THE JOHN SCOTT COLLECTION

THE JOHN SCOTT COLLECTION JA MES POWELL & SONS WHITEFRIARS GLASS 1860–1960 TH E F I N E A R T S O C I E T Y THE FINE ART SOCIETY Dealers since 1876...
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THE JOHN SCOTT COLLECTION JA MES POWELL & SONS WHITEFRIARS GLASS 1860–1960

TH E F I N E A R T S O C I E T Y

THE FINE ART SOCIETY Dealers since 1876

in association with Michael Whiteway 148 New Bond Street · London W1S 2JT +44 (0)20 7629 5116 · [email protected] www.faslondon.com 11 June – 3 July 2014

THE JOHN S CO TT CO L L E C T I O N JA MES POWELL & SONS WHITEFRIARS GLASS 1860–1960

volume FOUR THE FINE ART SOCIETY · LONDON MMXIV

MY GLASS My collecting life started with the £2,650 my dear Uncle Eric lent me for my first home, 84 Hammersmith Bridge Road. It was 1961. You need very little to live as a bachelor: a bed, table and chairs. After that, I recollect wanting some glass, perhaps to celebrate the start. So I bought some old rummers. Of course they were not old and not really rummers! In the end I had a dozen that were all slightly different, which was attractive as they were presumably hand made. I progressed to collecting two stems which I felt were eighteenth century, not so – they were probably factory made in the 1930s or 1950s! Next I joined the Glass Circle and was terrified of our President Robert Charleston. One simply had to collect eighteenth century and not nineteenth century. I found in a posh shop that I could slide a finger under the base to determine if the pontil was rough. Not that this was infallible in any event. I enjoyed the huge variety of cotton and air twist stems, and folded feet – colour twists were always more expensive. At one stage I had nearly two hundred cotton and air twist stems and soon felt the urge for change. I became attracted to the plain, undecorated English balusters. These are mostly made of lead glass, which exudes a glorious sheen. They date from 1690 to 1710. I love particularly that they are robustly plain and essentially English. Most serious collectors aim to get rarer quality objects in their field. Not me – my taste is quixotic! My next love has been a great friend for nigh on fifty years – Gallé and all, or most, of the French Art Nouveau artists. Not English, but I have grown to appreciate the very range of artists. England was not famous for its Art Nouveau in glass, however, one of the finest examples of this is cat.61, the special Harry Powell centrepiece commissioned for Count Minerbi. Powell’s slender and swirling creepers on his soft green glasses, designed for his family company Powells of Whitefriars, are a delight. Most of my collection is now Whitefriars Glass (named after the area between Fleet Street and the Thames). Powells became the leading glassmaker in Britain and we should all be most proud of the huge range of their products and the fabulous quality. Happily, Lesley Jackson edited an excellent volume with fine illustrations and full details of design and manufacture, right up to the most unhappy collapse of the company in 1980. My collection is by no means comprehensive, it is merely a snapshot of what I like and could afford at the time. Finding a bargain, or ‘sleeper’, is also fun! Phillip Webb was a famous name, of many other more important things than ‘glass’, for instance his furniture for William Morris’s Red House. His glass was attractively plain but worth much more! A name adds a pleasing ‘cachet’ to an object. Colonel Thomas G. Jackson does not have the ring of Christopher Dresser! Jackson designed a lot for Powells, particularly champagne glasses, of which I have a fair number.

I have always admired artist’s use of history as inspiration. Harry Powell was highly inspired by historic glass, ‘borrowing’ from Roman glass flat cutting in the round, ovals, hexagons, etc. The effect is magic, sparkling and bright (I am against William Morris who derided the ‘cutting’ of glass). I have become entranced at the sight of a bowl with perhaps twelve rows of flat cut ‘ovals’. To do this one must hold the glass directly on the grinding wheel! One slip and it’s ruined. I do not believe people appreciate this magical operation. I feel an enormous urge to explain and honour the men who achieved these miraculous feats of wizardry for the delight of all. A sad word on the demise of a great firm: after the war Powells lost their way. They were directed by William Wilson and Geoffrey Baxter, the former would take commemorative goblets home, of the same shape as the eighteenth-century examples, and wheel engrave the commemorative Royal Weddings and other Regal events, of which there are a number here (cats 75–81). Post war, svelte, tall, and sexy Scandinavian clear glass was all the rage but Whitefriars trod a different path. However now their eccentric ‘Drunken Bricklayers’ sell for £10,000 – it has become the new ‘historical glass’! C’est la vie. I love intricate engraving. Almost above all I desire to extol and applaud the glass workers. The ‘Roman’ flat cutting and engraving is a wonder of the world. The designs of tableware by Harry Powell and others leave me short of vocabulary to express the regal, but plain, dignity that the firm consistently produced. I have found much of Powell Glass is for the dining table and thus the drinking glasses are of amazing lightness and beauty. The eye is ever delighted. In my quest for fine engraving on Powell glass, I wish particularly to express my eternal thanks to Chris Morley and Brian Cargin. They travel widely and happily – our tastes often coincide. Powell glass or Christopher Dresser, almost everything in this field is their speciality. May I stress the joy of camaraderie that you can get as a collector. Art and antique dealers are a jolly lot and they love to talk. They seek to sell and you to buy. The right pairing should benefit both parties! As I am now selling my whole collection, I claim the right to allow a few autobiographical points to enrich the slightly dry historical references. Firstly, one needs to find and make good friends with the best dealers, and encourage them by buying through them. I confess I make a fool of myself by sometimes paying too much – most objects I have bought at the full market price. Luckily I have sometimes bought wisely, with my dealer friends advice. ‘Never a dealer and collector be,’ thus I chide my dealer friends, when trying to extract from them a vase in their private collection. There is the spirit of both in all of us. So I raise my glass now to the health and success of my dealer friends. Glass collecting has the great bonus of not being date marked. Knowledge, wisdom and experience are particularly valuable here … so good hunting. JOHN SCOTT May 2014

4  JAMES POWELL & SONS

the john scott collection  5

Philip Webb 1831–1915

1

Claret glass, c.1860

Flint glass, with eight applied, Sea Green prunts Height 4¾ in · 12 cm Exhibited: Paris, Exposition des Arts Décoratifs de Grande Bretagne et d’Irlande, 1914 (414), same design exhibited Literature: Rudoe & Coutts, ‘The Table Glass Designs of Phillip Webb and T. G. Jackson for James Powell & Sons, Whitefriars Glassworks’, Decorative Art Society Journal, vol.16, 1992, pp.28–29; ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, p.97, pl.1 (iii), same design illustrated

The design for this glass is in the V&A Museum [E.330– 1944] bequeathed by May Morris, William Morris’s daughter, in 1939. According to Rudoe and Coutts the design was part of a range of table glass designed by Webb and made by Powell’s for the newly founded Morris, Marshall, Faulkner & Company. The City Museum and Art Gallery, Birmingham, has a similar glass with clear glass prunts, bequeathed by May Morris. Webb’s own pass-book (1852–78) lists three entries for these claret glasses ‘with green spots’ between October and November 1862.

Philip Webb 1831–1915

2

Wine glass, c.1859 (designed)

Flint glass, with bulging bowl and quatrefoil twisted stem Height 5½ in · 14 cm Literature: Studio, vol. 43, 1927, p.322; Rudoe & Coutts, ‘The Table Glass Designs of Phillip Webb and T. G. Jackson for James Powell & Sons, Whitefriars Glassworks’, Decorative Art Society Journal,vol.16, 1992, p.27, fig.4; ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, pl.1 (ii), p.97

Part of the suite of table glass, with bulging bowls and twisted stems, originally designed by Philip Webb for Morris’s Red House, 1859. The bowl shape appears to have varied slightly over time and this glass is a combination of Webb’s designs in the V&A Museum [E.328–1944 and E.326–1944] illustrated by Rudoe and Coutts.

Philip Webb 1831–1915

3

Footed goblet, c.1860 (designed)

Flint glass, with bulging bowl and applied spiral decoration, pattern no. 2388 Height 4¾ in · 12 cm Two available Literature: Rudoe & Coutts, ‘The Table Glass Designs of Phillip Webb and T. G. Jackson for James Powell & Sons, Whitefriars Glassworks’, Decorative Art Society Journal,vol.16, 1992, p.27, fig.4; ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, pl.1 (ii), p.97

Philip Webb 1831–1915

4

Tumbler, c.1860 (designed)

Sea Green glass, with bulging bowl and applied spiral decoration, pattern no. 2387 Height 3¾ in · 8.3 cm Literature: Rudoe & Coutts, ‘The Table Glass Designs of Phillip Webb and T. G. Jackson for James Powell & Sons, Whitefriars Glassworks’, Decorative Art Society Journal,vol.16, 1992, p.26, fig.3c; ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, pl.1 (i), p.97

This tumbler is one of a number of designs by Webb for William Morris’s Red House, and is included in a drawing now in the V&A [E.340–1944]. 6  JAMES POWELL & SONS

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Philip Webb 1831–1915

5

Table glass, c.1860 (designed)

Flint glass, with bulging bowl on quatrefoil twisted stem, pattern no. 2386 Height 5 in · 12.7 cm Exhibited: Manchester, Arts & Crafts Exhibition, 1895, the same design Literature: Rudoe & Coutts, ‘The Table Glass Designs of Phillip Webb and T. G. Jackson for James Powell & Sons, Whitefriars Glassworks’, Decorative Art Society Journal, vol.16, 1992, p.32, fig.11d; ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, pl.4 (iii), p.97

Attributed to Philip Webb 1831–1915

6 A pair of wine glasses, 1860s (designed) Flint glass, with bulging bowl, two-strand twisted stem Height 6¾ in · 17 cm Literature: For related glass see Rudoe & Coutts, ‘The Table Glass Designs of Phillip Webb and T. G. Jackson for James Powell & Sons, Whitefriars Glassworks’, Decorative Art Society Journal,vol.16, 1992, p.33, fig.12a; ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, p.104

Jackson suggests this stem design may be by Harry Powell, c.1880s, but Rudoe & Coutts identify a glass of this design given by May Morris to the V&A Museum in 1939 [C.81–1939] as attributed to Webb

Attributed to Philip Webb 1831–1915

7

Sherry glass, 1860s (designed)

Flint glass, with bulging bowl and twisted stem Height 4¾ in · 12 cm Literature: Rudoe & Coutts, ‘The Table Glass Designs of Phillip Webb and T. G. Jackson for James Powell & Sons, Whitefriars Glassworks’, Decorative Art Society Journal, vol.16, 1992, p.33, fig.12a; ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, p.104 (see note for cat.6)

8  JAMES POWELL & SONS

Attributed to Philip Webb 1831–1915

8

Custard cup, 1860s (designed)

Flint glass, with bulging bowl, twisted stem and applied handle Height 3¾ in · 9.5 cm Literature: For related glass see Rudoe & Coutts, ‘The Table Glass Designs of Phillip Webb and T. G. Jackson for James Powell & Sons, Whitefriars Glassworks’, Decorative Art Society Journal, vol.16, 1992, p.33, fig.12a; ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, p.104 (see note for cat.6)

Attributed to Philip Webb 1831–1915

9

Goblet, 1860s (designed)

Flint glass, wrythen bowl and twisted stem Height 5 in · 12.7 cm Literature: Rudoe & Coutts, ‘The Table Glass Designs of Phillip Webb and T. G. Jackson for James Powell & Sons, Whitefriars Glassworks’, Decorative Art Society Journal, vol.16, 1992, p.33, fig.12a; ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, p.104 (see note for cat.6)

Attributed to Philip Webb 1831–1915

10

Pair of champagne glasses, c.1890

Flint glass, two-strand twisted stem Height 5 in · 12.7 cm Literature: Rudoe & Coutts, ‘The Table Glass Designs of Phillip Webb and T. G. Jackson for James Powell & Sons, Whitefriars Glassworks’, Decorative Art Society Journal, vol.16, 1992, p.33 ; ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, pl.33 (iii), p.104, same shape illustrated

Rudoe and Coutts illustrate a variation of this glass with the same stem and a single bulge bowl from the May Morris bequest to the V&A Museum in 1939 [C.81–1939] which the museum have attributed to Webb.

the john scott collection  9

Thomas G. Jackson 1835–1924

11

A set of five champagne glasses, 1870

Flint glass, pattern no. 2002 Height 4¾ in · 12 cm each Two of the five illustrated Literature: Rudoe & Coutts, ‘The Table Glass Designs of Phillip Webb and T. G. Jackson for James Powell & Sons, Whitefriars Glassworks’, Decorative Art Society Journal,vol.16, 1992, pp.36–37; ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, pl.5, p.97

A drawing by T. G. Jackson for this design with a longer stem, dated 1870, appeared in Apollo 1930 and a photograph of the same pieces was illustrated by Harry Powell in Architectural Review, 1899. However, according to Rudoe and Coutts, known examples in the British Museum and Zurich, have the shorter stems seen here and, like this pair, are closer to the glass illustrated in a photograph in the Powell archive (Museum of London, c.1880–1900) that is annotated ‘designed by Thomas Jackson for William Morris.’

Thomas G. Jackson 1835–1924

12

A near pair of wine glasses, 1870

Amber glass, with single bulge to bowl Height 5¾ in · 14.5 cm Literature: ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, pl.5 (iv), p.97, same shape illustrated

Amber glass was introduced between 1877 and 1879 and produced until 1914.

Thomas G. Jackson 1835–1924

13

Wine glass, 1870

Flint glass, pattern no.2094 Height 5¼ in · 13.5 cm Literature: ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, pl.6 (vi), p.98, same shape illustrated; Rudoe & Coutts, ‘The Table Glass Designs of Phillip Webb and T. G. Jackson for James Powell & Sons, Whitefriars Glassworks’, Decorative Art Society Journal, vol.16, 1992, p.33

Like the champagne glasses (cat. 11, opposite) this glass also appears in a photograph of Jackson’s glass that is annotated ‘designed by Thomas Jackson for William Morris’, in the Powell archive (Museum of London, c.1880–1900).

Attributed to Thomas G. Jackson 1835–1924

14

Champagne flute, c.1870

Flint glass, with ribbed and spiralled bowl Height 6¼ in · 16 cm

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Attributed to Joseph Leicester 1825–1903

15

Goblet, c.1870

Glass, with fine white threading melted-in, with baluster stem Height 8 in · 20 cm

Joseph Leicester was the company’s chief glass blower and is thought to have been responsible for the earliest pieces of Whitefriars glass made in the Venetian style. An example of Leicester’s glass is in the V&A Museum [015–1870] dated 1869. ‘This goblet has heavy Venetian inspiration allied with wondrous English form.’ JS

Attributed to Joseph Leicester 1825–1903

16

Champagne Bowl, c.1870

Flint glass, with fine melted threads in parallel lines spiralling around bowl, the stem cut and engraved with stripes and floral motifs Height 41/8 in · 10.5 cm

Thomas G. Jackson 1835–1924

17

Wine glass, 1870s (designed)

Straw opal glass, pattern no.2094 Height 5 in · 12.7 cm Literature: Rudoe & Coutts, ‘The Table Glass Designs of Phillip Webb and T. G. Jackson for James Powell & Sons, Whitefriars Glassworks’, Decorative Art Society Journal,vol.16, 1992, p.33; ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, pl.6 (v), p.98, same shape illustrated

This glass must have been made after 1877 when straw opal was introduced; the Studio (p.247, vol.18) noted that ‘the so-called “soda glass” has very artistic properties.’ ‘I bought this glass from Jeanette Hayhurst in 1994.’ JS

12  JAMES POWELL & SONS

the john scott collection  13

Attributed to Harry Powell 1853–1922

18

Amphora on stand, c.1880

Straw opal glass, with wrought iron stand Height 14½ x 9¾ in · 37 x 25 cm Literature: ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, p.155, fig.249, see also p.101, pl.21 (iii) for a related example

Jackson illustrates a number of photographs from James Powell & Sons 1880s photograph album, now in the Corning Museum of Glass, including a variety of vessels of different glass types in wrought iron stands (see p.8). According to Clegg in his introduction to the exhibition Glass Act IV, the stands were probably made in-house by Powell’s blacksmith, Edminstone, who worked at the factory from 1875, or his assistant Edmund Francis.

14  JAMES POWELL & SONS

Attributed to Harry Powell 1853–1922 JAMES POWELL & SONS

19

Water glass, c.1880

Dark green glass, with dented body, based on Roman vessels found in Naples and Cologne Height 4 in · 10 cm Literature: ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, p.104, pl.32 and p.40, fig.102

the john scott collection  15

Attributed to Harry Powell 1853–1922

20

Venetian inspired vase, c.1880

Straw opal glass, with thrown rim and knop stem, pattern no. 828 Height 9½ in · 24 cm Literature: ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, p.101, pl.19(ii), same design illustrated

‘This is a very accomplished glass I bought from Chris Morley and Brian Cargin in 1986.’ JS

Harry Powell 1853–1922

21

Champagne glass, c.1880

Dark green glass, with ribbed bowl, flattened twisted stem and ribbed foot Height 5½ in · 14 cm Literature: ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, pl.33 (iv), p.104

Attributed to Harry Powell 1853–1922

22

Champagne glass, c.1880

Flint glass, spiral ribbed bowl on hollow blown stem, with applied prunts with gold inclusions Height 5¼ in · 13.5 cm

‘This is Venetian, but demonstrates how they attracted competitors. It is a favourite for engagement parties.’ JS

16  JAMES POWELL & SONS

the john scott collection  17

Attributed to Harry Powell 1853–1922

23

Goblet, c.1880

Straw opal glass, spiral ribbed bowl and hollow baluster stem with moulded decoration on ribbed foot Height 7 in · 18 cm

‘A glorious vessel’ JS

18  JAMES POWELL & SONS

Attributed to Harry Powell 1853–1922

Attributed to Harry Powell 1853–1922

24 ‘Poppy head’ wine glass, c.1890

25

Flint glass, ribbed and dented Height 5½ in · 14 cm

Straw opal glass, with tall stem and ‘thrown’ wavy rim Height 12 in · 30 cm

Straw opal glass, with stem and ‘thrown’ rim Height 8 in · 20 cm

Literature: ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, p.103, pl.34 (iv-vi)

‘Fabulous vase’ JS

‘Exquisite vase.’ JS

Wavy rim stem vase, c.1890

Attributed to Harry Powell 1853–1922

26

Fan-shaped vase, c.1890

the john scott collection  19

Attributed to Harry Powell 1853–1922

27

Tall-stemmed vase, c.1890

Dark green glass, with tall stem and ‘thrown’ wavy rim Height 10 in · 25.5 cm

‘This vase is very fine – an example of wondrous dexterity.’ JS

Philip Webb 1831–1915

28

Sherry glass, c.1900

Sea Green glass, factory pattern no. 2386 Height 4 in · 10 cm Exhibited: Paris, Exposition des Arts Decoratifs de Grande Bretagne et d’Irlande, 1914 Literature: ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, p.97, pl.4 (vi), a later variation of Webb’s 1860 design for a table glass

Attributed to Harry Powell 1853–1922

29

Trumpet wine glass, c.1890

Sea Green glass Height 7¾ in · 18.5 cm Exhibited: St Louis, International Exhibition, 1904, the same design exhibited Literature: ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, pl.34 (i-iii), p.105, the same shape

the john scott collection  21

Attributed to Harry Powell 1853–1922

30 Pair of wine glasses, c.1890 Sea Green glass, the bowls with a single bulge Height 6 in · 15 cm Literature: ‘Table Glass Designed and Executed by James Powell & Sons’, Studio Yearbook, 1906, same design illustrated

Attributed to Harry Powell 1853–1922

31

Flute vase, c.1890

Straw opal glass, pattern no. 859 Height 8½ in · 21.5 cm Literature: W. Shaw Sparrow, Hints on House Furnishing, London, 1909, illustrated opp. p.259; ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, p100, pl.18 (i)

Attributed to Harry Powell 1853–1922

32

Pair of wine glasses, c.1890

Flint glass, the bowls with a single bulge, engraved decoration around rim Height 6¼ in · 16 cm Literature: ‘Table Glass Designed and Executed by James Powell & Sons’, Studio Yearbook, 1906, for a plain example of the same design

Attributed to Harry Powell 1853–1922

33

Venetian–inspired vase, c.1890

Straw opal glass, with wavy rim, pattern no. 893 12 x 7¼ in · 30 x 18.5 cm

‘I bought this vase from Chris Morley and Brian Cargin in 1987.’ JS

22  JAMES POWELL & SONS

the john scott collection  23

Harry Powell 1853–1922

34

Sherry glass, c.1890

Sea Green glass, ribbed and spiral with four dents to bowl Height 4¾ in · 12 cm

Attributed to Harry Powell 1853–1922

35

Wine glass, c.1890

Flint glass, ribbed and dented tulip-shaped bowl Height 4½ in · 11.5 cm

‘I bought this from Jeanette Hayhurst in 1994.’ JS

Attributed to Harry Powell 1853–1922

36

Sherry glass, c.1890

Flint glass, spiral ribbed with dented bowl Height 41/8 in · 10.5 cm

‘Beautiful simplicity’ JS

Harry Powell 1853–1922

37 ‘Byzantine’ water glass, c.1894 Flint glass, with shallow Roman-style cutting, factory pattern no.2425 Height 5¾ in · 14.5 cm Literature: ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, p.105, pl.28 (vi) and pp.42–44

Harry Powell studied Roman glass in depth and used many of the ancient techniques, shapes, designs and colours for inspiration as well as manufacturing replicas. Powell’s cut glass in the Roman style was unlike anything else being produced in Europe at the time and was based on examples he studied in the V&A and British Museums, London, and which he saw on his trips to Cologne and Zurich. In 1906, at the Society of Arts, he used these precedents to challenge the view widely held by those with ‘artistic taste’, including John Ruskin, that cut glass was ‘a thing accursed’, and show that it was possible to use cutting as a form of decoration that did not compromise the shape of the vessel or the materials natural beauty. 24  JAMES POWELL & SONS

Harry Powell 1853–1922

39 ‘Byzantine’ wine glass, c.1894 Flint glass, with shallow Roman-style cutting Height 4¾ in · 12 cm Literature: ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, p.103, pl.28 (i–vi) and pp.42–44

Harry Powell 1853–1922

40 Vase, 1903–10 Flint glass, with shallow Roman-style cutting, later silver mounts, factory pattern no. 1146 Height 5½ in · 14 cm Literature: ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, p.103, pl.29 (v), and p.43, fig.113, drawing from the Whitefriars Pattern Book 1903–1910

Harry Powell 1853–1922

38 ‘Byzantine’ finger bowl and saucer, c.1894 Flint glass, with shallow Roman-style cutting, Bowl 2¼ x 4 in · 6 x 10 cm, saucer diameter xxx Literature: ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, p.103, pl.28 (vii) and pp.42–44, figs. 111–112

26  JAMES POWELL & SONS

The shape of the bowl is based on a Roman cut glass bowl from Leuna, Saxony, bequeathed by Felix Slade (1790– 1868) to the British Museum. Rudoe (in Jackson, 1996) notes that the bowl was copied at Whitefriars in January 1894 and suggests that the entire range was adapted from this design. Jackson also points out the misnomer ‘Byzantine’ was probably due to a mis-cataloguing of Slade’s collection in 1871, when the Leuna bowl was described as Byzantine rather than Roman.

the john scott collection  27

Attributed to Harry Powell 1853–1922

41

Fan-shaped Vase, c.1896

Straw opal glass , with wavy rim and twisted tapering stem, inspired by Venetian glass shapes Height 10 in · 25.5 cm Literature: Variations of this design were illustrated by Harry Powell in his article ‘Table Glass’, The Architectural Review, 1899, see ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, pp.24–25

‘Bought from Chris Morley and Brian Cargin in 1986.’ JS

Attributed to Harry Powell 1853–1922

42 Wine glass, c.1898 Flint glass, from the standard plain table glass range, factory pattern no. 2445 Height 5½ in · 14 cm Literature:ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, p.98, pl.7

Attributed to Harry Powell 1853–1922

43

Wine glass, c.1900

Alsatian blue soda glass, with white melted in drawn threads Height 5¼ in · 13.5 cm

‘This glass has extensive feathering of magic dexterity. I bought it from Jeanette Hayhurst in 1996. Design and work of exceptional mastery.’ JS

28  JAMES POWELL & SONS

the john scott collection  29

Harry Powell 1853–1922

Harry Powell 1853–1922

44 Goblet, 1899

45

Blue glass, tulip-shaped bowl with pulled, melted-in threads on a Sea Green, twisted stem Height 9½ in · 24 cm

Sea Green glass, with twisted stem, the bowl decorated with gold foil in body and amethyst trailed decoration on exterior Height 9 in · 23 cm

Exhibited: London, Arts & Crafts Exhibition, 1899, a similar design exhibited

Exhibited: London, Arts & Crafts Exhibition, 1899, the same design exhibited

Literature: Studio, January 1900, vol.18, p.252, similar design illustrated; ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, fig.151, p.59 and fig.34, p.17

Literature: Studio, January 1900, vol. 18, p.252; Decorative Kunst, 1899–1900, p.334; Architectural Review, vol.7, 1900, p.267; ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, p.105, pl.36

Goblet, 1899

‘These pieces were inspired by Austrian Secessionist vessels and were Harry Powell’s assay into the new field of Art Nouveau.’ JS

30  JAMES POWELL & SONS

Attributed to Harry Powell 1853–1922

Attributed to Thomas G. Jackson 1835–1924

46 Decanter, 1899

47

Flint glass, with Sea Green applied tears, collar and two handles; silver mounted cork stopper, hallmark for James Powell & Sons, London, 1906 Height 12 in · 30 cm

Flint glass, with wavy rim to bowl and blown spiral-ribbed baluster stem, ribbed foot Height 7 in · 18 cm

Venetian-style tazza, c.1899

the john scott collection  33

Attributed to Harry Powell 1853–1922

Attributed to Harry Powell 1853–1922

48 ‘Tear’ wine glass, 1899

49 ‘Tear’ wine glass, 1899

Flint glass, with eight Sea Green vertical tears applied. Height 8¼ in · 21 cm

Flint glass, with four Sea Green vertical tears applied Height 8 in · 20 cm

Exhibited: London, Arts & Crafts Exhibition, 1899, same design exhibited

Exhibited: London, Arts & Crafts Exhibition, 1899, same design exhibited

Literature: eds. Evans, Ross & Werner, Whitefriars Glass, James Powell & Sons of London, Museum of London, 1995, fig.83, p.83, similar design; ed. Jackson, Whitefriars Glass, The Art of James

Literature: eds. Evans, Ross & Werner, Whitefriars Glass, James Powell & Sons of London, Museum of London, 1995, fig.83, p.83, for related designs; ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, p.106, pl.38 (i-ii)

Powell & Sons, Shepton Beauchamp, 1996, p.33, fig.91

‘I bought this ‘Tear’ goblet from Chris and Brian Cargin in 2002.’ JS

Attributed to Harry Powell 1853–1922

50 Decanter, c.1900 Sea Green diamond-ribbed glass, with small lugs to shoulders, rigaree collar and a silver mount, chains and stopper, hallmark for James Powell & Sons and an illegible date mark Height 10 in · 25.5 cm

‘A delicious, delicate feast for the eye with an “Oriental” touch.’ JS

The Museum of London book notes that ‘the original [design] had six sea-green tears on clear glass; in 1901, this was reduced to four tears; afterwards a variety of combinations and colours were used.’ ‘I bought this goblet from Pete Gooday in 1992.’ JS

34  JAMES POWELL & SONS

the john scott collection  35

Attributed to Harry Powell 1853–1922 (after Philip Webb)

51

Champagne bowl, c.1900

Flint glass, with four applied, green, raspberry prunts to bowl and a green, twisted stem Height 6¾ in · 17 cm Literature: Rudoe & Coutts, ‘The Table Glass Designs of Phillip Webb and T. G. Jackson for James Powell & Sons, Whitefriars Glassworks’, Decorative Art Society Journal, vol.16, 1992, p.33.

36  JAMES POWELL & SONS

Rudoe and Coutts refer to Barbara Morris’s note that this design and that of cat 54 are related to the Philip Webb glasses but are later in date and more influenced by Art Nouveau.

Attributed to Harry Powell 1853–1922 (after Philip Webb)

‘This is a very, very elegant glass. Powells desperately needed more daringly slender shapes of this ilk to extol Art Nouveau and the new spirit of twentieth-century Britain.’ JS

Flint glass, with four applied, green, raspberry prunts to bowl and a green, twisted stem Height 6¾ in · 17 cm

52

Tulip shaped wine glass, c.1900

Exhibited: London, Arts & Crafts Exhibition, 1906 Literature: ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, p.32, fig.86

the john scott collection  37

Attributed to Harry Powell 1853–1922

53

Vase, c.1900

Flint glass, with dented body Height 6 in · 15 cm

Attributed to Harry Powell 1853–1922

54 Vase, c.1900 Flint glass, spiral ribbed and dented · Height 6 in · 15 cm

Harry Powell 1853–1922

55

Vase, 1901

Sea green glass, with applied vertical blue tears and rigaree foot, pattern no. 1099 · Height 6½ in · 16.5 cm Literature: ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, p106, pl.40 (v); Hadjamach, 20th Century British Glass, Woodbridge 2009, p.35, pl.64; H.G. Dowling, A Survey of British Industrial Arts, Benfleet 1935, pl.22

This design is based on a vase in the Portinari altarpiece by Hugo van der Goes, c.1475, in the Uffizi Gallery. 38  JAMES POWELL & SONS

Harry Powell 1853–1922

56

Cobweb and Dewdrop goblet, 1901

Flint glass, engraved with cobweb and dewdrop pattern, air twist stem with gold foil, factory pattern number 1095 Height 9 in · 23 cm Exhibited: St Louis, International Exhibition, 1904, same design exhibited Literature: ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, pl.35(i), p.105, same design illustrated

‘This is a very striking goblet with gold spiral inclusions and engraved design of spider’s web. I bought it from Jeanette Hayhurst in 1995.’ JS

40  JAMES POWELL & SONS

Harry Powell 1853–1922

57

Scent bottle, c.1901

Harry Powell 1853–1922

58

Decanter, 1901–2

Ruby red glass, dented body with silver collar and stopper, hallmark for William Hutton & Sons, 1901 Height 9¼ in · 23.5 cm

Sea Green glass, with white melted-in and pulled up threads, spiral threading on neck, silver-coloured metal and cork stopper Height 12 in · 30 cm

Exhibited: London, Arts & Crafts Exhibition, 1916 (C5), same shape exhibited

Literature: ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, pl.43 (iii), p.107, same design illustrated

‘This is a charmingly delicate decanter.’ JS

Attributed to Harry Powell 1853–1922

59

Goblet, 1905–1910 (designed)

Flint glass, with gold embedded, double knop stem, pattern no. 1170; diamond engraved Given to Sir Jeremiah Colman Bt DL JP on his 80th Birthday / 24th April 1939 Height 9 in · 22 cm Literature: ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, p.113, pl.76

42  JAMES POWELL & SONS

Attributed to Harry Powell 1853–1922

60 Goblet, 1905–1911 (designed) Blue glass, double knop stem with embedded gold Height 7½ in · 19 cm Literature: ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, p.113, pl.76, same design illustrated in flint glass

‘I bought this Azurian glass because it is so beautiful, with hollow gilt knops. It came from Jeanette Hayhurst, Kensington Church Street.’ JS

the john scott collection  43

Harry Powell 1853–1922

61

Silver-mounted glass centrepiece, 1906

Glass, with blown trailed and pulled decoration mounted in silver with and enamel heraldic shields, on a wooden stand, hallmark to base, JP&Sons and date mark 1906. 15 x 10 in · 38 x 26 cm Literature: Gere & Whiteway, Nineteenth Century Design, Pugin to Mackintosh, London, 1993, p.223, pl.281; eds. Evans, Ross & Werner, Whitefriars Glass, James Powell & Sons of London, Museum of London, 1995, p.89, catalogued as Rose Bowl; See also, ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, fig.155, p.62, the pair to this piece illustrated

This spectacular vase is one of a pair of centrepieces made by Powell & Sons for Count Lionel Hirschel de Minerbi for his newly acquired Ca’Rezzonico palace in Venice. Each handle is decorated with a pair of enamelled shields depicting the arms of the Minerbi family. The partner to it is now in the Corning Museum of Glass in the United States of America [accession no.90.2.3]. The well-documented commission – of around four hundred pieces – was reported in an unidentified newspaper cutting* which stated that, as Minerbi ‘wished to have the best glass he could procure he had come to the makers of the specimen he had bought at Turin.’ The 1902 Turin International Exhibition was the first to be devoted entirely to the decorative arts; Harry Powell created many remarkable new pieces for the British Pavilion, which had been organised by Walter Crane from his acquaintances at the Arts & Crafts Exhibition Society. ‘I bought this in 1982 from Andy Tilbrook.’ JS

* ‘Foreigners beaten by British. Venetian Glass to be sent to Venice’, unidentified newspaper cutting, c.1906, Whitefriars Archive, Museum of London (the drawings for the commission are also part of the archive) 44  JAMES POWELL & SONS

Harry Powell 1853–1922

Harry Powell 1853–1922

62 Table glass for the Minerbi Service, 1906

63 Table glass for the Minerbi Service, 1906

Flint glass with pulled down, melted-in, green threads and open three-strand stem, designed c.1899 · Height 8¾ in · 22 cm

Flint glass with pulled down, melted-in, green threads and blown stem · Height 6¾ in · 17 cm

Literature: Studio Year Book, 1907, p.173; ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, pl.45 (vi), p.107, same design illustrated

Literature: Studio Year Book, 1907, p.173; ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, pl.45(vii), p.107, the same design illustrated

46  JAMES POWELL & SONS

the john scott collection  47

Harry Powell 1853–1922

64 Decanter, 1906 Blue glass, with white melted-in threads, applied collar, silver and cork stopper, hallmark for James Powell & Sons, London, 1906 Height 12 in · 30 cm

Harry Powell 1853–1922

65 Table Glass c.1906 Flint glass, with pulled down, melted-in, green threads and twisted stem Height 6¾ in · 17 cm Literature: ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, pl.45(ii), p.107, same design illustrated; c.Hajdamach, 20th Century British Glass, Woodbridge 2009, p.35 pl.63, an example from the collection of the Manchester Metropolitan University, purchased from the company in 1910

Harry Powell 1853–1922

66 Tumbler, c.1906 (designed) Amber glass with applied raspberry prunts, trailing spiralled decoration and rigaree foot Height 4¼ in · 10.8 cm Literature: Studio Yearbook, 1937; ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, pp 36–53, p.71

According to Jackson the design of this glass is thought to be inspired by Lucas Cranach’s painting Melancholia (1528), exhibited at Burlington House in 1906. Powell later made a sketchbook of ‘Glasses with Histories’ taken from various sources, c.1918–1922, featuring many the firm’s existing historical designs as well as other glasses from museums, and several taken from paintings.

48  JAMES POWELL & SONS

the john scott collection  49

Harry Powell 1853–1922

Harry Powell 1853–1922

67 Decanter, 1907

68 Lotus vase, 1910

Sea Green glass, with white melted-in threads, applied collar, silver mounted cork stopper hallmark for James Powell & Sons, London, 1907 Height 12 in · 30 cm

Engraved glass vase, inspired by an Egyptian pottery vase in the British Museum, factory pattern number 1187 Height 5½ in · 14 cm

Exhibited: Turin, International Exhibition, 1902, the same design Literature: ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, pl.43 (ii), p.107

Exhibited: Paris, Exposition des Arts Décoratifs de Grande Bretagne et d’Irlande, 1914 Literature: Studio Year Book, 1911, p.131; ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, pl.63, p.110; fig.160, p.64, same design illustrated

‘I bought this Egyptian-inspired vase from Jeanette Hayhurst.’ JS

50  JAMES POWELL & SONS

the john scott collection  51

69 Dragon vase, c.1910 Ruby red glass, with gold inclusions, overlaid with opaque red glass, acid-etched with a dragon design Height 7¼ in · 18.5 cm Literature: ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, pp.15–18, see also pp.39–40

Harry Powell ‘s interest in ancient glass manufacture and in particular Roman glass lead to a number of experiments to test what was possible to for production. Shapes, patterns and techniques were borrowed from Roman and other ‘glasses with histories’, but one technique that proved very difficult for the company to replicate was the Roman cameo cutting, of which very few examples had survived. Powell did try replicating the Roman blue but found more success with a ruby red glass, into which he mixed gold inclusions, for the body, overlaid with an opaque red glass which was acid-etched with floral, heraldic and dragon designs. These pieces, which were exhibited at the Arts & Crafts Exhibition in 1910, appear to be specially produced exhibition pieces and their rarity would suggest they were never put into general production. Two examples, with similar dragon motifs are illustrated by Jackson (fig.28, p.15 and fig.42, p.18) albeit on different shaped bodies. According to Brian Cargin and Chris Morley, this ruby example must be one of the very few cameos outside of Museum collections.

52  JAMES POWELL & SONS

Harry Powell 1853–1922

70

Goblet vase, 1919

Sea Green glass, with gold inclusions in tapering twisted stem, factory pattern number 1168 Height 9¼ in · 23.5 cm Literature: ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, p113, pl.75 (iv)

Inspired by a finely blown Venetian vessel, seen during Powell’s studies of historical glass, and produced in Alsatian Blue and Sea Green, Jackson suggests this design dates from before 1919 although the pieces were in production until the mid-1930s.

71

Commemorative goblet, 1918

Flint glass, with air bubble in stem, wheel engraved around the rim Dominus loquitor. Arma Silent. 11.11.1918, to commemorate the end of the First World War Height 9 in · 23 cm Literature: ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, p.144, pl.174(i), same design illustrated

‘From Chris Morley and Brian Cargin in 2002.’ JS

William Butler

72

Footed bowl, c.1935

Blue tinted glass, with threaded on Sea Green glass, bowl shape pattern number 7170 (from 1920s) 6 x 9 in · 15.2 x 23 cm Literature: ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, p121, pl.102 (iv)

‘This footed bowl is in the Venetian style with a honeycombed moulded bowl. It is ‘majestic’.’ JS

54  JAMES POWELL & SONS

William J. Wilson b.1914 (engraver)

73

Coronation goblet, 1937

William J. Wilson b.1914 (engraver)

74

Coronation goblet, 1937

Flint glass, diamond engraved 12th G&E May / 1937, to commemorate King George VI and Queen Elizabeth’s coronation, factory pattern no. 9070 Height 8 in · 20 cm

Flint glass with blue knop, diamond-engraved 12th G&E May / 1937, to commemorate King George VI and Queen Elizabeth’s coronation Height 7¼ in · 18.5 cm

Exhibited: London and Birmingham, British Industries Fair, 1937, same design exhibited

Literature: Studio, April 1937, vol.113, p.204; ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, p.144, pl.175(i), same design illustrated

Literature: Studio, April 1937, vol.113, p.204; ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, p.144, pl.175(v), same design illustrated

‘These drawn trumpet glasses are a joy to hold. Whitefriars were seeking to emulate the most famous of English glasses – The Amen Glasses – same shape, style, and engraving – just 200 years older and valued at hundreds of thousands now! Gorgeous to drink from when blindfolded – imagine!’ JS

William J. Wilson b.1914 (engraver)

75

Coronation goblet, 1937

Flint glass with blue knop, diamond-engraved 19 ER 37 / VIII to commemorate the planned coronation of Edward VIII in 1937 Height 7½ in · 19 cm Literature: Studio, April 1937, vol.113, p.204; ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, p.144, pl.175 (ii), same design illustrated

‘This goblet is very heavy – ideal for Royal picnics.’ JS

Frank Hill (maker)

WILLIAM J. WILSON b.1914 (engraver)

76

Coronation goblet, 1953

Frank Hill (maker)

WILLIAM J. WILSON b.1914 (engraver)

78

Coronation goblet, 1953

Clear glass, with red, blue and white enamel twist stem, diamond engraved 2nd EIIR June / 1953 · Height 8 in · 20 cm

Clear glass, with red, blue and white enamel twist stem, diamond engraved 2nd EIIR June / 1953 · Height 8 in · 20 cm

Literature: ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, p.144, pl.176(i), same design illustrated – Jackson notes that this shape was designed c.1936; G. M. Heddle, Manuel on Etching and Engraving Glass, London 1962, same design illustrates cover; Morley ‘The Whitefriars Glassworks (James Powell & Sons Ltd): The final chapter n the post-war years’, Decorative Arts Society Journal, vol.15, 1991, illustrated

Literature: ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, p.144, pl.176(i), this design illustrated – Jackson notes that this shape was designed c.1936; G. M. Heddle, Manuel on Etching and Engraving Glass, London 1962, same design illustrates cover; Morley ‘The Whitefriars Glassworks (James Powell & Sons Ltd): The final chapter on the post-war years’, Decorative Arts Society Journal, vol.15, 1991, illustrated

‘Reputed by Chris Morley to have been diamond point etched by William Wilson (one or two per evening?); from Chipping Norton Antiques Centre in 2001.’ JS

‘From Vernon Arcade in 2010.’ JS

William J. Wilson b.1914 (engraver)

77

Coronation goblet, 1953

Flint glass, diamond engraved 2nd EIIR June / 1953, to commemorate Queen Elizabeth II’s coronation Height 8 in · 20 cm Literature: ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, p.144, pl.175(iv), same design illustrated

56  JAMES POWELL & SONS

the john scott collection  57

William J. Wilson b.1914 (engraver)

79

Coronation goblet, 1953

Flint glass, diamond engraved 2nd EIIR June / 1953, to commemorate Queen Elizabeth II’s coronation Height 8 in · 20 cm Literature: ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, p.144, pl.175(iv), same design illustrated

William Wilson b.1914 and Harry Dyer

80 Knobbly vase, 1963 Willow soda glass, cased in clear crystal Height 8¾ in · 22 cm Literature: ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, pp.87–88

William Wilson b.1914 and Harry Dyer

81

Knobbly vase, 1963

Indigo soda glass, cased in clear crystal Height 8¾ in · 22 cm Literature: ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996, pp.87–88

The ‘Knobbly’ range was launched at the Blackpool Fair in 1964. These free blown pieces were heavy and thick-walled. The shapes were created using a special s-shaped tool to manipulate the molten glass before blowing. Geoffrey Baxter later refined and standardised the shapes and created two colour ranges: one of single colours encased in clear crystal, as here, and the other lead crystal with streaks of different colours through the body. ‘One man’s meat is another man’s poison. After all this is Britain’s greatest glass business and the designer is known!’ JS

58  JAMES POWELL & SONS

the john scott collection  59

Attributed to Charles Hardgrave 1848-c.1920

Attributed to Charles Hardgrave 1848-c.1920

82 Angel and Rose opus sectile tablet, c.1885

83

Opaque and painted glass mosaic 7¼ x 16½ in · 18.5 x 42 cm

Opaque and painted glass mosaic 28¾ x 12½ in · 73 x 32 cm

‘I call this material pâte de verre, as it is powdered glass reheated to a lower temperature than for glass proper.’ JS

Literature: Hardy, ‘Powell’s Opus Sectile Locations,’ 2001, published on www.tilesoc.org.uk/pdf/opuslist

Lily opus sectile tablet, c.1885

Opus sectile was a revival of an ancient Roman technique where specially cut materials usually marble, stone or mother of pearl, were inlaid into walls and floors to create pictures. Using Powell’s innovative colours and finishes in glass in this way was a natural extension of the work of the firm, whose clients were often ecclesiastical decorators to whom they supplied stained glass either as a mix, as quarries or as ‘off the shelf ’ or commissioned glass panels. Documentary evidence in the Powell’s Cash Window Books, analysed by Dr Dennis Hardley, suggests that Powell & Sons were making reredoses, altar and wall panels with opus sectile certainly from 1873. By the 1890s they were exporting them across the world including to India, USA, France, Ireland and Denmark and making panels for commercial as well as religious purposes. This lily panel is similar to that used in The Church of the Holy Cross, Owlpen, 1887, and may be attributed to Charles Hardgrave. ‘These pâte de verre panels were frequently used in church interiors, many depict religious subjects.’ JS 60  JAMES POWELL & SONS

Attributed to Harry Powell 1853–1922

84 Five-branch electric ceiling light, c.1900 Wrought iron and opalescent glass 57 x 23 in · 145 x 59 cm

An 1866 catalogue of Whitefriars’ products shows that the company were making and retailing glass lighting in the form of gasoliers and chandeliers from at least that time. From about 1875, shortly after the arrival of Harry Powell, the firm employed a blacksmith, Edminstone, and anapprentice, Edmund Francis, who are thought to have made wrought iron fittings for the firm’s glass shades, vases and bowls as well as looking after the workmen’s tools and equipment. They were probably responsible for the manufacture of this piece.

62  JAMES POWELL & SONS

Published in an edition of 600 copies for the exhibition James Powell & Sons Whitefriars Glass 1860–1960 held at 148 New Bond Street, London w1, 11 June – 3 July 2014 The Fine Art Society would like to thank Brian Cargin and Chris Morley for their kindness and expertise in helping catalogue these items. Catalogue © The Fine Art Society, London Text © the authors ISBN 978 1 907052 41 5 Text by Annamarie Phelps and John Scott Edited by Rowena Morgan-Cox and Annamarie Phelps Photography © Michael Whiteway, A.C. Cooper: inside covers and cat.62 Designed and typeset in Verdigris by Dalrymple Printed in Belgium by Albe De Coker Front cover: 
Harry Powell, Vase, 1901 [cat.55] Back cover: William Butler, Footed bowl, c.1935 [cat.72] Inside cover: Owen Jones 1809–1874 ‘Stanhope’ textile design, 1872

THE FINE ART SOCIETY Dealers since 1876

148 New Bond Street · London W1S 2JT +44 (0)20 7629 5116 · [email protected] www.faslondon.com

THE FINE ART SOCIETY 66  JAMES POWELL & SONS

Dealers since 1876

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