109 results for "voysey"

Liberty & Co., London. An Arts and Crafts mahogany mantle clock with stylised floral inlay to the front panel. The case has a gently domed top and sweeping architectural form, design...

Donegal Carpet Ireland 10’4” x 13”6” - 315 x 411 Early 20th century; c. 1910 Wool pile of symmetric knots on a wool foundation Designed by Gavin Morton The Donegal factory in Killybe...

Donegal Arts and Crafts Carpet Killybegs, Ireland Early 20th century Gavin Morton Design Wool pile of symmetric knots on a wool foundation. M...

George Montague Ellwood (1875–1955) for J. S. Henry. An Arts and Crafts oak bureau with a shaped pediment and floral fretwork to the upper and lower sides. The fold-down writing area...

E.A. Taylor made by Wylie and Lochhead. An Arts & Crafts mahogany display cabinet or sideboard, with upper open shelf and gallery with capped uprights to the sides, a central upper ...

A Gothic Revival oak armchair designed by John Pollard Seddon, made by his family firm Thomas Seddon (Seddon and Co). Based in Bond Street, they supplied furniture to Windsor castle and Buckingham Palace, founded by his Great Grandfather George Seddon. He exhibited an almost identical armchair on the Morris, Marshall, Faulkner and Co stand at the 1862 International Exhibition, illustrated in JEREMY COOPERS Victorian and Edwardian Furniture and Interiors. Seddon's also worked with E.W. Godwin, was a friend of the Pre-Raphaelites. Some of his pupils were Ford Maddox Brown...

Royal House Antiques Royal House Antiques is delighted to offer for sale this stunning original Arts & Crafts Shapland & Petter Hall stand with hand hammered Copper panels over a Walnut frame with inset sheild mirror Please note the delivery fee listed is just a guide, it covers within the M25 only for the UK and local Europe only for international, if you would like an accurate quote please send me your postcode and I’ll provide you with the exact price A very good looking well made and decorative hat glove coat and scarf rack, this one is rare as it has the central mirror and its an earlier than usual example circa 1900 Made by Shapland & Petter, a full blub on their life and works can be found below In terms of the condition it is straight and solid, the piece sits well in any setting and looks decorative and very English country house, we have cleaned waxed and polished the timber, there is one hook slightly bent, otherwise its in fine order Dimensions Height:- 205cm Width:- 113cm Depth:- 40cm Please note all measurements are taken at the widest point, if you would like any additional or specific measurements please ask Shapland and Petter of Barnstaple Introduction This Barnstaple based company manufactured some of the finest pieces of furniture in Arts and Crafts style but very little has been written about the company or the pieces they produced. It a great shame that whilst Shapland and Petter pieces have been illustrated in books and auction catalogues they are invariably attributed to other makers such as Liberty and Co in London or Wylie and Lochhead in Glasgow. With this feature, we intend to inspire a more thorough appreciation of the work of the company; readers are invited to help with the task by sending photographs and information. Collectors and auction houses are now showing significantly more interest in Shapland and Petter pieces. The company, based in Barnstaple, England produced a very wide range of furniture in several different styles including many pieces in period reproduction and municipal style for town halls and commercial premises alongside their superb Arts and Crafts range Distinctive features of their superb Arts and Crafts style are the use of heart shaped piercing, geometric shapes with angled arches and the application of repousse copper panels. Decoration with marquetry, metal inlay, mounting of ceramic and enamel cabochons were techniques which they mastered with a combination of state of the art technology and traditional craftsmanship. Most distinctively, the pieces were extremely well made, with care and very best quality materials The growing interest in Shapland and Petter has raised many questions about the origins of the firm, and the sources of influence on their designs, some of which resemble designs by Ashbee, Ballie Scott, Voysey and Talwin Morris. Links have been assumed with Liberty and Co with the supposition Shapland and Petter worked on commissions for Liberty. There appears to be little evidence to support many of the assumptions which have developed around the company and this article is intended to help to start the discussion and to stimulate research The History of Shapland and Petter The Museum of North Devon in Barnstaple have an archive of Shapland and Petter which includes some company records and a small display of furniture and related items. The following text gives history of the company and is reproduced from the display boards in the museum with kind permission of North Devon Museums For over 100 years the Shapland and Petter factory has stood at the end of Barnstaple Long Bridge. Manufacturers of doors, door sets, and custom wood interiors, NT Shapland and Petter Ltd are still one of the towns largest employers. The company was established by Henry Shapland (b. 1823), a cabinet maker by trade. He embarked on a voyage to America in 1848, where he was inspired by an invention for a wave-moulding machine. He was only allowed to see it if he left the country immediately. Returning home with only rough notes, he reproduced the machine and in 1854 began a cabinet making business in one room at the Raleigh woolen mill in Pilton. Later the firm moved to Bear Street in Barnstaple. Henry Petter was an accountant who entered into partnership with Mr Shapland. The business progressed and in 1864 they bought the Raleigh Factory where Shapland first began his work. Success was rapid, but in 1888 the building burnt down. Immediately work began on a bigger and better factory - their present site by the Long Bridge - which included many modern inventions The two Henrys died within two years of each other - Petter in 1907 and Shapland in 1909. In 1924 Shapland and Petter merged with the Barnstaple Cabinet Company, producing North Devon's biggest industry. During the First World War Shapland and Petter's skilled craftsmen turned their hands to wooden propellers for the aircraft of the Royal Flying Corps. After the war, public tastes changed, and hand carved furniture was too expensive for many. Shapland and Petter's output now included elegant veneered pieces with smooth Art Deco lines. The company fitted out Pullman carriages and ocean liners and made hand-carved church furniture. The famous England Rugby Captain W. W. Wakefield was appointed Company Director in 1927. Throughout the depression of the late 1920's and early 1930's the company still managed to produce high quality work Furniture manufacturing continued until the outbreak of the Second World War in 1939. Many workers left to fight, while the factory worked on Air Ministry contracts for ammunition boxes. After the war came radio cabinets and laboratory and contract furniture, until eventually large quantities of doors were being produced for hospitals, hotels, schools, offices and other buildings. Examples of Shapland and Petter's work can be seen all over North Devon. In Barnstaple, the shop front at 109 High Street is a good example, and the interior of the old Lloyd's Bank, now Chamber's Brasserie, was also Shapland's work. Examples of carving by Shapland's men can be seen in two chairs and a reading desk in Barnstaple Parish Church As cabinet makers, Shapland and Petter employed up to 350 people at a time. There were designers, carvers, cabinet makers, machinists, polishers, and labourers. The company was one of the first to install American labour-saving devices and was keen to adopt the most up-to-date machinery The fire of 1888 at the Raleigh Cabinet Works was a huge loss for the company. However, it resulted in a new factory which was altogether more modern and better equipped. The new building by the river was arranged into blocks. The production line began with the saw mills and ended with the finishing rooms. There was modern machinery in every department - one of their saws was the first of its kind in Britain. Water sprinklers and electric lights were a necessity - this factory would not burn down As well as the furniture production, Shapland and Petter imported timber by sea and rail. The new factory 's facilities were exceptional Shapland and Petter were renowned for excellent design and workmanship. The carvers were highly skilled, serving seven year apprenticeships and attending classes at the Barnstaple School of Art. Ornately carved furniture required up to a hundred tools The factory produced made to order woodwork for banks, hotels, and shops; mantelpieces, paneling and staircases. They fitted out Pullman railway carriages, the London Guildhall, and Edgar Wallace 's dining room as well as houses like Tapeley Park in North Devon Much of the work involved intricate leaded glass panels, or inlaid fruitwood designs, like the white bedroom suite shown in the exhibition here. This type of work is typical of Art Nouveau 1895 to 1910, inspired by the fluid shapes of plants and flowers Many pieces were made from standard designs. There were hundreds to choose from, and a selection could be seen in local and London showrooms and in catalogues. Although mass-produced, this furniture was well-made by skilled technicians and modern machinery Arts and Crafts designs of Shapland and Petter The development of the Arts and Crafts Movement in the South West of England has not been written up in any detail though we do know of the Art Potters of Barnstaple from the excellent book of this name by Audrey Edgeler. Less is known of the Barnstaple Guild of Metal Workers. We know of the Bath Cabinet Makers and the Newlyn School of Industrial Art in Cornwall but very little has been written about the furniture makers of Barnstaple in Devon The establishment of a large cabinet making firm in Barnstaple is not remarkable in itself; there were several cabinet makers in the area. What is interesting is that this particular Barnstaple firm should become a leading maker of Arts and Crafts furniture, copying the styles of the leading Architect designers and creating their own unique style Critics may point out that as their work was commercially driven and reliant upon machines it therefore does not really qualify as Arts and Crafts. Whilst the company was highly innovative in machine technology, they also employed many craftsmen who worked with their hands in woodcarving, marquetry work, design and application of decorative copperwork and other artistic embellishment in the true Arts and Crafts tradition. Anyone who has experience of Shapland and Petter workmanship knows the level of craftsmanship invested in each piece Sources of inspiration There appears to be no evidence to link any known architect, artist or designer to the Shapland and Petter company. Their designs appear to have been created solely by their own internal design staff none of whom appear to have published or registered their work in any other context C. R. Ashbee who established the Guild of Handicrafts visited Barnstaple in 1893 and provided a twelve week course on the design and decoration of furniture. It is presumed that this visit was hosted by Shapland and Petter, and that their own staff and those from other local furniture makers attended the course. Ashbee appears to have been unimpressed by the commercial attitudes he encountered and apparently disappointed at the lack of interest in his (high minded) lectures. What is interesting however is the similarity between some of his designs and those used by Shapland and Petter, particularly in respect to inlaid floral design. Perhaps he left a lasting influence which has not yet been verified There has been some speculation on the influence of Scottish designers, particularly because of the use of Glasgow rose designs which are typical of the Glasgow School, and particularly of Talwin Morris. There are also several designs which use similar motifs to those used by Baillie Scott, the use of two doves in flight for example. More research is needed to trace possible links here. One thing that is clear is that there was a great deal of copying and selling designs in the furniture industry at the time and a nineteenth century survey on the furniture trade recorded that '' Barnstaple pays the best prices for designs ..'' Collaboration with other companies There is evidence that Shapland and Petter organised a wide network of companies to retail their products and hence many pieces have the labels of retail furnishers added. Little is known of their marketing in Europe and America but it may be that many Arts and Crafts pieces were sold abroad. Shapland and Petter had excellent access to rail and shipping lines for importing timber and presumably for exporting their finished products The extent of their collaboration with other companies is yet to be ascertained but there is evidence that their suppliers included the Della Robbia Pottery, Pilkingtons Tile...

Hand-knotted in wool and originating in France, this 9x11 Antique French Savonnerie rug is a unique approach to the Arts & Crafts movement, and an exciting new collectible from Rug &...

A pair of Arts and Crafts rush seated chairs designed by Ambrose Heals. These chairs are part of one of the first bedroom suits he de...

A good quality Windsor armchair attributed to Liberty and Co with well designed back supports. There is an identical armchair in Jeremy Coopers Victorian and Edwardian Furniture and ...

77155 antique Turkish Oushak Palace Gallery rug with Luxe Arts & Crafts style 06'09 x 32'01. The architectural elements of naturalistic forms combined with Arts & Crafts style, this ...

John Pollard Seddon. A rare Gothic Revival armchair with carved dogs heads to the arms, and inlaid dot details. This was probably made by his family firm Thomas Seddon (Seddon and Co), New Bond Street London. Founded by his Great Grandfather George Seddon They supplied furniture to Windsor castle and Buckingham Palace. J P Seddon exhibited a similar style armchair on the Morris, Marshall, Faulkner and Co stand at the 1862 International Exhibition, illustrated in Jeremy Coopers Victorian and Edwardian Furniture and Interiors, page 104 illustration 220 showing the original drawing and 227 (a variation of this chair) image attached. There is another version illustrated in Nineteenth Century Design by Charlotte Gere and Michael Whiteway, page 84 illustration pl 83 (last 2 images). Interestingly at one point Seddon's partner was E. W. Godwin, a friend of the Pre-Raphaelites and some of his pupils were Ford Maddox...

A lovely example of an oak Arts & Crafts Movement chair With a drop-in rush seat There is a stylised tree design cut-out to the central back splat, which is in the manner of CFA Voys...

Glasgow School mahogany cabinet With stylised trees, flower and foliage inlay design Well proportioned canted glass display cabinet and original green cru...

A decorative 6-inch heraldic blue lustre tile by Pilkington, circa 1915, impressed with a single ‘P’ to the reverse. Decorated with a beautiful lustre glaze, this antique English tile...

Arts and Crafts Oak Studio Chair by Arthur Simpson of Kendal, circa 1910 A rare and expressive studio chair by Arthur Simpson of Kendal, one of the most accomplished makers of the B...

Arts & Crafts oak reclining chair, designed by Ambrose Heal (1872–1959) for Heals of London. Circa 1905. Stamped: Sesame lounge registered design 4...

Antique Donegal Runner by C.F.A. Voysey (Fragment) Size: 3'0" × 13'0" (91 × 396 cm) Color: Blue, Green, Purple, Red This rare and exceptional antique Donegal runner, attributed to th...

A contemporary interpretation of 19th Century English Arts & Crafts carpets, particularly those of the renowned English textile designer, C.F. A. Voysey, whose works were largely ins...

A decorative 6-inch by 4 and 1/4 inch antique lustre glazed tile by Pilkington’s Tile and Pottery Co (stamped). One of two similar in design we have for sale, this reclaimed tile i...

Rare Arts and Crafts Doris Leslie Blau Size: 9'3" × 11'5" (281 × 347 cm) Age: Vintage Color: Blue, Cream, Green Origin: England This exquisite vintage Arts & Crafts rug from England ...

A contemporary interpretation of 19th Century English Arts & Crafts carpets, particularly those of the renowned English textile designer, C.F. A. Voysey. Whose works were largely ins...

An excellent condition antique 4-inch lustre tile attributed to Pilkington’s Tile and Pottery Co. decorated with a heraldic crown; one of two similar w...

A decorative 6-inch by 3-inch Arts and Crafts lustre glaze tile by Pilkington’s Tile and Pottery Co. One of four similar in design we have for sale, t...

Liberty. & Co, attributed, in the style of Voysey. A sweet little pair of English Arts and Crafts oak side or bedroom chairs inlaid with pewter hearts and newly laid rush seats.

The source of carpet comes from the book Arts & Crafts Carpets, by Malcolm Haslam, and David Black, 1991, fig.49. This Hammersmith carpet was designed by William Morris in 1882, in the United Kingdom. In 1887 English artist and bookbinder T.J. Cobden Sanderson, suggested that a new group be named the “Arts and Crafts Exhibition Society” As a result, he was the first to use the term “Art and Crafts” and also is credited with naming this new emerging movement. The Arts & Crafts movement was inspired by the degradation of product standards that resulted from the factory production age. The rise of machinery in manufacturing caused a noticeable decline in uniqueness and crafts. These anti-Industrial reformers promoted economic advancement and social change. They wanted to eliminate poor quality and “artificial” items from 19th century British society. They saw a plethora of uninteresting items on display at the Great Exhibition of 1851 and became inspired to launch a Campaign for originality and uniqueness. William Morris was an English designer, as well as an uplifting social activist and writer. Morris is credited with sparking the rebirth of textile arts and traditional means of production. In 1861, Morris and a small group of designers opened an incredibly fashionable design company that grew to be largely successful. Morris left behind works in many different mediums such as textiles, books, furniture, stained glass, and area rugs. But in the end, he is most remembered for the magnificent wallpapers that he designed. He got much of his inspiration from the natural world. Through his interior decor pieces, Morris set out to convert rooms or spaces into meadows with beautiful trees meandering, vines, and plants. This concept of taking something Industrial and man-made, and converting it into something natural is what William Morris meant when he once said: “-any decoration is futile… when it does not remind you of something beyond itself.” Morris was a huge commercial success and his works are some of the most sought-after pieces in the world of design and decor. He is also credited with almost single-handedly reviving the British textile arts as well as their methods of production. Morris was also severely critical of machine-made goods, exclaiming, “Today almost all wares that are made by civilized man are shabbily and pretentiously ugly.” Houses were filled “with tons and tons of unutterable rubbish,” which, he suggested, should be heaped onto a gigantic bonfire! “As a condition of life, production by machinery is altogether evil.” He masterminded one of the most well-known styles of Arts & Crafts, recognizable by its twisting and arching patterns and simple, elegant floral design prints. Although Morris believed that Persian carpets were the greatest ever made, he adopted the coarser Turkish (Ghiordes) knot for his hand knotted carpet manufacture. They were woven at a thickness of 25 knots to the square inch at that time. Morris & Co.’s rugs are reminiscent of Persian garden design carpets in that they are smartly styled depictions of English gardens. Donegal also started producing highly desirable Irish rugs in the late 19th century. The Donegal rugs were predominantly created by English architects C.F.A. Voysey and Gavin Morton. The handcrafted Voysey rugs are typically woven in England, Scotland, and Ireland. Voysey had a knack for using contrasting shapes to decorate flat monochromatic spaces. Dark outlines added a flair of drama to his signature pattern and Celtic rug...

77513 vintage Persian Qum rug with botanical hunting scene 04'06 x 07'00. With it's timeless elegance and regal charm, this hand knotted wool vintage Persian Qum rug features a livel...

Edward William Godwin (firmly attributed) for Collinson and Lock, a superior quality Anglo-Japanese rosewood sideboard almost certainly designed by Edward William Godwin. Godwin's st...

Liberty & Co, attributed. Probably made by Shapland and Petter. An Arts and Crafts oak chair with shaped padded head rest with a single Voysey style inlaid pewter heart to the top o...

A rare pair of simple Arts and Crafts oak plant stands with square tops, and tapering legs united lower down by twin stretchers with a circular plant holder above, (the plant holders...

Made with hand-knotted wool and believed to originate from England in the late 19th century, this 11x12 antique Axminster rug marks an exceptional curation in Rug Kilim’s Europ...

Guild of Handicraft, attributed. A pair of silver-plated vegetable dishes and covers, designed by C. R. Ashbee, c.1900. Oval in form, with ivory finials attached by chain link to fol...

77517, vintage Indian rug with Arts & Crafts style inspired by William Morris. The architectural elements of naturalistic forms combined with Arts & Crafts style, this hand knotted w...

77433 Antique Turkish Hereke Rug, 14'07 x 19'02. Reminisce of 19th century French designs and decorative elegance, this hand knotted wool antique Turkish Hereke palace rug beautiful...

77637-77638, matching pair of antique Persian Tabriz Runners with Arts &Crafts style. Reminisce of 19th century French designs and decorative elegance, this matching pair of hand kno...

Newly added to Rug & Kilim’s European Collection, a 3x5 inspired by classic Arts & Crafts rugs of the early 20th century. The beige-brown colorway enjoys a fabulous play with the blu...

This 14x21 vintage Arts & Crafts rug is a one-of-a-kind new curation from Rug & Kilim, among the most collectible, rare treasures of the Fetcher House acquired from the late James Ha...

This antique 10x16 Arts & Crafts rug is a rare new unveiling from the Antique & Vintage Collection by Rug & Kilim. On the Design: Hand-knotted in wool, this piece originates from...

Antique Donegal Runner by C.F.A. Voysey (Fragment) Size: 3'0" × 13'0" (91 × 396 cm) Color: Blue, Green, Purple, Red This rare and exceptional antique Donegal runner, attributed to th...

Belgian Art Nouveau desk and armchair in ebonized oak, circa 1905, in the manner of Gustave Serrurier-Bovy. 72" long x 37" deep x 30" high. The Art...

30266 New Transitional Floral Indian rug 09'00 X 11'10. Set off with stylish levels of complexity and its highly decorative aesthetic, this transitional gray area rug displays a mode...

51596 new Turkish Oushak rug with Arts & Crafts style Inspired by William Morris. The architectural elements of naturalistic forms combined with Arts & Crafts style, this new Turkish...

30307, new contemporary Persian Mahal Indian rug with modern transitional Arts & Crafts style. The architectural elements of naturalistic forms combined with Arts & Crafts style, thi...

Set of Four Grilles, Circa 1865 Cast Iron, Polychrome and Gilt Decoration Attributed to John Pollard Seddon (1827-1906) Dimensions: 49.5cm x 34cm Provenance: Collection of John Sco...

A decorative 6-inch by 3-inch antique lustre glaze tile by Pilkington’s Tile and Pottery Co. Dating from the early 20th century, this unusual tile is artistically decorated with a d...

A decorative 6-inch by 4 and 1/4 inch antique lustre glazed tile by Pilkington’s Tile and Pottery Co (stamped). One of two similar in design we have for sale, this reclaimed tile is...

A decorative 6-inch by 3-inch Arts and Crafts lustre glaze tile by Pilkington’s Tile and Pottery Co. One of four similar in design we have for sale, this antique tile is artisticall...

A decorative 6-inch by 3-inch Arts and Crafts lustre glaze tile by Pilkington’s Tile and Pottery Co. One of four similar in design we have for sale, this antique tile is artisticall...

An excellent condition early 20th century 4-inch heraldic lustre tile attributed to Pilkington’s Tile and Pottery Co; one of two similar we have for sale. This antique 4-inch collector’s tile is in exceptionally clean condition, detailing a gold crown between fleur-de-lys corners before a rich red background. With it’s beautiful lustre glaze and regal subject, this tile is a brilliant piece of British pottery for a collector of historical ceramics. Pilkington’s Tiles...