Late 18th Century and Early Nineteenth Century Porcelain Handles: Loop, Ring & Wishbone

One of the most striking features of porcelain collecting is the array of different handles used in the early nineteenth century. However, frequently used designs incorporated aspects of the loop, ring and wishbone patterns.

Simple loop handles: these handles are a single loop. These can be plain or adorned. In this example of a Newhall cup decorated in pattern 155, the handle has gilt decoration on the handle sides and down the centre.Figure 1

 

Ring handle – a ring handle has circle within the handle. This example is an Old Derby coffee can dating to about 1810. Figure 2

 

Wishbone Handle – the wishbone handle looks like a J shape. The top part of the handle is often flat for the thumb to hold, then the lower part of the handle forms the second part of the wishbone. This is shown in the lovely Old Derby teacup below. In this instance the handle is undecorated.Figure 3b

 

The English Waltham Watches

by Morgan Denyer (Penrose Antiques Ltd)

Here is a bit of a horological heresey, the English Waltham! The Waltham watch company was steeped in American History, the company was founded by David Davies, Edward Howard and Aaron Lufkin Dennison who  in 1850 set up a company in Roxbury Massachusetts to manufacture watch parts. The company was reputedly set up under a cloud of secrecy because David Davies, Edward Howard and Aaron Lufkin Dennison were going to do something quite inventive, set up a watch manufacturing company in which all the components were made in their watch factory subject to strict quality control. This was quite unheard of and pretty much a world first. The watches they produced represented  a revolution in watch making, they could mass produce watches with interchangeable parts.

The first watches were made in 1852, and the company was named the Boston Watch Company in 1853. However the cost of production and retooling took its toll and the company was declared bankrupt resulting in the sale of the factory and larger machines to Royal E Robinns in 1857. He renamed the company Appleton Tracy & Company (ATCo) and retained Aaron Dennison as the factory superintendent. That year the company completed the development of the Model 1857 movement. By 1861 and the start of the American Civil War, ATCo had started to manufacture the William Ellery Model 57 watch. These watches were cheaply mass produced and became popular with Union soldiers who could buy them from roving merchants for a mere $13 or so. It seems that by the end of the civil war in 1865, the William Every Model 57 (Figure 1) accounted for 44.6% of the Waltham sales with the American Civil War Ellery watch serial number reaching around 161,000. (see  “Origins of the Waltham Model 57”   and “A closer look at a Civil War watch “ ).

Figure 1 Blog2Heated debate about the Ellery 57 Model watch represented a turning point in the career of Aaron Dennison. He fell out with Robinns in 1861 and Robinns eventually dismissed him for being a “vocal Dissenter” in 1862. One can imagine that this was a bit of a blow, but the success of the Ellery 57 and the perceived vindication of Dennison’s views seemed to drive him on to his next commercial venture.  In 1864 Dennison took the opportunity to set up the Tremont Watch Company with A. O. Bigelow. The idea here was to assemble watches in the US from fine parts sourced in Switzerland and larger parts sourced in America. Seemed like a good plan, but whilst Dennison was away in Switzerland organising the transport of components, his partners decided to move the company to Melrose and manufacture complete watches there. Needless to say Dennison was not pleased, he left the new company predicting utter disaster and moved to Birmingham England in 1871 where he established a watch case making business in 1872. His timing was perfect because of the opening in 1874 of the London office of the American Watch Company by N.P. Stratton, (assistant superintendant to Dennison in 1857, see “Watches Factories of America; Past and Present” by Henry G Abbott). Here was a ready market for Dennison’s cases and the person he had to convince of the value of his watch cases was none other than his old assistant superintendent at the American Watch Company. Unsurprisingly the majority of  the output of Dennison’s new watch case manufacturing business ended up being used by the London branch of the American Watch Company. What was particularly interesting about this though was that these early Dennison cases did not carry the Dennison makers mark, but AWCo, presumably because Robbins wouldn’t tolerate a Dennison makers mark on his watches.

Fig 2 Blog 2The association between the Dennison Watch Case Company and AWCo and the Later Waltham Watch Company, was maintained long after Aaron Dennison’s death in 1895. The success of this collaborative venture was exemplified by the Waltham Traveler (Figure 2). The Waltham Traveler consisted of a 7 jewel movement and was favoured for the export market in the early 20th century. Tens of thousands were sent to the UK where they were mostly cased in Dennison gold or gold plated cases. These watches were robust and many have survived in good working order. They represent a very good investment for those wishing to buy a good antique watch. The real benefit of these watches is that because they were mass produced, the parts are readily sourced and are fully interchangeable.

By the First World War Waltham had become a major supplier of watch movements in the UK, but the market was changing. Pocket watches were of little use in the trenches of the European battle fields and troops had started to modify their watches by the addition of wire lugs. Dennison, having his business located in the UK was in a prime position to take advantage of this. By 1914/15 Dennison had started to make transitional or trench watch cases consisting of what looked like pocket watch cases fitted with wire lugs (Figure 3). These were designed to fit Waltham movements and were a favorite with British officers heading of to war. The design actually gained such popularity with the conservative British that the Dennison transitional watch cases were made right through the 1920s and into the mid to late1930s. The latest example we at Penrose Antiques Ltd have encountered dated from 1938.Fig 3a

Post WW1 there were also drivers to further refine wristwatch design. This was very much a period of the tank watch, a design first created by Louis Cartier in 1917. Virtually all watchmakers leaped on the tank watch bandwagon, and Waltham, was no different. By the 1920s Waltham was producing a range of movements designed to fit slim rectangular dress watchcases. Many of these movements made it to the UK to be encased in lovely simple but elegant slim lozenge shaped curved art Art Deco Dennison cases.

In the history of watch making, many watch manufacturers had watch movements made to fit their watch cases, for example the American Ball Watch Company used Swiss made Avia watch movement. Thus one could argue that the Walthams assembled in the UK form English made Dennison cases represent a special bread of English Walthams. After all many of the Dennison cases, although designed to fit Waltham movements were also designed for the English market. For example the early trench watch cases made by Dennison specifically met the needs of the British heading off to the trenches. The design was only later adopted by Waltham in the US to meet the needs of American troops post April 6th 1917 when the USA entered the war. So perhaps Britain, via the efforts and perseverance of Aaron Dennison can bathe in a small portion of the glory of the historically great American Waltham Watch Company.

The association with Dennison and the English market may also have played a part in the eventual downfall of the Waltham Watch Company. The British were by nature very conservative, but the UK was a major market for Waltham. Perhaps to meet the needs of this market, Waltham maintained a more conservative output, and it may have been that the English conservative influence led  Waltham watches to be perceived as a bit boring in the home US market. This perception of conservatism was believed to have played a part in a decline of sales and the eventual bankruptcy of the Waltham Watch Company  in 1949 and closure of the American Waltham Watch factory in 1957.

George W Adams and the Chawner Silversmiths

By Rachel Denyer (Penrose Antiques Ltd)

January 1797 in England started with violent winds and stormy seas. January 4th fell on a Wednesday and on that day Jonthan Chawner, a tanner from Horncastle in Lincoln, travelledFigure 1 to London to sign apprentice indenture papers with William Fearn for his son William ChWilliam Chawner salt spoonawner.[1]

William Fearn was a well-respected silversmith known for producing quality flatware. 1797 also saw him begin a partnership with William Eley, and a joint makers mark was registered.[2] William Eley had done his own apprenticeship with Fearn in 1770. William Chawner’s apprenticeship must have gone well, because he joined Fearn and Eley as a partner in 1808, with a triple makers mark (Figure 1) being registered in that year[3]. This partnership continued until 1815, when William Chawner set up Chawner & Co (Figure 2), and moved into silversmith premises at 16 Hosier Street, West Smithfield in London which had formerly been occupied by George Smith.[4] On 16th June that year, William married Mary Burwash at St Bartholomew the Great[5]. The couple went on to have 2 children –  William Chawner (b1817) and Mary Ann Chawner (b1818).

In 1834, William Chawner died aged around 51. His son William was just 17 years old, therefore his widow Mary took over the business whilst William did his apprenticeship, however it was not to be. At the end of the 1830s William Chawner decided against joining the family business, and instead chose to go into the Church. By this time, his sister Mary Ann had married, in 1838, to George William Adams. It was agreed that he would go into the business with her mother, and a joint makers mark was registered from March – November 1840. After this, George Adams took over Chawner & Co, and ran it exceptionally well. He was an exhibitor at the 1851 Great Exhibition and the company became one of the largest producers of top quality silver flatware in Victorian England. The Chawner & Co pattern book was published in 1875, and became the encyclopedia for Victorian flatware patterns. It was heavily referenced by Ian Pickford in his now-standard reference book on silver flatware.[6]

William Chawner Figure1The 1881 census shows that George’s son, George Turner Adams (b1841) had also become a silversmith[7], and the subject of him taking over Chawner & Co must surely have been discussed. Maybe George Adams felt that his son wasn’t up to running the firm, or perhaps his son had indicated he didn’t want to remain in the business, as his uncle had done before him. Whatever the reason, George Adams sold the business in 1883 to Holland, Aldwinckle & Slater, and his son didn’t remain in silversmithing. By 1891, George T Adams had become a commercial handler of timber[8] and by 1901 a commercial traveller,[9] and by 1911 he was a commercial traveller and watchmaker.[10]

George William Adams remained close to his Chawner relatives. His brother in law William graduated from St Johns College Cambridge, and had a string of clerical appointments. He married in 1844 and had 6 children. William’s eldest son, another William Chawner (1848-1911) also went into the Church. A graduate of Emmanuel College Cambridge, he went on to become a Fellow, Tutor, Master then Vice-Chancellor of the college. Another son Alfred (1852-1916) went onto become a surgeon, physician and medical practitioner. The 1871 census shows both these nephews, then aged 23 and 18 respectively, residing with George Adams at 73 Addison Road, London[11] (Figure 3)

It was certainly a comfortable home, as the census shows the household included a cook, a housemaid and a footman. If Jonathan Chawner had foreseen the future family fortunes on that blustery January day in 1797 when he took his son to sign the apprenticeship papers, I think he would have been pleased.


[1] London Metropolitan Archive; Reference Number: COL/CHD/FR/02/1282-1287

[2] Grimwade 3112

[3] Grimwade 3114

[4] London Metropolitan Archive, Records of the Sun Fire Office, MS 11936/468/906890  15 May 1815

[5] Guildhall, St Bartholomew the Great, Register of marriages, 1813 – 1827, P69/BAT3/A/01/Ms 6779/5.

[6] Silver Flatware: English, Irish and Scottish, 1660-1980 ISBN 9780907462354

[7] UK 1881 Census RG11; Piece: 61; Folio: 118; Page: 16; GSU roll: 1341013

[8] UK 1891 Census Class: RG12; Piece: 40; Folio: 92; Page: 31; GSU Roll: 6095150

[9] UK 1901 Census Class: RG13; Piece: 22; Folio: 67; Page: 31

[10] UK 1911 Class: RG14; Piece: 255

[11] UK 1871 Census RG10; Piece:35;Folio: 113; Page: 59; GSU roll:838760

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Diana Princess of Wales and the Victorian Silversmiths Cornelius Saunders and Francis Shepherd

History is a funny thing, simple actions can, by playing a part in big historical events at a later date have significCornelius Saunders and Francis Shepherd Blog Imageant implications in the long term. Take for example the jewelery company Saunders, Shepherd & Co Ltd.

Saunders, Shepherd & Co Ltd was established in 1869 by Cornelius Desormeaux Sanders Sr and James Francis Hollings Shepherd in 1869. Although a big event for them, in the grand scheme of things the registering of a company happens all the time and is really a pretty minor event. However, in this case the small event lead to great things. Cornelius Saunders and Francis Shepherd were silver smiths and jewelers who had quite an inventive turn of mind. In 1889 they invented the Krementz, a patent one piece shirt stud and also the self closing bracelet. In 1893 they registered their silver mark CS*FS (Figure 1) and used this to make high quality heavy grade silver items such as the the charming Stirling silver mustard pot shown in Figure 2. By 1899 they had become recognised as goldsmiths, jewelers, silversmiths, gem ring and gold chain makers, particularly specialising in silver, jet and onyx jewellery for the export market. They evenFigure 3 Diana's Bracelettually changed the company name to Saunders, Shepherd & Co Ltd in 1916, by which time they had established factories at 58-61 Fetter Lane, London, 94, Vyse Street, Birmingham and a branch at 62, Buchanan Street, Glasgow. Between then and the 1940s the company started to lead on jewellery design and also started to import and manufacture watches. However, Saunders, Shepherd & Co Ltd had a rough time during the depression of the 1930s and during WW2, with their London premises being badly bomb damaged in in 1941. By 1945 the company was down to just 30 employees, but it recovered eventually moving to 1 Bleeding Heart Yard, London in 1980.

In 1981 the future of Saunders, Shepherd & Co Ltd seemed secure, they were commissioned to make an 18ct gold bracelet for Lady Diana Spencer who wore it on the day of her wedding to Prince Charles on July 29th of that year (Figure 3). Since then the company has grown from strength to strength, they now  concentrate on the design of high quality jewelery. They were joined by Eterna watches in 1996. They are also the exclusive distributors for Fope Jewellery of Vicenza, Italy, they export to the USA and have launched watch brands such as Bergerie and SandS. They are now based at their new factory in Albion Street, Birmingham and are thriving.

The Penrose Antiques Ltd Ruby Lane Shop

Well things have changed, our Ruby Lane shop has grown substantially and the number and range of stock items available has increased tremendously.  We now have a range of silver by excellent silversmiths such as the Bateman family and William Comyns. We also stock lovely porcelain including Royal Worcester, Old derby, first period Worcester and Crown Staffordshire to name but a few and pottery from makers such as Davenport, Doulton, Allerton, Spode and  Elsmore & Forster. We also have some lovely glass, 18th Century English Delft, high quality vintage watches (including military watches) and a few boxes, although good boxes seem to fly out almost as fast as we find them. At the moment we have a truly beautiful Regency rosewood and mother of pearl twin chamber tea caddy complete with the typical Georgian wooden ring handle and  typical elegant Regency moldings, see below. Boxes link this are normally quite distressed or have been questionably renovated, but this one is a real peach and in a lovely original condition. The stock is changing on an almost daily basis so it is definitely well worth visiting on a regular basis.Regency Tea Caddy 1a

The Influence of Chamberlain and Grainger on the Evolution of Royal Worcester

Robert Chamberlain, the head of the decorating department for Dr John Wall the founder of the Worcester porcelain company, established his own company at Warmstry House, King Street, Worcester. This new company initially painted blanks manufactured by other companies, but steadily expanded into the manufacture of his own wares. By the Regency period Chamberlain Worcester had acquired some fame for the very quality of his hand painted porcelain. His clients included Lord Nelson, and also the Prince Regent who granted the company his Royal Warrant in 1807. Chamberlain’s success was reflected in the way that he sold his wares via his shop at 33 Worcester High Street and via his fashionable London show room, initial set up at no 63 Piccadilly but eventually moving to 155 New Bond Street in 1816. Needless to say Chamberlain porcelain became a significant rival of Flight Bar and Grainger.Chamberlain Worcester Cabinet Plate 1

 

 

 

Figure 1: A Chamberlain & Co Worcester Cabinet plate dating from between 1840 and 1852. This plate can be purchased from our Ruby Lane shop.

By the early mid 1800s competition and changes in the economic climate meant that the ceramics industry had changed. To accommodate this change Chamberlain merged with Flight, Barr & Barr, giving rise to Chamberlain & Co in 1840. The new company continued to produce very high quality hand painted porcelain until 1851 (Figure 1). In 1851 Walter Chamberlain retired and the company was taken over by the Dublin business man William Kerr. Kerr invested heavily in modernizing the Chamberlain factory and building up an extremely talented team. Kerr returned to Ireland in 1862 leaving the company in the hands of Richard Binn, who formed The Worcester Royal Porcelain Co. Ltd, which of course evolved into Royal Worcester.Grainger Bird Plate 1

Figure 2: A Grainger porcelain cabinet plate dating to 1896 painted with what look like finches in a mystical woodland scene. This plate can be purchased from our Ruby Lane shop.

Another important Worcester porcelain manufacturer that played an important part in the development of Royal Worcester was Granger & Wood. Thomas Grainger, an apprentice at Robert Chamberlain’s Worcester china factory, and John Wood established Grainger & Wood in 1801. They produced very high quality ornamental porcelain using rich patterns that competed with Chamberlain and Flight Barr. The Grainger & Wood china works moved to St Martin’s Gate in 1809 following a factory fire. By 1839, the factory was owned by George Grainger (Thomas Grainger’s son) and started to produce exquisite Neo-Roccoco style decorative china. In 1889, following the death of George Grainger, the factory was sold to Royal Worcester.Worcester Grainger Reticulated Vase 1899 1

Figure 3: A beautiful Grainger & Co reticulated vase by Alfred Barry dated to 1899. Note the typical curvilinear design. This vase can be purchased from our Ruby Lane shop.

During this time Granger & Co continued to make high quality ornamental ware including cabinet plates (Figure 2) and beautiful Reticulated (Pierced) wares (Figure 3). During this period the Grainger reticulated porcelain was mostly the work of Alfred Barry. He produced pierced wares with quite a distinct and incredibly beautiful curvilinear design (Figure 3). Grainger reticulated wares of this quality are becoming quite hard to find.

Royal Worcester continued to produce extremely high quality Grainger china at the St Martin’s Gate factory (then called the Royal China Works) right up until 1902.

The Apprentice Chest

The apprentice chest describes a miniature chest of drawers, traditionally believed to have been made by an apprentice cabinetmaker to demonstrate their skill. This is quite a romantic notion, and in many cases quite correct. However, so called apprentice pieces may have been made for other reasons. A large chest of drawers made from mahogany or oak is a very heavy item. They were also quite expensive and cabinetmakers needed to find some way of attracting buyers from quite a large catchment area. Doing this by displaying examples of pieces of furniture in different locations would seem an obvious way to drive orders. Unfortunately, transporting heavy pieces of furniture long distances in potentially poor weather along poor roads could be quite hazardous to the individual and the stock. To circumvent this some cabinetmakers made miniature furniture that could be used by commercial travellers to drum up orders. This allowed a cabinetmaker to improve his order book by demonstrating his skill as a maker of fine furniture, whilst significantly reducing the risk to himself and his expensive furniture.

Apprentice chests can be found in a number of different forms, from the traditional two short drawers over two long drawer arrangement with bone escutcheons and small turned knobs (Figure 1) to more ornate pieces. Apprentice furniture is growing in popularity. Georgian apprentice chests can now reach prices in excess of £800. Consequently, good examples are becoming hard to find and sadly this particular piece has now sold.

Builth Wells Antiques Fair (4th and 5th of May 2013)

Come and visit us at the Builth Wells International Antiques Fair this weekend. Look for the above sign to find us and if you tell us tell us you saw it on WordPress, Pinterest or Twitter we will give you a 20% discount on any item or items on our stand. We will be  in Hall 2 Stand B10.Penrose Antiques sign

Happy shoping

Rachel and Morgan

The Charles II Restoration Chair (1660)

Ah, that’s better, great to get the weight of my feet. How many of us think something similar on a daily basis? This sort of brings us to the means of that relief, the humble chair. They come in all forms, the chairs for special occasions and for special people, down to the most functional and simple. All basically serve the same function, that of allowing one to sit down. The chair has been with us through the eons of time, the ancient Greeks used chairs, as did the Ancient Egyptians. Some of the earliest known pieces of furniture were chairs. These were of course status symbols sat in by monarchs, with the more lowly souls sitting on benches or stools. The importance of the chair is reflected in much of society, with a position of importance being associated with a particular chair. For example, in academia becoming a professor is referred to as acquiring a chair.Charles II Restoration Chair1a

Early English chairs were normally of local woods, such as oak and were typically constructed using large solid panels, so one didn’t sit on a chair but in it. These chairs were again status symbols and often carried ornate carved inscriptions and dates identifying the owners. However, by the restoration Period (1660-1665), European influences had been imported along with the restoration of the monarchy in the form of Charles the 2nd. These chairs were still major investments, but were of new exciting woods, walnut being the most popular. The designs were lighter and much more reminiscent of modern chairs (Figure 1A), but more ornately carved, with barley twist front legs inserted into a carved seat frame (Figure 1B) and barley twisted back legs that extended to form a long raking back terminated by finals  (Figure 1C) often of an acorn design. The seats were often of cane and cane or rushes and the backs of these chairs were very ornate with a central caned panel surrounded by pierced carvings often depicting floral scenes, sea beasts, cherubs and riders (Figure 3C). The cross stretchers in earlier chairs were purely functional, but by the Restoration period they had acquired a new function, that of ornate decoration.

One problem with these newly developed chairs was the long sweeping back legs extending up to form the long back. The angle of the back meant that they had a natural weakness at the joint between the back legs and the seat frame and the vast majority of remaining examples of the restoration chair have Georgian or earlier repairs, normally with a metal plate wrapped around this weak point (Figure 2). That these chairs were repaired, reflects their value. Their quality was remarkable and it is always a pleasure to find one in a good serviceable condition. They not only carry their history with a certain elegance, but have a real presence in a room or a large hall. Interestingly the style of the restoration chair was mimicked in the Victorian and Edwardian period in the form of the Jacobethan chairs (Figure 3). These much later chairs are very attractive and are easily distinguished from the originals in that the more modern versions are normally in oak, used more modern joints and have an arrangement of stretchers more resembling a modern chair.Charles II Restoration Chair 2a Edwardian Jacobethan chairs

The Influence of the Jacobethan Architectural Style on Furniture

The Jacobethan architectural style arose between 1830 and 1870 gaining popularity during the early to mid Victorian period. The style represented a combination of Gothic and Elizabethan, with the term Jacobethan first being coined by Sir John Betcheman. That combination varied, and might contain features more readily associated with classical design, or predominantly reflect the Gothic.

Aspects of Jacobethan architectural style unsurprisingly spread to Victorian furniture design. Developments in furniture design during the reign of Victoria spanned just over 63 years. Early Victorian pieces more closely resemble the previous Regency or William IV styles. However, by the mid Victorian period, furniture started to appear incorporating more curves and sometimes a vague hint of the gothic. This could include the subtle addition of turned knobs and some light carving as an embellishment to what would otherwise more closely resemble a William IV piece. Woods of choice were mahogany and rosewood, although oak and walnut remained popular. By the later Victorian period what can be considered as Jacobethan style furniture, such as heavily carved Gothic dark oak upholstered chairs (Figure 1) and sideboards, or large imposing mahogany furniture such as chiffoniers became popular. The vast majority of the Victorian furniture was made to a high standard and was thus designed to last.

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Victorian Mahogany Worktable

Figure 2 A Victorian Mahogany Worktable. This item was for sale at Gloucester Antiques Centre but has now sold.

Much of the larger late Victorian furniture, although very striking, is oversized for the modern home and so can be picked up at very reasonable prices. However, smaller high quality Victorian worktables (Figure 2), side tables and Davenports command good prices approaching those of good earlier pieces.