AN ENGLISH REGENCY PAPIER MACHE TRAY, Made By Clay, Circa 1825. This oblong tray is of Gothic shape decorated in the center with a white, seafoam green and pink floral More»
AN ENGLISH REGENCY PAPIER MACHE TRAY, Made By Clay, Circa 1825. This oblong tray is of Gothic shape decorated in the center with a white, seafoam green and pink floral bouquet, and outlined with a wide border of richly gilded foliage and scroll work; all on a black ground. ;Minor wear to back and old chip on rim. Dimensions: 26 3/4 in x 20 1/4 in (67.9 cm x 51.4 cm) Marks: Impressed Clay King St Covt. Garden ;A form of Papier-Mache appears to have been utilized by the Chinese in the later Ming dynasty, but as indicated by its name, compressed and harden pulped paper was first prepared by French craftsmen in the mid-18th century. But the Papier-Mache industry was spectacularly and firmly established on a large commercial scale in 1772 by the patent of Henry Clay of 19 Newhall Street, Birmingham. ;Clay''s patent was for the production of large panels of compressed paper, varnished and stoved, which could then be converted into parts of coaches, sedan-chairs, doors, screens, tables, waiters and trays, by cutting, sawing and screwing. ;The basic material used was not pulped waste paper as in France but a specially compounded rag paper (mostly of linen or cotton and without any wool) of a spongy nature and resembling greyish-green blotting paper. ;Placed on a flat oiled metal or wooden base, these sheets of paper were surface dressed with an adhesive made of glue, flour and tree resin, and built up one on the other with continuous heavy pressure until a panel of some 10 layers had been achieved. ;This, when dry, was tremendously hard and strong and when buffed off with powered abrasive was surface colored, mainly black or crimson, and given a fine coating of an asphaltum-linseed oil varnish, and then stove-enameled at a moderate temperature. ;A highly lustrous surface was thus acquired that could be decorated in a great variety of different styles. Clay used the simple name of paper panels for these agglomerates and by the turn of the century was employing some 300 workpeople, trays being the main output. ;In 1802 Henry Clay, who had become prosperous very rapidly, removed his business entirely to King Street, Covent Garden, London. ;He died in 1812, but his associates continued under the name of Clay and Co. until at least 1860. During the final 35-40 years trays in very large numbers were produced in the Covent Garden workshop, being finely painted in oil-based colors with designs of flower, landscapes, classical , biblical and historical scenes, birds, coat-of-arms, etc., often with brilliant crimson, green and blue backgrounds. ;Many of these were quite expensive and were sold at prices ranging from 6 to 15 pounds. ;They were soundly constructed of strong materials carefully stove-enameled and as a result a goodly number have survived to present times almost undamaged. ;Many are marked on the reverse side -- Clay impressed. (John and Simcox, 125). References: John, W. D. and Jacqueline Simcox. English Decorated Trays (1550-1850). ;Bath: Harding & Curtis Ltd., 1964. «Less
A Pair of Chinese Porcelain Small Polychrome Baluster Vases, Last Quarter of 19th Century The vases are sweetly painted in polychrome enamels with deer on a mountainside, More»
A Pair of Chinese Porcelain Small Polychrome Baluster Vases, Last Quarter of 19th Century The vases are sweetly painted in polychrome enamels with deer on a mountainside, all under a ochre border of bats around the shoulder, under a repeating ochre border of Chinese geometric symbols encircling the neck. Dimensions: 4 1/4 in high (10.7 cm) The bat is ''emblematic of happiness and longevity.... it is generally painted red -- the colour of joy. ;The design of the Five Bats is a pictorial rebus standing for the Five Blessings, viz., old age, wealth, health, love of virtue, and natural death; this is owing to the similarity in the sound of the characters for ''bat'' and ''happiness'' -- both pronounced ''Fu.'''' Williams, 34. References: Williams, C.A.S. ;Outlines of Chinese Symbolism and Art Motives. ;Rutland, Vermont: Charles E. Tuttle Co., 1974. «Less
AN ENGLISH CREAMWARE POTTERY PORRINGER, Possible Rothwell, Circa 1770. ; ; ; ; ;The turned creamware porringer with applied handle is sponged in manganese brown glaze More»
AN ENGLISH CREAMWARE POTTERY PORRINGER, Possible Rothwell, Circa 1770. ; ; ; ; ;The turned creamware porringer with applied handle is sponged in manganese brown glaze with additional green and ochre glazes in spots. Small star line on rim near hndle. Diameter: 4 3/4" «Less
AN AMUSING DOLPHIN-FORM CREAMWARE POTTERY SAUCE BOAT, CIRCA 1780. ; ; ; ; ;The crisply moulded sauceboat is in the shape of a dolphin, with the head serving as the More»
AN AMUSING DOLPHIN-FORM CREAMWARE POTTERY SAUCE BOAT, CIRCA 1780. ; ; ; ; ;The crisply moulded sauceboat is in the shape of a dolphin, with the head serving as the spout, and the tail serving as the handle. The dolphin is accented in colors of brown and green. Dimensions: ;5 3/4 inches (14.5 cm wide). «Less
A Large English Creamware Whieldon-type Dish, Circa 1765-75 The large circular deep dish with a shaped border is decorated overall in gray, green and yellow. ;The More»
A Large English Creamware Whieldon-type Dish, Circa 1765-75 The large circular deep dish with a shaped border is decorated overall in gray, green and yellow. ;The border with moulded panels imitating snake skin. Diameter: 13 3/4 inches «Less
A STAFFORDSHIRE FIGURE OF A BIRD, CIRCA 1780. The piece is molded as a bird perched on a tree trunk. ;Brown dots decorate the bird''s head, breast and the trunk while More»
A STAFFORDSHIRE FIGURE OF A BIRD, CIRCA 1780. The piece is molded as a bird perched on a tree trunk. ;Brown dots decorate the bird''s head, breast and the trunk while the wings are covered in a pale green glaze and the tail solid brown. Two tiny chips repaired to base. Height: 4" (10.2cm) «Less
A PRATT FIGURE OF A SEATED MAN, CIRCA 1820. ; ; ; ; ;The figure is that of a man in a short black jacket with a brown foulard wearing white trousers and a black top hat More»
A PRATT FIGURE OF A SEATED MAN, CIRCA 1820. ; ; ; ; ;The figure is that of a man in a short black jacket with a brown foulard wearing white trousers and a black top hat seated on a green block which is itself mounted on a rectangular base. Height: 4" (10.2cm) «Less
A SMALL ENGLISH POTTERY WHIELDON-TYPE MILK JUG. Circa 1765 ; ; ; ; ;The pear-shaped milk jug has a creamware body with tortoiseshell glaze in brown. ;The handle is More»
A SMALL ENGLISH POTTERY WHIELDON-TYPE MILK JUG. Circa 1765 ; ; ; ; ;The pear-shaped milk jug has a creamware body with tortoiseshell glaze in brown. ;The handle is made in the form of crabstock and the body is covered with applied vine decoration. ;The milk jug stands on three paw feet. ;Very minor chip repaired. Height: 3 1/2" ( 9 cm) «Less
RSS Feed
