eAntiques

19th English Treen and Glass Specimen Display Domes

2009-11-21T20:10:00.000-08:00

These exquisite small 19th century English specimen display domes with treen bases and glass covers are akin to the examples that still line glass cabinet shelves in Victorian-era natural history museums and -perhaps as I imagine them to be- filled with exotic beetles and other insects. They’re beautifully made –the bases are turned from woods such as oak, mahogany and boxwood and each possesses a beautiful, naturally aged patina. The glass domes are hand blown -each with an applied knob handle that is press molded and faceted. And at heights that range between 2 ½” and 5”, they are truly diminutive!
Whilst these antique objects have become superfluous over time, they can be given a new purpose; they make a magnificent display when used to showcase small personal treasures such as favorite pieces of jewelry, interesting artifacts or colorful sea shells – merely a variation on their original function.

Antique English Shop Display Stands - Meredith and Drew's CHOCOLATE Wafers and Wright and Son's CAKES

2009-11-17T08:32:00.000-08:00

These are two examples of antique British shop display stands for cakes – a Meredith and Drew’s Chocolate Wafers and a Wright and Son’s Noted Cakes display stand -each with an ironstone base and glass dome cover, c.1900 -20. Originally used to lure customers to the shop counter to purchase baked goods, these days they’re a rare find, particularly the Wright and Son’s stand. The base advertises the brand -“Wright and Son’s Noted Cakes” or “Meredith and Drew’s Chocolate Wafers” around the rim in black lettering and sometimes, as in the case of the Meredith and Drew’s stand, the advertising also appears on the glass dome cover in acid-etched lettering. The design was also a practical one – bases often had thumb grips on the back for easier handling and three perforations on the top to draw moisture away and keep the cakes fresh. Today these nostalgic pieces continue to appeal to our sweet senses in much the same way as they did nearly one 100 years ago –they continue to be enticing objects worthy of display on a kitchen sideboard or counter and filled with small iced cupcakes, handmade chocolates or petite fours.

Antique French Mannequin of Boy / Child - Vintage Parisian Shop Dummy

2009-11-17T08:16:00.000-08:00

RARE and lovely early 20th century French plaster mannequin of a boy. No doubt modeled on a real child – this beautiful partial mannequin depicts a young boy with his head mischievously tilted back.He has small pouting lips, raven black hair, sincere blue eyes and fine pixie features. The facial expression is arresting drawing the onlooker in with a gaze that “follows” them around the room – perhaps this affect was partly achieved by the hollowed out, or recessed pupils. Clearly an example worthy of preservation, it has undergone sympathetic paint restoration over the years to the face and head –most of which is old, mellow and well blended. There has been no attempt to conceal the restoration just simply to preserve the beautiful features this mannequin possesses. It is signed at the back “Saubou (or Soubau ?), Paris” with a partial serial number “ 3098-356-“. Maximum height is 12 ½”.

19th Century French Confit Pots

2009-08-13T18:57:00.000-07:00

French glazed earthenware confit pots,once used to store duck confit, were ubiquitous storage vessels in farmhouses across rural regions of southern France in the 19th-century. Today, these beautiful and simple pieces of domestic pottery evoke a sense of rural life and are considered to be one of the most essential elements of French country style. And there is much to admire in these domestic wares – the rich, honey colored yellow-slip glazes that contrast beautifully with the unglazed, light colored terracotta surfaces, the glaze runs and the organic patterns they form when the pots are half-dipped in liquid glaze and the beads of randomly pooled glaze on the rims. Over time, these pots acquire a beautifully worn and weathered surface that reflects their long and utilitarian past. Today, the chipped and flaked surfaces seen on these pots contribute to their character and charm.
A wide range of sizes were produced with ones at the extreme ends of the size scale being the most desirable and highly sought after. This is particularly true of the tiniest sizes -ones that are no more than 5” to 7” in height can command high prices partly because they are rare and partly because most of us tend to have a love affair with objects that come in miniature form. Very often an impressed numerical mark can be found near the bottom of the jar with “1” found on large pots that measure 14” to 15” in height while the tiniest examples are marked as “5”, “6” or “7”. Both green and yellow colored slip glazes were used with the green colored ones being the less common of the two.
As decorative objects, they’re particularly beautiful when used as vases and filled with generous bunches of wild flowers. But the biggest decorative impact is to be had is when a variety of sizes are juxtaposed. When displayed in multiples, the endless and subtle differences in color, texture, size and shape can be highlighted and used to add visual interest.

Antique English and French Lantern Cloches and Bell Jars

2009-08-10T19:09:00.000-07:00

This is an example of a Victorian English glass and cast iron lantern cloche, c.1870 - 80. Sometimes referred to as handlights or even hand glasses, these were quintessential elements in a Victorian garden – in effect robust miniature greenhouses designed to protect plants from wind and frost. This one is a large example and has a rarer form – an octagonal base with a removable pyramidal dome top with a handle -the more common form being a square lower section with a pyramidal top. These days, striking examples such as this one tends to serve a more decorative function inside the home. It easily becomes a focal point - adding interest, drama and grand scale to a room or display. And seldom do they turn up in condition as good as this. This one has a cast iron frame with glass panes that are held into place by casement putty – early 20th century examples had zinc frames secured by clips rather than putty. As working tools, repairs to the glass were often necessary - broken glass was either completely replaced, or in times of thrift, a section of the damaged pane was removed and replaced. Both kinds of working repairs are evident on this cloche.

The classic glass bell shaped cloches originated in France several centuries ago but became popular gardener’s tools in the 18th and 19th centuries. They were hand-blown, semi-globular or cylindrical forms with applied knob handles and sometimes a rolled rim at the base. The glass often contained air bubbles, inclusions and striations. It’s not unusual to find these with their knob handles sliced off at the very tip as knobs were thought to hinder the diffusion of heat and light. And green colored glass was advertized as a better choice for some plants. Today, much of their beauty and appeal lies in their organic and imperfect forms – each one is unique.

Notes on Collecting 19th Century British Kitchenware with Advertising

2008-12-24T06:32:00.000-08:00

The Victorian era in Britain was a prolific and innovative period in the production of kitchenware and coincided with the rising fashion for preparing and displaying elaborate meals. An enormous variety of kitchenware items were produced to better facilitate the storage, preparation and presentation of food.

Glazed white stoneware was a popular material in the late 19th century because it was considered to be hygienic -everything from jelly and pudding molds to pie funnels and baking dishes as well as display stands and storage jars were produced in white stoneware. The material together with other white ceramics was also seen as the ideal blank canvas for advertising and promotional products emerged to serve a dual purpose. In addition to their primary function, many items such as storage jars and baking dishes also served as advertising pieces for the company that either manufactured or commissioned the pieces. Grimwade Bros. for example, used their white-banded storage jars to advertise the company’s other “hygienic wares” and in the case of their “Quick-Cooker” bowl, Grimwade listed that particular product’s virtues. Brown & Polson, a manufacturer of corn flour, advertised their product on shortbread baking dishes or printed Blancmange recipes onto molds that incorporated their brand of corn flour. In other examples, instructions for the kitchen staff or housewife were inscribed directly onto the product. An example of this is Kent’s “Patent Milk Saver”, inscribed with instructions on how to use the product.

Today, glazed white stoneware items that feature advertising have tremendous appeal to collectors as they are essentially an interesting historical record of past social trends and evolving tastes. The advertising was most often transfer printed in black and sometimes also included pictorial advertising. As a general rule, the more elaborate and decorative the advertising is, the more desirable the piece is to a collector. Many pieces however were simple in both their design and sparing use of advertising –often the advertising was limited to just the product name and maker and perhaps a patent or registration number. Grimwade pieces were characteristically transfer printed in green and in an attempt to distinguish themselves from other competitors Grimwade often included elaborate schematic diagrams and designs that implied a superior edge. Examples of this are the “Paragon Blancmange” jelly mold and “Bleriot Pie Divider”. Sometimes the advertising was printed in blue as in the case of the Kent’s “Egg Beater and Batter Mixer” or in polychrome as in the case of the “Diadem Egg Beater” stand -both have unusual decoration and are highly sought after by collectors.

For the most part, glazed white ceramic kitchenware inscribed with advertising has timeless appeal that is often accomplished through simple forms. The “black and white” nature of many pieces can be visually striking and easily integrated into both modern and traditional kitchen décor. Whether valued for their decorativeness or their place in social history, many examples will continue to have broad appeal amongst collectors and decorators alike.