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  Christopher Dresser / Linthorpe, Rare Aesthetic Movement Persian jug 1879

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

  “Persian” jug 1879-1882

  Glazed earthenware

  Marks: LINTHORPE, Chr. Dresser (facsimile signature),
  HT, no. 344

  Illustrated: Truth, Beauty, Power: Dr. Christopher Dresser 1834-1904, exhibition catalogue Historical Design, Inc. (New York, 1998) p. 76.

  H: 8 3/4″

  Rare model.

  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.

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  Archibald Knox / Liberty & Co. Tudric charger / tray c. 1902-05

  ARCHIBALD KNOX (1864-1933)   UK

  LIBERTY & CO. London

  Tudric charger c. 1902-05

  Pewter with abstract Celtic design in bas-relief

  Marks:  TUDRIC, 0163, Made in England

  Illustrated: Archibald Knox, ed. Stephen A. Martin (London: Artmedia Press, 2001) p 203

  Drawing illustrated: Archibald Knox, ed. by Stephen A. Martin (London: Academy Editions, 1995) p 137;

  D: 9 9/10”

  This British avant-garde charger demonstrates the profound influence of Celtic ornament upon Knox and his highly individual and sophisticated use of these ancient graphic devices of interlocking loops and tendrils.

   

   

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  George Jakob Hunzinger New York 19th Century Rare Painted Chair 1876

  GEORGE JAKOB HUNZINGER (1835-1898) Germany/ USA

  Chair 1876

  Yellow and blue painted elaborately turned wood, blue thread woven covered metal band mesh seat (original condition)

  Marks: George Hunzinger Patent 1876

  Illustrated: The Furniture of George Hunzinger, Invention and Innovation in Nineteenth-Century America, Barry R. Harwood (Brooklyn: Brooklyn Museum of Art, 1997) p.103.

  H: 32″ x D: 17″ x W: 20″

  GEORGE JAKOB HUNZINGER   (1835-18989)  USA

  George Hunzinger emigrated in the 1850s from the Black Forest region of Germany where his family had worked as cabinetmakers since the 17th century.  Settling in New York, he joined a community of 3,000 German furniture makers but soon distinguished himself as a maker of patent furniture and “fancy chairs”.  Hunzinger’s innovative designs are often associated with the development of the Aesthetic Movement in America.  By the 1870s, his chairs were sought after by many Americans as accent pieces for their parlors. The woven mesh or upholstery of these innovative chairs follows the original intention of the maker and the turned frame has an avant-garde, colorful and rather contemporary feeling painted in a combination of a rich ochre yellow and cobalt blue, a color combo that was highly prized for it’s eccentricity in Victorian America.

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  Archibald Knox / Liberty & Co. Tri-footed pewter vase with blue enamel c. 1902-05

  ARCHIBALD KNOX (1864-1933)   UK

  LIBERTY & CO. London

  Tri-footed vase   c.1902-05

  Pewter with blue enamel

  Marks: Liberty & Co., ENGLISH PEWTER, 0927

  Model illustrated: Liberty’s 1875-1975, An Exhibition to mark the Firm’s Centenary (London: Victoria & Albert Museum, 1975) p. 76; The Liberty Style, introduction by Victor Arwas (NY: Rizzoli, 1979) cat. no. 36

  H: 11 3/4”