Florence Barlow Aesthetic Movement Salad Bowl with Servers

A very fine and decorative Aesthetic Movement Doulton Lambeth early stoneware bowl decorated with scrolling seaweed and rosette designs by renowned artist George Tinworth and dated 1...

A very stylish aesthetic movement terracotta bowl with slip applied floral designs in the manner of Watcombe and design attributed to Christopher Dresser dating from around 1880. Thi...

A fine quality aesthetic movement English glass bowl decorated in a Jewel pattern by renowned Stourbridge glass makers Stevens & Williams and dated 1886. The crystal glass bowl is of...

A scarce and finely made Doulton Lambeth art pottery pin dish decorated with trailing floral designs by renowned artist Florence E Barlow and dated 1879. The small round stoneware di...

An unusual large Aesthetic Movement Doulton Lambeth jug decorated with dancing cherubs by Mary Aitken and assisted by Harriette Knight dated 1883. ...

A fine and unusual antique Aesthetic Period Oriental pattern Lotus flower shaped porcelain bowl by Royal Worcester and dating from around 1875. The bowl of rounded shape is modelled as an open Lotus Flower raised on an open work intertwined stem and leaf shaped base with foliage. The bowl is hand painted in tones of blue on a white ground, the inner bowl with a stork in flight with flowering stems and bamboo shoots. The bowl has an impressed Royal Worcester mark for the year 1875. Royal Worcester’s Art Director Richard Binns of the Kerr Binns...

French aesthetic movement patinated and gilt bronze figural center bowl/basket, third quarter 19th century, formed as a large stylized woven basket. With leaves and vines as well as ...

Gorham (Rhode Island) mixed metal on sterling Aesthetic Movement bowl hallmarked and dated N for 1881. Hammered background with asian floral motifs.

Brownfield and Sons Olympus pattern, in the style of Dr C Dresser. A large Aesthetic Movement white bowl with blue printed love birds and stylized decoration around the bowl.

An American Aesthetic Movement Basket, naturalistically modeled as a bird perched on a a leafy twig, above a shallow dish simulating cloth, decorated with gilt and silvered leaves an...

This amazing antique Edwardian sterling silver bowl is entirely handmade and styled after a Chinese design. The reliefs of chrysanthemums and fighting cocks are exceptional, being ha...

Important tray made in gilded bronze and “cloisonné” enamel attributed to Elkington and Willms. Ornamented with a centering polychrome enameled peacock plaque, made of very high standard quality, mounted on a gilt-bronze dish, decorated in relief with Japanese Nô theater masks. The great Birmingham firm of Elkingtons, was largely the creation of George Richards Elkington (1800-1865), who worked from 1824 in Birmingham as a manufacturer of silver-mounted scent bottles. By 1829 the business had expanded sufficiently for a branch to have been established in London. In the late 1830s the Elkingtons began making experiments to apply the principles of electro-metallurgy to gilding and plating with silver and in 1840 the patent was at last taken out. Elkingtons owed their rise to a position amongst the most important silversmiths of the country to their exploitation of this new process and the two of the most famous designers then employed, both of them French, Albert Wilms (1827-1899) and Morel-Ladeuil (1820-1888), who helped to make Elkingtons’ reputation with their elaborate exhibition pieces. Albert Willms was apprenticed as modeler and engraver to Klagman, Dieterle and Constant in Paris before working for Morel & Co. in London in 1848. On his return to Paris he was employed by the great Parisian silversmiths including Christofle and Froment-Meurice, for whom he designed pieces to be presented at the 1855 Universal Exhibition in Paris. It was during this period that he joined the firm of Elkington in London as head decorator. Elkington was soon to become one of the first to produce refined pieces in “champlevé” enamel in the Chinese and Japanese styles, which were presented with great success at the London Universal Exhibition in 1862 (see Masterpieces of Industrial Art & Sculpture at the International Exhibition 1862, J.B. Waring, London, 1863, III, pl. 211). Willms’ “champlevé” enamels could not be compared, however, with the delicate “cloisonné” enamels exhibited by Japan at the Universal Exhibition in Paris in 1867. This explains why Elkington adapted the ancient Japanese technique to produce pieces according to European taste and custom. Followings the 1867 Exhibition all the major European artists rivaled in ingenuity for the 1873 Universal Exhibition in Vienna. In London Albert Willms presented his luxurious vases and cups in “cloisonné” enamel for Elkington (see Illustrations of Art Manufacturers in the Precious Metals exhibited by Elkington & Co., Inventors, Patentees and Manufactures of electroplate, 1873), whilst in Paris, Ferdinand Thesmar (1843-1912) produced in the workshops of Ferdinand Barbedienne (1810-1892) a tray decorated with a golden pheasant in “cloisonné” enamel on copper...