Decorative Arts

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Art and artistry combine in this striking photographic reproduction of a painting by the French artist Pierre Marie Beyle (1838-1902) produced by the ‘Photochromie’ printing process invented and perfected by the French photographer Leon Vidal (1834-1906).

Leon Vidal (see image 11) developed the photochrome printing process in the 1870s as a method of accurately colouring photographs for quantity reproduction. From the original negative a number of copy negatives were made, on glass or thin paper. On each negative, those areas which were not to be coloured were blocked out with an opaque medium. For example, on the negative prepared for the colour blue, only those areas to be coloured blue in the final print remained uncovered. Negatives were prepared for as many colours as required, up to twelve, and then used to make lithographic tint plates which were employed to transfer colours in succession to the monochrome photograph from the original negative.

‘Photochromie’, as the photochrome printing process was called, was patented in 1872 and 1874 and refined by Vidal in the studios of the Société Anonymes des Publications Périodiques, whose director he became in 1875. This Société was founded in 1869, initially for a period of 60 years, and its first major publication, published in 1878, was a lavishly illustrated book entitled ‘Le Trésor artistique de la France’ in which the French heritage in the arts was represented by thirty nine specially selected items of particular cultural and artistic merit, each described by an expert in the field and all illustrated, a few in monochrome and the bulk, thirty in all, in colour employing the newly discovered photochromie process. The results were unfortunately uneven and the cost of the volume, three hundred francs, prohibitively high which resulted in the first volume of a proposed series being its last. Individual plates from this publication appear on the market today and are sought by collectors.

Less commonly seen are individual representations of contemporary paintings which Vidal also produced in the studios of the Société at its premises, 13 Quai Voltaire, Paris. Vidal’s printing process was not the only one available to the French public in the late nineteenth century but it was probably the most accomplished and Vidal sought to exploit this by issuing a series of reproductions suitable for interior decoration. Most popular amongst the artists whose work he chose to reproduce seems to have been Pierre Marie Beyle (1838-1902).

Beyle was born in Lyon in 1838 and studied in Paris where he later exhibited regularly at the Salon, from 1867 to 1900. Around 1870, he went to Algiers and the themes of the city are reflected in his paintings of those years (see image 12 for an example). Later he became known for landscape and genre scenes many of which depict the surroundings of Normandy where he used to spend his summers and in addition he followed the contemporary fascination with the Orient producing paintings with themes from the Far East such as we have here. Beyle also worked as a caricaturist in satirical newspapers such as the Petit Journal, the Fun Journal and Bouffon in the 1860s and 1870s. He exhibited at the Grafton Gallery in London in 1881, then went to Scotland where he exhibited at the Institute of Fine Arts in Glasgow. In 1900, he exhibited at the Universal Exhibition. After settling in Chennevieres-sur-Marne towards the end of his life he died in Paris in 1902 and was buried at Montparnasse.

The rich palette of colours employed in Beyle’s paintings were well suited to reproduction by Vidal’s newly invented printing process and he doubtless chose those works which he felt would have a particular popular appeal. The rage for ‘Japonisme’ in the second half of the nineteenth century is well documented and its influence was widely spread, perhaps most famously in David Belasco’s play ‘Madame Butterfly’ which inspired Puccini’s opera of the same name. The Geisha figure here fortunately holds a fan rather than a sword and is seen gazing at an elaborate bronze incense burner. The elaborate colours of her robe are well reproduced by the ‘Photochromie’ technique and the whole composition has a richness of presentation which doubtless reflects the original painting which appears still to be in the private domain. Beyle’s signature is accurately reproduced at the bottom right and Vidal’s invention is proudly announced on the reverse with the sun inspired emblem at the top and the wording below ‘Photochromie’ ‘Photographie en Couleurs’ ‘sans le secours du pinceau’. No hand colouring here! The modern frame acts acts as complement to the image and both combine to present a highly decorative picture of considerable cultural interest.

Print 1: This print depicts the weddings of Queen Victoria and Prince Albert and on the bottom depicts the marriage of Mary of Teck to the then Duke of York. The portraits surrounding these images are of the two brides and other royal family members. (numbered Plate 17)

Print 2: This print depicts the development in the modes of transportation during her reign. Clipper ship to steamer, carriage to train, walking and carriages to bicycles and automobiles. The portraits will be the inventors and visionaries of these developments. (numbered Plate XI)

Print 3: This print depicts the House of Commons with Prime Minister Salisbury and the House of Lords. The surrounding portraits are politicians of the day. The bottom centre is of Gladstone. (numbered Plate A)

Print 4: This print depicts the development of the Royal Navy during her reign. it starts with tall mast sailing ships (1836 fleet) and proceeds to steam ships (1853 fleet) and then finally to the most modern ships and even submarines (1897 fleet). The portraits are a bit random - but probably are naval officers and Royal family members. (numbered Plate IX)

Print 5: This print depicts three important battles during her reign. The portraits depict military officers and other influencers during these wars. (numbered Plate VIII)The portraits depict military officers and other influencers during these wars. (numbered Plate VIII)

Print 6: This print depicts the christenings of Victoria's first two children, Victoria Adelaide Mary Louise, Princess Royal and Albert Edward, Prince of Wales. The large portrait on the upper left is the Arch Bishop of Canterbury. (numbered Plate V)

Print 7: This print depicts the Queen's marriage to Prince Albert and the image below is a well known family portrait. The portraits are members of the Royal Family such as parents and possibly siblings. (numbered Plate IV)

Print 8: This print depicts Victoria's accession council, the opening of parliament and a royal procession. The portraits are very difficult to pinpoint but they would be politicians and influencers of the day. (numbered Plate III)

Print 9: This print depicts Queen Victoria's coronation in 1838. The top image is the ceremony followed by the procession with Buckingham Palace in the background. The portraits depict monarchs that came before here. Edward the IV is the large central top portrait. (numbered Plate II)

Print 10: This print depicts a later family portrait and three of her residences, Windsor, Balmoral and Osborne. The larger portraits are Edward Prince of Wales, George Duke of York and probably Prince Edward Albert.

Bertel Thorvaldsen (born Nov. 19, 1770, or Nov. 13, 1768, Copenhagen, Den.—died March 24, 1844, Copenhagen), sculptor, prominent in the Neoclassical period, who was the first internationally acclaimed Danish artist. Prominent in Roman intellectual and artistic circles, he influenced many emerging artists from Europe and the United States. Most of Thorvaldsen’s most characteristic sculptures are reinterpretations of the figures or themes of classical antiquity. The Alexander frieze of 1812 in the Palazzo del Quirinale, Rome, modeled in only three months in anticipation of a visit by Napoleon, is an example of the feverish energy with which he could at times work. Religious sculptures include the colossal series of statues of Christ and the Twelve Apostles (1821–27) in the Vor Frue Kirke in Copenhagen. He also made numerous portrait busts of distinguished contemporaries.

Guido Cacciapuoti was a celebrated Italian ceramicist. Born in Naples in 1892 and from a family with a tradition in the creation of majolica pottery, Guido exhibited his work widely in the 1920s and finally, in collaboration with his brother, Mario, and Angelo Bignami as the administrative and commercial director, he founded the factory ‘Gres d'Arte Cacciapuoti Bignami & C.' in Milan in 1927. Mario unfortunately died three years later leaving Guido to carry on on his own until his death in 1953.

In the 1930s, Guido’s workshop became famous for the production of ceramic animal sculptures with fish being a particular speciality. More commonly seen are groups of John Dory, again with a red glaze, but the smoother lines here and the particularly intense colour reflect more closely the contemporary Art Deco style. Sought after in their own time, with patrons such as the King of Italy and Mussolini, Guido’s works are highly collectible today and this group would make a striking addition to a collection of Art Deco ceramics with considerable decorative appeal.

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PLEASE NOTE THAT THERE IS FREE UK SHIPPING ON THIS ITEM. For international buyers the shipping cost will be reduced by the UK shipping cost, so don't worry if you are outside the UK, you still receive this benefit!

Souvenirs and medals were produced, amongst which were silver plated powder compacts as here. The round container for the powder has a hinged lid revealing the powder well below, originally fitted with a mauve ribbon tasseled powder puff, and a mirror above. On the surface of the lid, which has a tab for lifting, is a stylised brass lion, a symbol of the British Empire, vitreous enameled in black, red and blue with the wording ‘British Empire Exhibition 1925 ’ There is a short rounded handle and the back has an engraved mark ‘Rd [registered] 689177’ for the patent number. While many were doubtless made (and there is another version with a more slender handle, with a ring at the end, and the background colourings of the lettering reversed) few of these compacts seem to have survived making this a desirable addition to a collection of British memorabilia.

The various figures were made in white glazed porcelain with coloured decoration. The compositions were sculptural and often accompanied by an inscription, as here. Many models are known. Two typical examples are 'Returning from the Ball' and 'Twelve Months after Marriage' but the most common example is represented here 'The last in bed to put out the light'. A couple are seen climbing into a covered bed at the foot of which stands a candle in a holder. These candles are usually broken off, most likely because of simple damage over the years but it has been suggested that this was done deliberately for good luck.

Some of the fairing figurines are marked, as here. In comparison with the previous Lot 4, this example has a glazed circular mark which reads 'Made in Germany'. These marks appear on the later productions of the Conta factory and indicate a dating here to shortly before the First World War. This is consistent with the rather 'brassy' looking gilding used which is typical of ceramic production generally post 1900.

It is interesting to compare Lots 4 and 5 and to see how consistent the manufacture was throughout the period. Only the glazed base with its circular mark and the type of gilt decoration separate this example from its earlier companion.

Fairings have been collectors' items for many years now and still hold a naif charm which makes them appealing display items, with a history of their own.

The various figures were made in white glazed porcelain with coloured decoration. The compositions were sculptural and often accompanied by an inscription, as here. Many models are known. Two typical examples are 'Returning from the Ball' and 'Twelve Months after Marriage' but the most common example is represented here 'The last in bed to put out the light'. A couple are seen climbing into a covered bed at the foot of which stands a candle in a holder. These candles are usually broken off, most likely because of simple damage over the years but it has been suggested that this was done deliberately for good luck.

Some of the fairing figurines are marked, as here. The impressed number '2851' comes from the first series of figures produced by the Conta factory with numbers ranging from 2850 to 2899. The earlier examples do not have the shield mark found on most of the pieces which indicates an earlier dating here, more towards the middle of the nineteenth century.

Fairings have been collectors' items for many years now and still hold a naif charm which makes them appealing display items, with a history of their own.

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The sparkling stones and high quality mounting (there is a considerable weight of silver in this piece) would have made this buckle a notable addition to the Victorian ladies' wardrobe and it could equally well catch the eye today.

The Jema factory in Holland was started by two brothers, Jelis Mager ( born 1912 in Rotterdam, Netherlands) and his brother Johan Willem Mager (born 1919 also in Rotterdam) both living in Maastricht who took over an existing ceramics factory, founded originally by J.Meussen, in 1942 and traded together in a partnership which was dissolved in 1955 when the firm JEMA KERAMISCH ATELIER N.V. (jema ceramic studio; the first JE standing for Jelis and MA standing for Mager) was created under a new agreement between them. Ceramic products of many types were produced with figurines a speciality and the business continued until 1984 when it became insolvent and closed its doors.

Most of the pieces seem to have been marked, usually with an impressed script as here indicating the factory itself and the model number of the piece. For modest decorative items the quality of the manufacture is of a high standard as can be seen in both the modelling and the glazing of this piece. Their animal figurines were immediately approachable and provided modest but amusing items of decoration.

Wade Ceramics Ltd was a manufacturer of porcelain and earthenware, headquartered in Stoke-on-Trent, England. Founded in 1867, it was run by various members of the Wade family until the death of George Anthony Wade in 1987 after which there was a succession of management buyouts. Despite substantial investment in 2009, the firm eventually went into administration in 2022. Wade produced a wide variety of ceramics, including the well known Wade Whimsies animal figurines.

This vase was designed to hold a small bunch of flowers and was produced in a variety of sizes and colours, green being the most common. The form has an almost ‘neo classical’ feel but the piece dates to the 1950s when this particular format of the factory mark was used.

Shagreen is a natural hide, typically from shark, stingray or dogfish, worked through special processes to produce a granular surface effect. Known in China and Japan from the earliest times and popular in Europe in the eighteenth century Shagreen enjoyed its greatest popularity in the Art Deco period where it was used as a covering for writing desks and well-dressed cabinetry and smaller items such as the picture frame we have here. The clean lines of this piece and the palette of colours employed fit exactly with the ethos of the Art Deco period and a dating to the 1930s is extremely likely. A luxury item at the time it could be used now to provide enhanced presentation of a favourite image adding to it a hint of true elegance.

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The firm which later became Shorter and Son was first set up by Arthur Shorter in 1878 with a partner James Boulton in Stoke on Trent. Their products were solidly in the main-stream of Victorian taste - majolica wares of all types predominated. Time saw another generation join the firm and various amalgamations took place. One of the sons, Colley Shorter, developed a close association with Clarice Cliff whom he eventually married. Her designs, while concentrated on the wares signed with her name, also fed in to the productions of Shorter and Sons and the range of their wares expanded considerably in the 1920s and 1930s.

‘Fish Ware’, as it became known was introduced in the late 1920s and rapidly became one of their best selling lines. Initially production was confined to flat ware and in 1935 a part service was acquired by the Duchess of York, later to become Queen Elizabeth. The range expanded and the design of the gravy boat and stand, introduced in 1936 (and included in the present selection), was attributed to Cliff herself. There were further additions and the late 1950s saw the addition of salt and pepper pots on a wavy tray (also included in the present selection). This service, then, probably dates to around 1960 a little before the firm was effectively taken over by Crown Devon in 1964 and the eventual loss of the identity of its wares. The popularity of the line is easily understood and our present selection is an excellent memento of the design.

Bianchini Ferier was a silk weaving manufacturer based in Lyons. Founded in 1888 by Francois Atuyer, Charles Bianchini and Francois Ferier, it first produced fine silk damasks mainly for the clothing industry. After gaining a silver medal at the Paris Exposition Universelle of 1889 it went on to enjoy great success and many well known artists created designs for it in the early C20th, most notably Raoul Dufy. Production continued until the early 1990s when the firm was acquired by Tissages Bauman.

This print resembles designs in the firm’s archives from the late C19th and was probably created in the early C20th. It was designed for framing and the dotted line definition of the composition can be seen at the edges. Presented now in a modern surround it provides an excellent example of the firm’s work and a reflection of the Art Nouveau style so popular when it was produced.

Maasai and Makonde are ethnic terms used to describe African peoples who live in Tanzania, Mozamique and Kenya, with their own distinctive languages, culture and art. This pair of figures is typical of the wood carvings produced by their craftsmen in the second half of the twentieth century but their quality and size is well above average, the ebony wood finely rendered with much attention to detail and finished with a highly attractive glossy patina. The two figures complement one another well, their heads slightly turned to face one another with their legs turned slightly outwards and their robes flowing almost in mirror image. The abstract style makes them well suited to a contemporary interior where they could prove a striking accessory.