View All Items

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!

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.

The Sowerby family came from the North West of England near Carlisle and settled in Gateshead in the late eighteenth century. The firm Sowerby Glassworks is known from 1807 onwards and continued production until 1972, concentrating on pressed glass. Catalogues of their wares still exist and they produced pieces in a wide variety of styles and shapes which retain their popularity today.

Bay Ceramics was founded by Eduard Bay in the 1930s and based in Ransbach Baumbach, the heart of the main West German pottery producing region. Their productions included vases in a wide variety of shapes and designs which continued in production until the 1980s. Bodo Mans was amongst their most famous designers working in the 1950s and 1960s. He seems to have concentrated on organic semi abstract designs and ewers in this form, with the same pattern number but in a variety of different glazes, are attributed to him. This monochrome mustard glaze seems particularly attractive and complements the design very successfully producing a striking and decorative item which might enhance a wide variety of interior settings.

While Art Nouveau in style, Schoeman only perfected these techniques in the late 1960s, producing pieces in the style from a studio in Kentish Town which sold well in the London outdoor art markets. In the late 1970s, Schoeman moved to America with the intention of producing large scale art but the venture foundered and he died in 1981. This plaque, of which other examples are known, must have been one of his most popular designs in those London years and is a striking example of the techniques he developed and mastered.

The factory mark, a shallow dish superimposed over the letter 'H' inside a circle, is that of the East German pottery VEB Haldensleben. VEB stands for 'Volkseigener Betrieb', meaning a people-owned enterprise and used in relationship to the state owned workplaces in the GDR. Haldensleben is a town in Saxony-Anhalt, Germany and a ceramics factory was created there in 1945 with the nationalization of the Carstens Uffrecht plant that followed the division of Germany at the end of WWII. Halsdenleben focused primarily on the manufacture of vases. Its output tended to be of superior quality and employed more restrained glazes than those used by its West German counterparts. Upon the reunifucation of Germany in 1990, the factory was returned to its original owners, the Carstens family. The pattern number here is found on other pieces with the same shape but the abstract decoration used is quite individual and evocative of 1950s and early 1960s designs.

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.

…………………………………………………………………………………………........................................................................................…

The firm Steiff was begun by Margarete Steiff in 1880. A seamstress by training Margarete recognised a strong demand for some fabric elephants which she had made and intended for use as pincushions but soon became adopted as toys. Many other animals followed and a felt factory was founded in Giengen, Germany, in 1893 soon to be followed two years later by the first consignment of her wares to Harrods, London. In 1897, Margarete’s nephew Richard joined the firm and went on to design the first plush bear with movable arms and legs for which a substantial order was received of 3000 examples in 1903 from an American buyer who sensed a growing demand for these animals as a result of the US President Theodore ‘Teddy’ Roosevelt being shown in a photograph with a young cub in The Washington Post of the previous year. By 1907 a little under one million of these bears were being produced and turnover went on to increase substantially. Steiff bears can be purchased today and the earlier examples are actively sought after by collectors.

In the 1930s, Steiff began to collaborate with the Walt Disney company and characters from their films were reproduced starting, unsurprisingly, with Mickey Mouse and going on to include some of the most famous creations even up to the present day with ‘Nemo’ and ‘Woody’ from Toy Story being recent and popular additions.

The Hedgehog family, comprising Mecki and Micki with their children Macki and Mucki first appeared in 1951 and continued in production until the 1990s. These four characters are often found, sometimes with the characteristic round Steiff tag bearing their name and with the wording ‘Steiff–Original–Marke’ with an arrow pointing to a teddy bear’s head, but other hedgehog models which can be regarded as ‘cousins’ were made for a brief period in the 1960s. The nuclear family, though, comprised these four and they are sometimes illustrated together on postcards. Some of the round tags have additional wording ‘nach Diehl Film’ (‘from/after the film [maker] Diehl’) which refers to a German film company set up by three brothers Ferdinand, Hermann and Paul Diehl in 1937. They specialised in the ‘stop motion’ technique which involves the minute movement of model figures which, when photographed and with the images displayed in quick succession, allows the illusion of movement, now familiar today in the films featuring Wallace and Gromit.

Mecki and his family were popular characters in some of the films the Diehl brothers made and first made their appearance in 1949 designed as mascots for a German periodical called ‘Hor Zu’ which began publication in 1946 and covered radio and television news. Some of the tags attached to members of the family allude to this and Macki’s here reads at the back ‘Redaktionsigel von Hor Zu’ (‘the hedgehog editor of Hor Zu’). This explains the blue stain on Mucki’s skirt which is clearly meant to represent ink. Other members of the family also display marks on their clothes as a sign of being hard at work. Sensing the popularity of these characters, Stieff negotiated an exclusive right to produce dolls of them in 1951 and the hedgehogs became a staple of their output. The Diehls’ last film was made in 1970 and the hedgehogs featured in more than one over the years, becoming much loved characters in Germany during the 1950s and 1960s.

The techniques of production of the figures varied over time as did the attached labels. The earliest were made from 60% wool and 40% cotton with the faces formed from rubber like latex over a straw filling. Such example of these as survive are in rather poor condition. The very latest versions, made from 1968 to 1990 have a different form of chest name tag and a different ‘button’ label. (From the earliest times, Steiff toys had a yellow rectangular label listing the materials used and the country of origin and sometimes the price, attached by a small button marked ‘Steiff’. Unfortunately, these are missing here but the chest tags are intact and in good condition which does not always occur.) Dating of these two examples is therefore midway and probably to the late 1950s or early 1960s and they survive in near pristine condition making them an excellent addition to a collection of Steiff soft toys and a fine memento of almost iconic companions to so many children in post war Germany.

‘Past Times’ was founded in 1986 by John Beale, at first as a mail order company but then trading from physical stores and developing into a business which enjoyed enormous popularity with over one hundred shops in the early 2000s. The stock was focused on retro and vintage style items also including a wide range of licensed products, such as Harry Potter and Beatrix Potter merchandise. Badly impacted by the recession in 2008 it went into administration in 2012 and was bought by W.H.Smith a year later leading to the disappearance of its products from the marketplace.

This ‘Art Nouveau’ vase can be seen as an example of their range at its best. Manufactured with care it presents an appealing souvenir of the era it aims to recreate at a rather more affordable price than the authentic originals.

The Fukagawa kilns produced the best quality Imari items made in Japan in the late nineteenth century for export to the West. Their history starts with Ezaiemon Fukagawa who in 1856 became head of his family's porcelain business and in 1875 founded Koransha (The Company of the Scented Orchid) in Arita, Japan, to produce tableware for export. In 1894 the modern Fukagawa company was founded by Chuji Fukagawa, with the Fukagawa trade mark of Mount Fuji and a stream, as its trade mark. Dating here is within the Meiji period (1868 - 1912) probably around 1880. This conforms with the script mark used as opposed to the later symbol design.

Vases in this form were produced by the well known French maker Daum in the 1950s and the 1960s. The sizes and designs can vary with some examples measuring up to two feet and intended as table ornaments. This piece is rather smaller and perhaps more elegant. The crystal glass is of extremely high quality and reflects the light in a very attractive way. The weight is good and the glass itself is thickly blown and expertly formed, The flat base shows signs of bevelled edging at the exterior and one of the sides bears the typical etched Daum mark with 'Daum' and 'France' separated by a device comprising an upright line with two crosses.

The more petite size and the quality of the manufacture and design make this a most appealing example of Daum's work at its best. Dating can be assumed to be around 1960 if not slightly before. A desirable piece indeed for collectors of twentieth century art glass.

The Doulton pottery originally had its first factory in Lambeth, London. Set up in 1815 by John Doulton, who is rumoured to have spent his life savings of £100 in starting the business, the firm concentrated on making pipes and utilitarian works. But in the 1880s the Company moved to Staffordshire and began making fine bone china tableware and decorative items. The pottery was located in Burslem, Stoke-on-Trent and has manufactured high quality ceramics and porcelains ever since, receiving a Royal Warrant in 1901.

This piece is typical of the glazed pottery pieces made in the late nineteenth and early twentieth centuries. A muted palette of colours was used and a variety of forms created with many artists taking a hand in the decoration. Most of the pieces are signed, as here. The pattern number indicates a date after 1894, but the Royal Warrant mark means a dating in the early 1900s. Perhaps a timing in the Edwardian era (1901-1910) is the most likely.

This vase is an excellent example of the creative designs which Doulton produced. As often, there is a slight Oriental influence but the style and design are unmistakeable.

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!