Hunt & Roskell - London 1843
More information by clicking the image !!
Date/Time: 07.04.2016 17:36:05
This pair of frosted glass and silver gilt claret jugs rank amongst the finest made during the reign of Queen Victoria.
The prestigious firm of Hunt and Roskell evolved out of the most famous retail name in the history of English silver, Rundell, Bridge and Rundell.
John Samuel Hunt was the nephew of Paul Storr , the most eminent silversmith employed by Rundell's and had worked with Storr as a chaser.
Storr took him on as a partner in the new firm of Storr and Mortimer which kept the same name until Storr's retirement in 1838.
The name was then changed to Mortimer & Hunt until 1843 when Mortimer retired. The firm then became Hunt and Roskell, the partners being John Samuel Hunt, his son John Hunt and Robert Roskell.
Hunt and Roskell were favourite suppliers to the Imperial Russian Court.
In addition to placing its own orders with the firm, the Russian Imperial family also received gifts from the English Court to mark important events and occasions, many of which had also been purchased from Hunt and Roskell.
A similar pair of frosted glass and silver gilt wine jugs by Hunt and Roskell, dated 1845, is illustrated in "Sotheby's Directory of Silver 1600-1940" by Vanessa Brett, Sotheby's Publications, London, 1986 and a similar pair by John Samuel Hunt, dated 1853 is illustrated in 'Everlasting Treasures' by Koopman Rare Art, published in 2009.
The prestigious firm of Hunt and Roskell evolved out of the most famous retail name in the history of English silver, Rundell, Bridge and Rundell.
John Samuel Hunt was the nephew of Paul Storr , the most eminent silversmith employed by Rundell's and had worked with Storr as a chaser.
Storr took him on as a partner in the new firm of Storr and Mortimer which kept the same name until Storr's retirement in 1838.
The name was then changed to Mortimer & Hunt until 1843 when Mortimer retired. The firm then became Hunt and Roskell, the partners being John Samuel Hunt, his son John Hunt and Robert Roskell.
Hunt and Roskell were favourite suppliers to the Imperial Russian Court.
In addition to placing its own orders with the firm, the Russian Imperial family also received gifts from the English Court to mark important events and occasions, many of which had also been purchased from Hunt and Roskell.
A similar pair of frosted glass and silver gilt wine jugs by Hunt and Roskell, dated 1845, is illustrated in "Sotheby's Directory of Silver 1600-1940" by Vanessa Brett, Sotheby's Publications, London, 1986 and a similar pair by John Samuel Hunt, dated 1853 is illustrated in 'Everlasting Treasures' by Koopman Rare Art, published in 2009.
C T Fox - London 1843
MARK OF CHARLES THOMAS FOX & GEORGE FOX, LONDON 1843, THE STOPPER 1842
Date/Time: 28.11.2010 11:47:45
MARK OF CHARLES THOMAS FOX & GEORGE FOX, LONDON 1843, THE STOPPER 1842
The fluted glass body with frosted upper flutes & plain lower flutes, the neck and handle chased with fruiting vines, the mount continuing around the body in the form of an openwork band of trailing tendrils and vine leaves, the front with a vine leaf label pierced MADEIRA, the detachable cork stopper mounted with grape cluster and double vine leaf finial
12½ in. (32 cm.) high
The fluted glass body with frosted upper flutes & plain lower flutes, the neck and handle chased with fruiting vines, the mount continuing around the body in the form of an openwork band of trailing tendrils and vine leaves, the front with a vine leaf label pierced MADEIRA, the detachable cork stopper mounted with grape cluster and double vine leaf finial
12½ in. (32 cm.) high
John Figg - London 1862 & 1864 ( Pair )
Date/Time: 29.04.2012 15:14:55
These jugs are in the Rococo Revival style, influenced by the Rococo pieces of the 1730s and 1740s by master goldsmiths working in England. The handle and finial, in particular, show the influence of Paul de Lamerie.
John Wilmin Figg, son of William Figg of Kenton in the County of Middlesex.
Farmer, apprenticed to William Elliott of Compton Street, Clerkenwell, 1st February 1826. Free, 5th June 1833. First mark entered as plateworker, 31st July 1834. Address: 25 St John Street, Clerkenwell. Moved to 5 Wellington Street, St Luke's and second mark (two sizes), 10th May 1838. Moved to 6 Denmark Street, St Giles', 10th July 1848.
John Wilmin Figg, son of William Figg of Kenton in the County of Middlesex.
Farmer, apprenticed to William Elliott of Compton Street, Clerkenwell, 1st February 1826. Free, 5th June 1833. First mark entered as plateworker, 31st July 1834. Address: 25 St John Street, Clerkenwell. Moved to 5 Wellington Street, St Luke's and second mark (two sizes), 10th May 1838. Moved to 6 Denmark Street, St Giles', 10th July 1848.
Jan Davidsz de Heem(1648 - 49)
definitely similarities between the jug on Heems painting and the Figg Jugs.
Datum 29.03.2016
Jan Davidsz de Heem(1648 - 49)
George Fox - London 1866
Oval glass body etched with stars, pierced & engraved leafy-scroll mount, Greek key borders & stylised anthemions, pierced scroll thumb-piece, gilt - 24cm
Date/Time: 13.05.2016 16:09:12
Catalogue of the World exposition in Paris 1867
Datum 03.08.2012
see book : Masterpieces of 19 th century - decorative art - pepin press 2001 - Amsterdam
John Crane Salt - London 1866
Glass by Apsley Pellat ( 1791 - 1863 ) Falcon Glass Works
Date/Time: 10.09.2010 11:12:28
Beer jug - England 1868
"Presented by the Windermere Sailing Club...5 Aug. 1868." 15 1/2"H
Date/Time: 30.10.2013 17:13:43
John Figg - London 1872
This beer jug, undoubtedly inspired copies made by Portuguese firm, Topazio - see image
Date/Time: 31.07.2012 09:57:37
John Figg - Detail of spout
Face of Marianne - Marianne is a national symbol of France, symbolising reason, liberty and the ideals of the republic. The name Marianne started to emerge to represent Liberty, and was in common use by 1875.
Date/Time: 31.07.2012 09:58:18
the-whale-bones-bay-jug-treasure
www.fanplusfriend.com
Datum 31.05.2016
http://www.fanplusfriend.com/the-whale-bones-bay-jug-treasure-gothic-pirate-steampunk-false-2pcs-jsk-op-petticoat-set-2colors-instant-shipping/
Modern Topazio copy
Topazio pastiche, examples were manufactured in both silver and silver plate circa 1970/80
Date/Time: 12.03.2013 22:05:43
W.& G. Sissons - Sheffield 1872-73
engraved in the Neo-classical taste with repeat swags and scrolls
Date/Time: 13.09.2010 15:51:01
..
Louis Rudd Stevenson from Thomas G. Gillespie
Date/Time: 13.09.2010 15:49:57
Louis Rudd Stevenson, born circa 1841 in Islington, London. In 1881 he was living in Kenilworth Warwickshire, working as an iron merchant.
Thomas G Gillespie, born circa 1840 in Blackheath Kent. In 1881 he was living in Walton on Thames, Surrey. He was the Director of the London Tramway company and also the South Indian Mining company.Elizabeth married Louis Rudd Stevenson on month day 1866, at age 24 at marriage place .
Louis was born on October 15 1840, in Islington, Middlesex, England.
They had 4 children: Malcolm Stevenson and 3 other children .
Thomas G Gillespie, born circa 1840 in Blackheath Kent. In 1881 he was living in Walton on Thames, Surrey. He was the Director of the London Tramway company and also the South Indian Mining company.Elizabeth married Louis Rudd Stevenson on month day 1866, at age 24 at marriage place .
Louis was born on October 15 1840, in Islington, Middlesex, England.
They had 4 children: Malcolm Stevenson and 3 other children .
Unusual Arts & Crafts Design
An early example of arts and crafts silver, with elements of Celtic design, made several years before Archibald Knox popularised this style
Date/Time: 13.02.2012 16:36:11
James Barclay Hennell - London 1876
Victorian Silver Novelty Smoker's Companion
Date/Time: 20.01.2010 14:56:50
Federick Elkington - Birmingham 1878
Federick Elkington - Birmingham 1878
Date/Time: 24.03.2016 11:33:46
Federick Elkington - Birmingham 1878
Domine Dirige Nos, "Lord, guide us"
Domine dirige nos. Motto of the Corporation of the City of London (Latin) O Lord, guide us!
Date/Time: 22.01.2010 11:03:06
Stourbridge 1880 - engraved by Joseph Schiller - Design: Joseph Keller
Later stand by Klinkosch, Vienna
Date/Time: 03.09.2010 10:23:17
William Leuchars London
William Leuchars - London 1882
Date/Time: 15.05.2017 12:41:28
William Leuchars - London 1882
Stephen Smith - London 1882
Excellent jug in the islamic/persian style - design reminiscent of the Alhambra Palace in Granada, Spain. Glass: Stourbridge, England
Date/Time: 06.08.2014 13:01:46
S F Evans - Birmingham 1882
finely engraved silver mounting & ivory knob
Date/Time: 22.11.2010 10:05:20
J W Hukin & J T Heath - London 1884
Jonathan Wilson Hukin & John Thomas Heath
Date/Time: 07.09.2010 16:31:06
onathan Wilson Hukin & John Thomas Heath .Founded 1885 - later transformed in Hukin & Heath
John Grinsell London
John Grinsell - Birmingham 1884
Date/Time: 21.12.2016 12:11:49
John Grinsell - Birmingham 1884
William Leuchars - London 1885
The "Dragon & Frog" Decanter ( neck encircled by a chilong )
Date/Time: 30.08.2014 12:26:18
chinese cloisonne pitcher with dragon handle - Qing Dynasty
possible the artist was inspired by antique chinese art works combined with a sense of humour
Datum 30.10.2015
Illustrated in "Nineteenth Century Silver", J Culme, London 1977, page 184
Date/Time: 23.03.2011 17:02:13
Glass "designed" by Joseph Keller
see "British Glass 1800-1914" page 161 "A collection of patterns for the use of glass engravers"
Date/Time: 24.08.2010 10:56:30
Similar Stourbridge Decanter about 1890
out of the glass catalogue " From Palace To Parlour " 2003
Date/Time: 20.09.2010 15:48:42
London 1887 - Christopher Dresser ( right one Austrian 1885 )
John Heath & John Middleton
Date/Time: 17.01.2010 11:27:49
Charles Edwards - London 1889
Stourbridge Glass, designed by John Orchard
Date/Time: 29.10.2013 22:43:25
Engraved by F. Kretschmann, 1888-1890
see" British Glass 1800-1914 , by Charles Hajdamach page 244
Date/Time: 05.11.2013 13:31:17
Charles Edwards
The jugs ovoid, the fluted sides engraved with flowers, pierced and chased mounts, the spout with shell decoration flanked by scrolls and foliage, engraved cartouche to either side of neck
Date/Time: 29.10.2013 22:37:56
Frederick Elkington - Sheffield 1889
Cameo Glass Claret Jug by Stevens & Williams
Date/Time: 07.09.2010 15:54:53
vi vivo et armis - " I live by force and arms "
Hennessy ( Ó Haonasa ) - Ballymacmoy, Killavullen - Direct decents from Caher More, Sovereign of Ireland
Date/Time: 22.10.2010 14:18:11
John Grinsell & Sons - London 1891
Glass by Stevens & Williams, Stourbridge
Date/Time: 21.02.2012 17:25:56
John Grinsell & Sons - London 1892
Rock crystal glass with indian cone pattern attributed to William Fritsche, Thomas Webb, Stourbridge
Datum 01.07.2014
Stevens & Williams
registered this difficult technique of intaglio cutting through applied trailing without causing or to break or fall off in 1887
Date/Time: 18.01.2010 14:20:28
Detail of handle and engraving
Glass by Stevens & Williams, Stourbridge
Date/Time: 10.06.2008 14:20:18
Detail of engraving
Glass made by: Stevens & Williams - Design: John Orchard
Date/Time: 08.11.2010 15:38:33
John Grinsell & Sons - London 1895
Stourbridge Glass , by Stevens & Williams
Date/Time: 08.09.2010 17:27:37
Detail of engraving
Intaglio cut glass - probably Webb or Stevens & Williams
Date/Time: 05.11.2013 13:32:10
Charles Boyton - London 1901
Many many thx to my best friend Keith from the States ... !!!
Date/Time: 05.04.2012 10:52:24
Charles Henry Dumenil - London 1902
Thomas Webb/ Frederick Engelbert Kny
Date/Time: 07.09.2010 15:58:44
Frederick Engelbert Kny
Master glass engraver from Bohemia ( 1870 - 1920 )
Date/Time: 09.01.2010 15:39:58
Heath & Middleton - London 1903
Glass design by Frederick Carder, Stevens & Williams
Date/Time: 31.10.2013 12:11:30
Read about Omar & Alwyn ..
Date/Time: 25.07.2011 15:22:25
Omar Ramsden was born in Sheffield in 1873 into a family active in the silver trade. Alwyn Carr was also born in Sheffield, a year earlier. During his youth, Ramsden spent seven years in Illinois, USA, before returning to Sheffield where he was apprenticed to a firm of silversmiths. There he acquired technical training and experience of mechanised silver production.
In 1888 he began evening classes in Silver and Design at the Sheffield School of Art, where he won a succession of prizes and awards. It is thought that Omar and Alwyn met there in 1890 and it is known that they both graduated. Together they attended summer classes at the Royal College of Art in London and later embarked on a sightseeing tour of Europe. They travelled through Belgium, France, Italy, Switzerland and Germany for between six months and a year and on their return set up a studio together in St Dunstan’s, Chelsea. Shortly afterwards they established a workshop near Albert Bridge, later relocating to South Kensington.
In 1898 they registered their first joint sponsor's (maker's) mark at Goldsmith’s Hall in London. They won the commission to make The Sheffield Mace and the work was done in the Stamford Bridge Studios in London in 1899. The Mace was presented to the City of Sheffield by His Grace, The Duke of Norfolk, to commemorate him being the first Lord Mayor of Sheffield and it was over one metre long. It was an important commission for the fledging firm and although they appear to have made little money from the work, it was very prestigious and led to other significant institutional commissions. Ramsden and Carr were both devout Catholics and also secured numerous ecclesiastical commissions which, once again, raised their business profile and helped to ensure the firm’s financial stability.
Ramsden and Carr were influenced by the Art Nouveau movement, particularly the work of Charles Ashbee, their contemporary, and also by the Arts and Crafts movement. Carr is thought to have been the more active designer and provided financial backing for the business whilst Ramsden was the more entrepreneurial, supplying the marketing and public relations flair. Omar Ramsden became particularly interested in adapting medieval prototypes and reinterpreting them in an Arts and Crafts style. Ramsden’s interest in historic silver had been kindled by meeting the antiquary, St John Hope, early in his career. The actual manufacture of objects was mostly carried out by their staff of silversmiths, designers, chasers, engravers and enamellers.
To fully appreciate the unique contribution of Ramsden and Carr, one needs to understand how they distilled and combined the central strands and philosophies of the Art Nouveau with those of the Arts and Crafts styles. Art Nouveau was heavily influenced by Japanese art and typified by sinuous, free flowing curving lines, asymmetrical naturalistic motifs and ethereal human forms. The Arts and Crafts movement was a rejection of smooth, uniform factory produced goods which had resulted from the Victorian drive for increased mechanisation and industrialisation and it was also a backlash against the very poor working conditions often experienced by factory workers. This was coupled with a nostalgic yearning for a lost historic and largely romanticised medieval ’golden age’ where craftsmanship and individuality flourished. Omar Ramsden joined the Artworker’s Guild in 1903 and Alwyn Carr joined in 1904.
The distinctive appearance of Ramsden and Carr’s silverware came from combining simplified flowing lines from the Art Nouveau with design elements derived from Britain’s historical past and the use of traditional craftsmanship and techniques. Hand hammered surfaces were proudly left visible and not removed by sanding, polishing or electro-cleaning nor concealed by electro-plating. These hammered or planished indentations can be clearly seen as a duller shade of grey, due to copper oxide known as “fire stain”, which occurs on all handmade silver. The effect was further augmented by their frequent use of applied decorations such as enamelled bosses, semi-precious stones and enamelling.
Engraved on many of the pieces is the inscription “OMAR RAMSDEN ET ALWYN CARR ME FECERUNT” which translates as “Omar Ramsden and Alwyn Carr made me”. This trademark signature, found in various forms, was used until the end of Omar Ramsden’s career and reinforced the perception that the client was purchasing a unique piece of silver which had been handmade by a craftsman.
Commissioning silver was not common practice. In general, silverware would have been purchased ‘off the peg’ and without any design input from the purchaser. Ramsden and Carr succeeded in cleverly differentiating their products from those of their competitors by subtly instilling the idea that any of their clients could commission a unique piece, no matter how humble, to his own specifications. This appealing idea was reinforced by the favourable publicity surrounding some of their important commissions and made the firm’s goods highly desirable to many of their clients, particularly the newly rich.
The partnership of Ramsden and Carr was dissolved in 1918, following Carr’s return from the First World War. Carr left the partnership, leaving Ramsden to manage the studio and workshop alone. Omar Ramsden’s business continued to flourish and his distinctive house style became heavier and more traditional, with less of the the fluid Art Nouveau elements of previous years. He placed more and more emphasis on the hand wrought appearance of objects and marketed his viewpoint that each piece should be considered a unique creation. In reality, this ‘uniqueness’ occurred by only very subtly adapting the ‘bespoke’ object from an existing and well proven design. Carr also continued to produce silverware but Omar Ramsden eventually became the better known and he continued to inscribe his pieces ‘OMAR RAMSDEN ME FECIT’. Although Ramsden had up to 20 assistants working for him during the 1920s and 1930s, it is said that, at this time, he never worked on a piece himself!
Omar Ramsden continued working until his death in 1939 and Alwyn Carr died eight months later in 1940
In 1888 he began evening classes in Silver and Design at the Sheffield School of Art, where he won a succession of prizes and awards. It is thought that Omar and Alwyn met there in 1890 and it is known that they both graduated. Together they attended summer classes at the Royal College of Art in London and later embarked on a sightseeing tour of Europe. They travelled through Belgium, France, Italy, Switzerland and Germany for between six months and a year and on their return set up a studio together in St Dunstan’s, Chelsea. Shortly afterwards they established a workshop near Albert Bridge, later relocating to South Kensington.
In 1898 they registered their first joint sponsor's (maker's) mark at Goldsmith’s Hall in London. They won the commission to make The Sheffield Mace and the work was done in the Stamford Bridge Studios in London in 1899. The Mace was presented to the City of Sheffield by His Grace, The Duke of Norfolk, to commemorate him being the first Lord Mayor of Sheffield and it was over one metre long. It was an important commission for the fledging firm and although they appear to have made little money from the work, it was very prestigious and led to other significant institutional commissions. Ramsden and Carr were both devout Catholics and also secured numerous ecclesiastical commissions which, once again, raised their business profile and helped to ensure the firm’s financial stability.
Ramsden and Carr were influenced by the Art Nouveau movement, particularly the work of Charles Ashbee, their contemporary, and also by the Arts and Crafts movement. Carr is thought to have been the more active designer and provided financial backing for the business whilst Ramsden was the more entrepreneurial, supplying the marketing and public relations flair. Omar Ramsden became particularly interested in adapting medieval prototypes and reinterpreting them in an Arts and Crafts style. Ramsden’s interest in historic silver had been kindled by meeting the antiquary, St John Hope, early in his career. The actual manufacture of objects was mostly carried out by their staff of silversmiths, designers, chasers, engravers and enamellers.
To fully appreciate the unique contribution of Ramsden and Carr, one needs to understand how they distilled and combined the central strands and philosophies of the Art Nouveau with those of the Arts and Crafts styles. Art Nouveau was heavily influenced by Japanese art and typified by sinuous, free flowing curving lines, asymmetrical naturalistic motifs and ethereal human forms. The Arts and Crafts movement was a rejection of smooth, uniform factory produced goods which had resulted from the Victorian drive for increased mechanisation and industrialisation and it was also a backlash against the very poor working conditions often experienced by factory workers. This was coupled with a nostalgic yearning for a lost historic and largely romanticised medieval ’golden age’ where craftsmanship and individuality flourished. Omar Ramsden joined the Artworker’s Guild in 1903 and Alwyn Carr joined in 1904.
The distinctive appearance of Ramsden and Carr’s silverware came from combining simplified flowing lines from the Art Nouveau with design elements derived from Britain’s historical past and the use of traditional craftsmanship and techniques. Hand hammered surfaces were proudly left visible and not removed by sanding, polishing or electro-cleaning nor concealed by electro-plating. These hammered or planished indentations can be clearly seen as a duller shade of grey, due to copper oxide known as “fire stain”, which occurs on all handmade silver. The effect was further augmented by their frequent use of applied decorations such as enamelled bosses, semi-precious stones and enamelling.
Engraved on many of the pieces is the inscription “OMAR RAMSDEN ET ALWYN CARR ME FECERUNT” which translates as “Omar Ramsden and Alwyn Carr made me”. This trademark signature, found in various forms, was used until the end of Omar Ramsden’s career and reinforced the perception that the client was purchasing a unique piece of silver which had been handmade by a craftsman.
Commissioning silver was not common practice. In general, silverware would have been purchased ‘off the peg’ and without any design input from the purchaser. Ramsden and Carr succeeded in cleverly differentiating their products from those of their competitors by subtly instilling the idea that any of their clients could commission a unique piece, no matter how humble, to his own specifications. This appealing idea was reinforced by the favourable publicity surrounding some of their important commissions and made the firm’s goods highly desirable to many of their clients, particularly the newly rich.
The partnership of Ramsden and Carr was dissolved in 1918, following Carr’s return from the First World War. Carr left the partnership, leaving Ramsden to manage the studio and workshop alone. Omar Ramsden’s business continued to flourish and his distinctive house style became heavier and more traditional, with less of the the fluid Art Nouveau elements of previous years. He placed more and more emphasis on the hand wrought appearance of objects and marketed his viewpoint that each piece should be considered a unique creation. In reality, this ‘uniqueness’ occurred by only very subtly adapting the ‘bespoke’ object from an existing and well proven design. Carr also continued to produce silverware but Omar Ramsden eventually became the better known and he continued to inscribe his pieces ‘OMAR RAMSDEN ME FECIT’. Although Ramsden had up to 20 assistants working for him during the 1920s and 1930s, it is said that, at this time, he never worked on a piece himself!
Omar Ramsden continued working until his death in 1939 and Alwyn Carr died eight months later in 1940
James Powell & Sons Whitefriars - London 1906
Harry Powell, Whitefriars out of "Art Journal report from the Guild of Handicraft Exhibition 1905"
Date/Time: 25.12.2015 13:31:40
David & Maurice Davis - Birmingham 1906 - Frederick Carder
Stevens & Williams - with " Cairngorm" decoration
Date/Time: 22.09.2010 11:26:56
Heath & Middleton - Birmingham 1907
Glass by S & W - Stourbridge - " pillarinta "
Date/Time: 08.09.2010 13:09:06
John Grinsell - Birmingham 1884
John Grinsell - Birmingham 1884
Date/Time: 06.01.2017 15:28:14
John Grinsell - Birmingham 1884
Vermicelli pattern
First registered by Richardson in 1854 - It is based on an 18th century textile, and the name translates literally to 'little worm'.
Date/Time: 02.01.2013 15:13:41
Vermicelli pattern
Engraved herons surrounded by wriggle work engraving
Date/Time: 30.10.2013 17:28:32
Frederick Elkington - Birmingham 1878/79
finely engraved glass & silver mounting in the aesthetic style
Date/Time: 15.08.2014 11:16:49
It was founded by George Richards Elkington and his brother, Henry Elkington, in the 1830s. It operated under the name G. R. Elkington & Co. until 1842, when a third partner, Josiah Mason, joined the firm. It operated as Elkington, Mason, & Co. until 1861, when the partnership with Mason was terminated. The firm operated independently as Elkington & Co. from 1861 until 1963. It was then taken over by British Silverware, Ltd.. In 1971 British Silverware, Ltd. became a subsidiary of Delta Metal Co. Ltd.
John Grinsell & Sons - London 1892
Rock crystal glass with indian cone pattern,flowers and butterflies by William Fritsche for Thomas Webb, Stourbridge
Datum 16.01.2017
Details of mounting
scrolling strapwork, garlands and a billy goats head
Date/Time: 09.10.2012 12:40:25
John Figg - London 1872
Джон Фигг - Лондон 1872
Date/Time: 31.07.2012 09:57:37
The hinged lid with bacchic putto finial with capped spout decorated with a female mask below waves and anthemion, the scroll handle with bell husks and scrolls, baluster glass body engraved with wheat sheaves and grapes, all raised on a gadrooned and ropetwist socle foot, height 34cm.
Heath & Middleton - London 1903
Glass Design by Frederick Carder - Stevens & Williams, Stourbridge - England
Date/Time: 31.10.2013 12:11:30
Frederick Carder ( 1863 - 1963 )
Click the image to read about Frederick Carder .. !
Date/Time: 31.10.2013 12:12:31
Frederick Carder (1863–1963), a gifted English designer, managed Steuben Glass Works from its founding in 1903 until 1932. At the age of 14, Carder left school and joined his family’s pottery business in Brierley Hill, England. He studied chemistry and technology in night school. In 1879, he became fascinated with glassmaking after visiting the studio of John Northwood, where he saw Northwood’s cameo glass replica of the Portland Vase, the most famous piece of ancient Roman cameo glass. One year later, on Northwood’s recommendation, Carder went to work as a designer at Stevens & Williams, a large English glassmaking company. There, as Northwood's chief assistant, he experimented with glass colors and designs. Intarsia vase. U.S., Corning, New York, Steuben Division, Corning Glass Works, 1920s. H. 17.4 cm. (69.4.221) Bequest of Gladys C. Welles.Carder moved to Corning in 1903 at the invitation of Thomas G. Hawkes, owner of Steuben. For the next 30 years, Carder had a free hand in designing that firm’s products and developing new colors and techniques. In 1932, when Steuben’s new president decided to concentrate on colorless glass, Carder left Steuben to become design director of Corning Glass Works. There he oversaw such large-scale projects as the making of cast panels for Rockefeller Center in New York City. As an octogenarian, he created smaller cast glass sculptures and other one-of-a-kind pieces. Carder’s glassmaking career ended in 1959, when, at the age of 96, he finally closed his studio and “retired.” During the 82 years in which he worked with glass, he produced many works that are dazzling in their virtuosity. Together, they include hundreds of colors and techniques. Robert F. Rockwell, a Corning businessman, was Carder’s golfing partner and friend in the 1940s. In the following decade, he began to assemble a remarkable collection of Steuben glass. This collection, which was later given to the Rockwell Museum, is now on loan to The Corning Museum of Glass. Most of it is shown in the Carder Gallery, which also houses much of the Carder glass owned by the Corning Museum. Many of the Corning Museum’s pieces were gifts from Frederick Carder or from his daughter. There is also a large group of colored Steuben objects, dating from the 1920s and 1930s, that came to the Museum as the gift of Corning Glass Works