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  Christopher Dresser / James Couper & Sons Aventurine blown glass “Clutha” pitcher c. 1895

  CHRISTOPHER DRESSER (1834-1904) UK

  JAMES COUPER & SONS Glasgow, Scotland

  “Clutha” pitcher c. 1895

  Aventurine blown glass with iridescent gold streaks and internal bubbles

  Illustrated: “Liberty & Co.” Yuletide Gifts catalogue, 1895, “Clutha” Glass; Truth, Beauty, Power: Dr. Christopher Dresser 1834-1904, exhib. cat. Historical Design, Inc. (New York, 1998) p. 72

  H: 8 1/2” x 6 1/2”

   

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  Christopher Dresser / Benham & Froud Aesthetic Movement Kettle c. 1885

  CHRISTOPHER DRESSER  (1834-1904)  UK
  BENHAM & FROUD  London, England

  Kettle    c. 1885

  Copper, brass, wood handle and finial

  Marks: maker’s cipher

  Illustrated: Minor Masters of the XIXth Century: Christopher Dresser, Industrial Designer, by N. Pevsner, (Architectural Review, 1937), p. 184, illus. 1; Truth, Beauty, Power: Dr. Christopher Dresser 1834-1904, exhib. cat. Historical Design, Inc. (New York, 1998) p. 67.

  H: 9 1/2″ x Dia: 9″

  Price: $4,450

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  Christopher Dresser / Hukin & Heath “Crow’s foot” spoon warmer 1878

  CHRISTOPHER DRESSER (1834-1904) UK

  HUKIN & HEATH   Birmingham, England

  “Crow’s foot” spoon warmer   1878

  Silver-plate

  Marks: H&H, 2362

  Two other examples are recorded but with complex Victorican engraving.

  Illustrated: Christopher Dresser and Japan, exh. cat. ed. by Koriyami City Museum of Art, Brain Trust Inc. (Koriyami 2002), cat. no. 114, p. 138; Christopher Dresser, ein Viktorianischer Designer, 1834-1904, (Cologne: Kunstgewerbemuseum der Stadt Köln, 1981) cat. no. 15; Truth, Beauty, Power: Dr. Christopher Dresser 1834-1904, exhib. cat. Historical Design, Inc. (New York, 1998) p. 33.

  H: 4 3/4” x W: 7”

   

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  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.