During the 18th century, a continuous stream of porcelain dinner services arrived from China while others were manufactured in Europe. They originally copied shapes that had been made in contemporary European pewter or silver.

Chinese Export Porcelain

At first, Chinese porcelain was unrivalled as it was both fashionable and cheap. Throughout the 18th century, services by the ton packed the holds of the East India companies’ ships. Many were meticulously painted to order with the armorials of aristocratic British families in `famille-rose’ enamels, but sometimes amusing mistakes occurred — as when a family motto ‘Unite’ appeared on hundreds of pieces as ‘Untie’. A service such as this, or with unusual associations, will fetch far more than ordinary services. Other designs included delicately painted Chinese flowers, birds and family scenes, and an exotic pattern of overlapping coloured leaves known as the `Tobacco Leaf’ design. (more…)

Lace remains one of the most underappreciated and underpriced of all antique textiles, remarkable for its delicacy and intricate workmanship.

Over the centuries, lace has been made in four main forms: embroidered lace, which was common in the 16th century; needlepoint lace, popular in the 17th; bobbin lace, at its peak in the 18th century; and machine-made lace, including embroidered net, chemical lace and imitations of the other forms, produced in the 19th and 20th centuries. (more…)

Probably the oldest type of seat furniture, stools have existed for thousands of years. Elegant late Victorian examples were inspired by finds in ancient Egyptian tombs.

Most stools have no back or arms, and seat just one person. There arestools for more than one — usually called forms or benches — and so-called backstools in which a leg is extended as a backrest or a separate backrest is added. But in general stools are the simplest of seats, and three-legged examples have been used in Britain for at least a thousand years. Indeed, their construction is so basic and unchanging that they can be very difficult to date. (more…)

Mark of Craftsman

The style was essentially nostalgic, much of its detail and ornament inspired by the Medieval -for example, the large metal hinges fitted on the outside of cabinet doors. The products looked handmade: wood was often left unpolished; beaten metal showed hammer marks; dowels were often left conspicuously visible. Glass was simply blown - cutting was disparaged as an industrial technique - so that the natural beauty of the material itself could be seen, unobscured by ornament. (more…)

Beauty with usefulness was the aim of the Arts and Crafts movement’s followers, and their homes made a striking contrast with the crowded rooms of the same time furnished in mainstream taste. Although seen as progressive in its day, the Arts and Crafts style, developed largely by William Morris, showed a nostalgic yearning for the simple pre-industrial cottage. This living room combines dining and sitting room, echoing cottage life. Progressive people were furnishing their rooms like this as early as the 1870s but, as more designers worked in Arts and Crafts style, similar rooms were more common in the 1880s and 90s, and the momentum continued into Edwardian days. (more…)

Although hand skills continued, science and technology were advancing on all fronts. Pottery and porcelain were soon to prove a field for industrialisation. While British factories could not yet match Meissen and Sevres, attractive and popular pieces were made. Highly decorated soft-paste porcelain figures were still made by Chelsea (for tables, mantelshelves and cabinets), now with coloured and gilded scrolls instead of the earlier mounds forming the base. Tiny figures known as ‘toys’ were made to hold scent, needles and bonbons. Earthenware figures and Toby jugs were made in the Staffordshire potteries to appeal to a mass market. (more…)

Soft Touches

Carpets on the floor and curtains at the windows were rare through Elizabethan and Jacobean times — but carpeting and curtaining were profusely used for other purposes. Fine woollen fabrics, or silks and velvets from China and Italy were hung around the bed, while cushions and table coverings were often of harder-wearing turkeywork — wool knotted into a backing like Turkish rugs.

Many soft furnishings were made by the ladies of the house who worked pillowcases and bed coverlets, cushions and book covers, purses and bodices. Trellises set with flowers and animals wound across their fabrics. The needlewomen could use pattern books of motifs, pricking along the lines, then pressing powder through the holes onto the fabric. (more…)

Despite the fact that the English hallmarking system is ancient and well-tested, it cannot be relied upon purely for the authenticity of a piece. Its very reputation, respected and revered the world over, makes it vulnerable to dishonest use by fakers and forgers. Transposing marks from one object to another is not an uncommon practice and can be very lucrative when the piece is sold for a high price. Genuine marks may also be removed from an older, damaged object and `married’ to a far later example. This is why experts will sometimes breathe on a piece for, by doing so, the outline of the joins which are invisible to the naked eye should reveal themselves. Certainly when the object is oxidised the let-in silver usually shows fairly clearly. This practice of transposition is not a new one and has been used for many years. (more…)

Buttons

Buttons were made in various metals including gold, silver, gilt, Sheffield plate, pewter, steel, wire and brass. With the exception of certain metal buttons, they were generally dome-shaped during the first half of the eighteenth century and usually of a medium or small size. Until the days of Elizabeth I, buttons had been ornamental only, since clothes were fastened by aiglets or hooks-and-eyes and various other devices. Nevertheless, buttons were popular even then, as can be seen in contemporary portraits whose subjects are often dressed in costumes liberally decorated by this form of ornament. Very early silver buttons, however, have mostly disappeared over the years. (more…)

Anyone who has travelled about the countryside at all will know that there are still many fine wooden dressers about. Not necessarily “Welsh” ones either,for there are quite distinctive types to be found all over the country, from County Durham to Cornwall and from Staffordshire to Suffolk.

A few years ago The Farmers Weekly ran a competition in its Home Section for the best “Dressed Dressers“, i.e. examples which are not palely loitering unadorned at sales, but at home, gaily crowded with pottery, brass or pewter. (more…)