Thursday, 23 December 2010
Monday, 20 December 2010
Saturday, 18 December 2010
Hugh Wallis is a name familiar to those of you who are interested in arts and crafts metalwork, although many, including "Fine Art Auctioneers" still call him "Wallace". He is usually associated with the myriad of copper trays decorated with chased patterns marked HW. There is of course far more to his art and here are a few examples of his print/multiples.
Typical marks found on metalwork.
Hugh Wallis was born is in Kettering and in the 1890's he trained as an artist at the Herkomer School of Art at Bushey in Hertfordshire. He is recorded as a flower and figure painter and was competent enough to have exhibited widely, including:
Glasgow Institute of Fine Art - 1 picture
Walker Gallery, Liverpool - 2
Manchester City Art Gallery - 2
Royal Society of Portrait Painters - 2
Royal Academy - 12
He went into business initially as a painter having a studio at 7 Market Street, Altrincham in 1900.finally settling at 72 The Downs where he had his metal workshop. He was still describing himself as an artist in 1918. It is not known where he trained as a metalworker. There has been some reports of Keswick like work with Wallis' marks, but this is only hearsay. He employed 5 or 6 craftsmen working in his studio behind the Downs.
He produced a wide variety of objects including trays, shallow dishes, vases, bowls, fire screens, coal bucket and wall light. He is known to have produced the lighting for the Altrincham Council chambers as well as trophies and presentation gift. Usually made in copper or brass with some silver plated items and a few hallmarked silver items. The copper items would originally have a dark chocolate coloured patination and a tinned pattern. Both are usually polished off.
This is an example of paper cut or block print by Hugh. Everyone that I have seen has had a painted signature. They were created by applying the colour through a card pattern. Similar to stencilling or the French pochoir.
They are rarely seen and are usually still life compositions of flowers in vases within a chequered border. The borders are similar to those found on his metal work. Some have a grained background which I guess is simulate a marquetry effect, like the wooden panels produced by Rowley Gallery during this period.
Mostly these date from the mid 1920's.
Other owned include;
.... and his usually product - the copper tray.
Friday, 17 December 2010
Monday, 13 December 2010
Friday, 10 December 2010
Saturday, 4 December 2010
This is one of my favourite woodblock print artists and over the years I have chased down quite a few prints and books by her. However, in recent years I have struggled to find much. So here is some info and a few photos.
Ivy Anne Ellis was a Birmingham based artist with her studio in Edgbaston. She trained at the Birmingham School of Arts and Crafts and worked with the respected artist Bernard Sleigh early in her career. She was mainly a book illustrator and print maker using the woodcut, linocut and wood engraving techniques.
She exhibited 27 times at the Royal Society of Arts, Birmingham between 1920 and 1939.
She signed her works with various marks including signatures, seals and monograms cut within the plates or blocks. Some examples include;
Her book illustration work was extensive and includes;
XII Sonnets by Havelock Ellis (1930)
The Book of Ruth (1930)
Verses Grave and Gay by Bernard Sleigh (1933)
Winged Idyll by John Stone (1936)
Kanga Creek: An Australian Idyll by Havelock Ellis (1938)
A Wreath of Flower Legends by Rose S Dugdale (1950)
I have recently been contacted by a friendly blogger who has provided a photo of a painting by Ivy. Certainly a similar feel but a less precise technique, lovely though. It is titled "The Little Dutch Girl" and cost £5.00 at the time, which I would suggest is c1950, may earlier. From the original label we know she was then living in Chipping Campden, a well known arty town in the Cotswolds much associated with the arts and crafts movement and the Guild of Handicraft.
From the same reader as provided these picture, I am advised that Miss Ellis was Bernard Sleighs mistress and the address on the label was where Sleigh lived in his later years.
Friday, 3 December 2010
|I will try a brief introduction to these Scottish glass manufacturers and follow up later with examples of the glass.|
The North British Glass Works was founded in 1865 by John Moncrieff, making industrial and specialist glass items becoming John Moncrieff Ltd in 1905. In 1924 they diversified with the introduction of an art glass range marketed as Monart Glass. It has been generally accepted that the name having been derived from MONcreiff and YsART with a few suggesting MONcrieff ART glass.
The Ysart's were a family of Spanish glass blower who had been employed c1921. Initially the father Salvador (1878-1955) and eldest son Paul (1904-91) were hired with the other sons joining latter; Antoine (1911-42) Augustine (1905-56) and Vincent (1909-71). Salvador Ysart had previously worked in France at Schneider and from c1915 in Edinburgh.
Many of the Monart shapes were designed by Isobel Moncreiff the wife of John Moncrieff junior. She designed over 300 shapes from 1924 - 1933. Although production of Monart was always a very minor part of the glassworks output it was a success and was retailed by leading shops such as Liberty and Tiffany.
Production continued until 1939 and resumed after the war on a smaller scale under the direction of Paul Ysart with production finally ending in 1961.
Largely unmarked except for export items to America, which had the etched mark "Monart Glass Made in Scotland"
|Paper Labels -|
|Shape codes also help dating with size codes (Roman numerals) before shape codes (letters) followed by pattern code (numbers) being pre war whilst post war the shape is first followed by size, as above.|
This glassworks was set up in 1946 by Vincent, Augustine and Salvador Ysart in Perth producing similar art glass to that made at Monart. Much of their output was mould blown with a degree of hand finishing. They used much finer enamel colours than used at Monart, which were supplied by the ceramic industry supplier Wenger. This allowed a far more even colours.
In 1956 they formed an association with Perilli Glass and produced glass ashtrays for the Teachers Distillery. This led to Teacher's becoming majority shareholder in 1964. By 1965 an new glass works had been built at Crieff and at this time their name was changed to Strathearn Glass.