Related Products

• 

  Details

  Christopher Dresser / Old Hall, Persia Pattern, Aesthetic Movement Dinner Plate c. 1861-1886

  CHRISTOPHER DRESSER (1834-1904) UK
  OLD HALL EARTHENWARE CO. (1861-1886) Staffordshire, UK

  “Persia Pattern” dinner plate c. 1861-1886

  Overall cream gloss glazed octagonal-shaped earthenware dinner plate from the “Persian” pattern with transfer-printed and over-glazed ornate foliate motif; each corner contains two shallow indentations for condiment use.

  Marks: Old Hall and Persia Marks

  W: 9 15/16″

  The identical plate in the “Persia Pattern” can be found in the collection of the Wolfsonian. A soup plate in the identical “Persia Pattern” can be found in the collection of the Brooklyn Museum.

• 

  Details

  Christopher Dresser / James Couper & Sons Blown glass cabinet vase c. 1890

  CHRISTOPHER DRESSER (1834-1904) UK

  JAMES COUPER & SONS Glasgow, Scotland

  “Clutha” vase c. 1890

  Blown glass with a strawberry red and green swirl design and internal bubbles

  Marks: CLUTHA DESIGNED BY CD REGISTERED (acid etched)

  Illustrated: Truth, Beauty, Power: Dr. Christopher Dresser 1834-1904, exhib. cat. Historical Design, Inc. (New York, 1998) p. 72/73

  H: 3 1/4″

   

   

• 

  Details

  Cartier Paris, Magnifying glass, onyx, rock crystal and 18K gold, signed, original red leather box, c. 1920

• 

  Details

  Christopher Dresser / Linthorpe Art Pottery Aesthetic Movement Pitcher 1879-1882

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

  “Flaring Lip” Pitcher   1879-1882

  Glazed earthenware

  Marks: LINTHORPE, Chr. Dresser (facsimile signature),
  HT, no. 346

  Illustrated:  Christopher Dresser, by  Widar Halén (Oxford:  Phaidon, 1990), illus. 185, p.163; Truth, Beauty, Power: Dr. Christopher Dresser 1834-1904, exhibition catalogue Historical Design, Inc. (New York, 1998) p. 76.

  H: 9 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.