MIDDLETON Birmingham, England

Petite claret jug 1887

Sterling silver mounts with hinged covers to both top and spout, glass, ebony handle

Marks: JTH & JHM in a four-lobed cartouche, London assay marks for 1887 (“M” in a shield), Vienna import mark (conjoined AV in a 6-sided cartouche)

Illustrated: Industrial Design Unikate Serienerzeugnisse, Die Neue Sammlung ein neuer Museumstyp des 20. Jahrhunderts, Hans Wichmann (Munich: Prestel-Verlag, 1985), p. 131; Christopher Dresser, ein Viktorianischer Designer, 1834-1904 (Cologne: Kunstgewerbemuseum der Stadt Köln, 1981), p. 73, ill. 86, cat. no. 23; Industrial Design, John Heskett (New York and Toronto: Oxford University Press, 1980), p. 24, illus. 9; Christopher Dresser 1834-1904, Michael Collins (London: Camden Arts Centre, 1979), p. 171, cat.no.12.

H: 6” x Dia: 4”