Learn about antiques and collectables...
Click on a category below to show all the entries for that category.
Learn about and understand the items, manufacturers, designers and periods as well as the specialist terms used in describing antiques and collectables. Either click one of the letters below to list the items beginning with that letter, or click on a category on the left side of the screen to list the items under that category.
J. Barnard Knight
J. A. (John Arthur) Barnard Knight (1910-1993) was born in Warracknabeal, Victoria and studied at the School of Applied Art at the Melbourne Technical School, now RMIT University. While working at the Hoffmann and Maribyrnong Potteries he gained production experience and worked at the studio of Napier Waller from 1932 to 1933.
After graduation, he joined the staff of Melbourne Technical School and taught pottery, modelling, and drawing eventually becoming head of the department. He married in 1940 and with his new wife he established the Janet Gray Studio in South Yarra.
After war service returned to the Janet Gray Studio and his position at the Melbourne Technical School. He signed his work 'J. A. Barnard Knight,' which was painted or incised. He continued at RMIT until he retired in 1975.
J. D. Kestner
Johannes Daniel Kestner founded his business about 1816 and advertisements for his papier mache dolls with leather bodies date to 1823.
He is credited as being the founder of the doll manufacturing trade in the town of Waltershausen, which expanded to become the doll manufacturing centre for all of Europe, with numerous manufacturers based there.
Unlike many of the manufacturers, Kestner was able to produce both heads and bodies. Other manufacturers brought their heads in, as they did not have the plant, such as a porcelain manufactury, to be able to make them in-house.
In the 1850s Kestner was making china-head and wax-over-papier mache dolls but these were unmarked.
Kestner died a wealthy man in 1858 and his two wives carried on the business, purchasing a porcelain factory that produced parian heads and later, bisque heads.
In 1872 Kestner's grandson Adolph took over the business until he died in 1918.
The company continued operating through World War I and into the Great Depression. However the decline in demand, especially from the United States resulted in the company going into bankruptcy in 1936.
J. Farren-Price
The jewellery business J. Farren-Price was established in 1942 by Jack Farren-Price, an Englishman who migrated to Australia. He opened his first jewellery store in Sydney's Queen Victoria Building (QVB) in 1943. Farren-Price quickly. During this period, the store specialized in creating high-quality jewellery pieces, including engagement rings, diamond necklaces, and watches and gained a reputation for their exquisite craftsmanship and attention to detail.
In the 1960s, J. Farren-Price expanded its offerings and began showcasing luxury watches from prestigious Swiss brands. This move established the store as a leading retailer of fine timepieces in Australia. Under the leadership of Jack Farren-Price's son, John Farren-Price, the store underwent further expansion and modernization in the 1980s. The company relocated to its current location on Castlereagh Street in Sydney's luxury shopping precinct. During this time, J. Farren-Price became an authorized dealer for several prestigious watch brands, including Rolex, Patek Philippe, and Audemars Piguet. In the 2000s, J. Farren-Price added additional luxury watch brands such as Jaeger-LeCoultre, IWC, and Cartier.
J. Farren-Price remains a leading destination for luxury watches and jewellery in Australia, known for its commitment to quality, expertise, and a passion for horology.
J. W. Benson
J. W. Benson was a British watchmaker, clockmaker and jeweller founded in 1844 by John William Benson. The company was based in London and became one of the most successful watchmakers in the world during the 19th century. Benson pocket watches were known for their high quality and craftsmanship, and they were often used by royalty and other members of the upper class.
The company's first pocket watches were made with movements imported from Switzerland. However, in the late 19th century, Benson began to manufacture its own movements in-house. This allowed the company to produce watches of even higher quality and to control the entire manufacturing process.
Benson pocket watches were popular for both men and women. They were often decorated with intricate engravings and designs, and they could be made in a variety of materials, including gold, silver, and enamel. Benson pocket watches were also known for their accuracy and durability. They were often used by professionals such as doctors, lawyers, and engineers.
The most notable 19th century pocket watches by J. W. Benson include the Benson "Ludgate" pocket watch made with a high-quality Swiss movement and was decorated with an intricate engraving of the London skyline; the Benson "Hunter" with a hinged cover that protected the dial from dust and damage and the "Albert" which was a popular choice for women, being smaller and more delicate than the Hunter pocket watch.
The popularity of the company's pocket watches declined in the early 20th century as wristwatches became more popular and Benson commenced producing wrist watches. Popular models included the "Wristlet" and the "Military".
The company was bought out by Mappin & Webbin the 1980s.
Jabot / Surete Pins
A jabot pin, also known as a surete pin is a fastening device consisting of a pin with a decorative ornament to each end. One end detaches allowing the pin to be passed through the fabric and then the end can be clicked or screwed back into place.
These pins were originally used to decorate or fasten a jabot, which was a piece of fabric worn around the neck, with frills and ruffles dangling over the chest.
However when the jabot was no longer fashionable, the pints were worn as jewellery in their own right, for example on hats.
Jack Laird
Jack Denis Laird (1920 –2009) was a New Zealand potter. He was born in Watford, England, and studied illustration and graphic design at the Chelsea School of Art on an ex-serviceman's scholarship, and began to specialize in pottery while undertaking postgraduate study at the University of London. In 1953, Laird moved to Jersey where he taught art at a grammar school. In 1959, he emigrated to New Zealand to teach extramurally, based in Palmerston North, at Victoria University of Wellington. He became a naturalised New Zealand citizen in 1975.
In 1964, the Lairds established Waimea Pottery in Richmond, New Zealand, near Nelson. There, Laird trained a generation of Nelson potters, including Royce McGlashen, Darryl Robertson, John and Anne Crawford, and Laird's son Paul. At its peak Waimea Pottery employed 17 potters. Later, Laird designed tableware for Temuka Pottery. In the 1984 New Year Honours, Laird was appointed an Officer of the Order of the British Empire, for services to pottery. Laird died in 2009.
Laird's work is characterized by its simplicity and functionalism. He was a master of throwing and glazing, and his pots are known for their clean lines and elegant shapes. He was also an innovator, and experimented with a variety of techniques, including slipcasting and press-molding.
Laird was a major figure in the development of New Zealand pottery. He was a mentor to many potters, and his work helped to raise the profile of pottery in New Zealand. He is considered one of the most important potters in New Zealand history.
Jack Ryder
Jack Ryder was an Australian cricketer who played first-class cricket for Victoria and Australia between 1912 and 1929. He was born on 23 August 1889 in North Fitzroy, a suburb of Melbourne, Australia, and died on 3 April 1977 in Melbourne.
Ryder was an all-rounder, and is considered one of the best cricketers that Australia produced during the first half of the 20th century. He was particularly known for his skill as a batsman, and scored 12,677 first-class runs at an average of 50.73. He also took 344 wickets with his leg-spin bowling, at an average of 27.70.
Ryder played 20 Test matches for Australia, between 1920 and 1928, and scored 1,464 runs at an average of 51.24. He also took 30 wickets with his leg-spin bowling, at an average of 37.00. He was part of the Australian team that won the Ashes in England in 1921 and 1926.
After retiring from cricket, Ryder worked as a sports journalist, and was also involved in coaching and administration. He was inducted into the Australian Cricket Hall of Fame in 2002.
Jackfield Glaze
A Jackfield glaze is a ceramic glaze that is typically black and highly lustrous. It is often used on stoneware or porcelain pottery to create a dramatic effect. The glaze is named after the town of Jackfield in Shropshire, England, where it was first developed in the 18th century.
The glaze is made by mixing various metal oxides, such as iron oxide and manganese dioxide, with a lead-based frit, which is a mixture of raw materials that have been melted and then quenched to form a glass. The glaze is then applied to the pottery and fired at a high temperature in a kiln.
Jackfield glaze is known for its unique properties, including its ability to create a highly reflective surface that resembles the appearance of black glass. The glaze is also quite durable and resistant to scratching and chipping, which makes it a popular choice for functional pottery such as bowls and plates. However, due to the use of lead in the frit, Jackfield glaze is not recommended for use on pottery that comes into contact with food or drink.
Jacob & Josef Kohn
Jacob & Josef Kohn was an Austrian furniture maker and interior designer in Vienna, founded in 1849 by Jacob Kohn (1791–1866) and his son Josef Kohn (1814–1884). The company became one of the leading bentwood furniture makers in Austria-Hungary, and was a major competitor of Gebrüder Thonet.
Kohn began producing bentwood furniture in the 1850s, using a process that had been developed by Michael Thonet. Bentwood furniture is made by steaming and bending wooden strips into various shapes, which are then held in place with glue or screws. This process allowed for the production of strong and lightweight furniture at a relatively low cost.
Kohn quickly gained a reputation for its high-quality bentwood furniture, and its products were exported all over the world. The company's furniture was known for its simple, elegant designs, and its chairs were particularly popular in cafes and restaurants.
In the early 20th century, Kohn began collaborating with designers from the Wiener Werkstätte, a group of artists and designers who were known for their innovative and modern designs. Kohn produced a number of iconic pieces of furniture in collaboration with the Wiener Werkstätte, including Josef Hoffmann's No. 670 armchair and Koloman Moser's No. 702 chair.
Kohn's furniture was very popular in the early 20th century, and it was featured in cafes, restaurants, and homes all over Europe and North America. The company's furniture was also used in a number of public buildings, including the Vienna State Opera and the Café Central in Vienna.
Kohn continued to produce bentwood furniture until the 1930s, when the company was forced to close due to the rise of the Nazi Party in Austria. The company's assets were seized by the Nazis, and its factory was destroyed during World War II.
After the war, Kohn's furniture was revived by a number of other companies, and it continues to be popular today. Kohn's furniture is known for its durability, its classic designs, and its association with the Wiener Werkstätte.
Kohn's furniture can be found in many museums around the world, including the Museum of Modern Art in New York, the Museum of Applied Arts in Vienna, and the Disseny Hub Barcelona.
Jacob Petit
Jacob Petit was a French porcelain manufacturer who lived from 1796 to 1865. He was born into a family of porcelain makers, and in 1826, he founded his own porcelain factory in Paris. The factory was located on Rue de Bondy and produced a wide variety of porcelain objects, including decorative vases, figurines, and tableware.
Jacob Petit porcelain is known for its bright colours, intricate designs, and high-quality craftsmanship. The factory produced porcelain pieces in a variety of styles, including Rococo, Neoclassical, and Renaissance Revival. Some of the most popular designs featured floral motifs, animals, and mythological figures.
One of the unique features of Jacob Petit porcelain was the use of a special type of enamel paint that allowed for more vibrant and varied colours than were previously possible. The factory also experimented with new techniques, such as using multiple molds to create more complex figurines.
Jacob Petit porcelain was highly sought after during the 19th century and was exported to other countries, including the United States. Although Jacob Petit's factory closed in 1862, the influence of his designs and techniques can still be seen in contemporary porcelain production. Many modern porcelain makers continue to use vibrant colors and intricate designs inspired by Jacob Petit's work.
Jacob Rudowski
Jacob Rudowski (1927-1996) was a furniture designer who arrived in Australia ca. 1960. He is known for his modernist designs, which often incorporated clean lines, simple forms, and natural materials.
One of Rudowski's most famous designs is his "Tulip Chair," which features a curved backrest and tapered legs. The chair is made from solid timber and has a simple, elegant design that remains popular today.
Rudowski also designed a range of other furniture pieces, including tables, cabinets, and shelving units. Many of his Melbourne clients were mid-century modernist architects and designers. His furniture is typically timber with upholstered living and dining seating and his designs were known for their functional simplicity.
Jacobean
Jacobean is the name applied to the style of furniture and decorative arts in vogue from about 1600 to 1630 which includes the reign of James I (1603-1625). The most common timber used is oak, and it is ornamented with turning and elaborate carving. Characteristic of decoration of furniture in this style are bun feet, mortice and tenon joints (replacing dowell joints) and 'X' frame chairs.
The style was revived in the 19th furniture (Jacobean Revival or "Jacobean style") as represented by most of the furniture coming onto the market in Australia, that is described as "Jacobean".
Jacobite
Wine glasses engraved with mottos and symbols of the Jacobites, who were supporters of Prince Charles Edward Stuart's claim to the English throne.
They were passed around amongst the members of secret groups devoted to the restoration of a Catholic monarch in Scotland and England under the House of Stuart.
The last Jacobite Rebellion ended with Charles Edward Stuart’s defeat at the Battle of Culloden in 1746. His image features on some of the Jacobite glassware.
Genuine examples of Jacobite glassware are dated between 1746 and 1788 but many later copies and forgeries are in circulation.
In November 2012 a Jacobite "Amen" glass, the rarest group of Jacobite glasses sold for £43,000 at auction in Shropshire, England.
Jacobsen, Arne
The Danish architect Arne Jacobsen (1902-71) was born in Copenhagen. As a child he showed an extraordinary talent for drawing and depicting nature. He was educated at the Royal Danish Academy of Fine Arts and the School of Architecture in Copenhagen.
Jacobsen's designs included architecture, furniture, textiles, wallpaper and silverware. He mastered the range of design from large, complex building projects to a teaspoon in a set of cutlery.
His most famous designs became ‘The Ant’, ‘Series 7’, ‘The Egg and The Swan’, and the tableware ‘Cylinda-Line’.
Jacobsen’s architecture includes a considerable number of epoch-making buildings in Denmark, Germany and Great Britain.
‘The Ant’ chair, designed in 1952 for use in the canteen of the Danish pharmaceutical firm Novo Nordisk, became the starting point of his world fame as a furniture designer and became the first of a number of lightweight chairs with the seat and back in one piece of moulded wood.
Model ‘3107’ from 1955 is often merely called ‘The Number Seven Chair’. It was launched in beech, black and white. ‘3107’ is one of the most important success stories in Danish furniture history, and over 5 million originals have been manufactured, as well as countless copies.
'The Egg' is a chair designed by Arne Jacobsen in 1958 for the lobby and reception area of the Radisson SAS hotel in Copenhagen, Denmark, which he also designed.
His simple, elegant and functional designs have a remarkable, timeless appeal and have become international design classics.
Jacquard Fabric
Jacquard fabric is woven on a jacquard loom, which allows intricate and complex patterns to be created. The jacquard loom is controlled by a system of punched cards or a computer program that controls the movement of the loom and allows for the creation of complex patterns in the fabric.
Jacquard fabric is known for its elaborate and detailed designs, which can include intricate floral patterns, geometric designs, and other complex motifs. The patterns are woven into the fabric, rather than printed or embroidered, which gives them a unique texture and depth.
Jacquard fabrics can be made from a variety of fibress, including silk, cotton, wool, and synthetic materials. They are often used for upholstery, drapery, and other decorative applications, as well as for clothing such as dresses, suits, and jackets.
Jacques Adnet
Jacques Adnet (1900-1984) was one of the most celebrated French furniture designers of the 20th century. He is known for his elegant and innovative designs, which incorporated industrial materials such as metal and glass, along with exotic woods and finishes such as parchment and sharkskin.
Adnet began his career in the heyday of the Art Deco era, and in the 1950s, in association with Hermès, created chairs, lamps, desks and other pieces that employed slender metal frames clad in stitched saddle leather.
In 1928, at the age of 28, Adnet took charge of the struggling La Compagnie des Arts Français (CAF), a decorative-arts firm founded by Louis Süe and André Mare. CAF provided Adnet with an ideal platform from which to promote his modernist designs.
Under Adnet's leadership, CAF quickly became one of the leading producers of modern furniture in France. Adnet's designs were characterized by their simple, unadorned lines and their use of high-quality materials. He was also one of the first designers to use industrial materials such as metal and glass in his furniture.
Adnet's designs were highly popular with both critics and the public alike. He received numerous commissions from wealthy patrons and corporations, and his work was featured in many prestigious exhibitions, including the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris.
In the 1950s, Adnet began a collaboration with the luxury goods company Hermès. Together, they created a line of furniture that was both elegant and functional. Adnet's designs for Hermès featured slender metal frames clad in stitched saddle leather. These pieces are still highly sought-after today by collectors and designers alike.
Adnet continued to design furniture until his retirement in the 1970s. He also served as the director of the École Nationale Supérieure des Arts Décoratifs in Paris from 1959 to 1970.
Adnet's work is represented in many major museums around the world, including the Metropolitan Museum of Art in New York and the Musée des Arts Décoratifs in Paris.
Jacques Nicolas Bellin
Jacques Nicolas Bellin (1703-1772) was a French hydrographer and cartographer who worked for the French Hydrographic Department and the French East India Company. He is considered one of the most important cartographers of the 18th century.
Bellin is best known for his work on the hydrographic charts of the French coast, which were considered to be some of the most accurate and detailed of the time. He also worked on a number of sea atlases, including the "Petit Atlas Maritime", which was first published in 1764 and contains over 600 maps.
In addition to his work on nautical charts and atlases, Bellin also produced maps of the French colonies in North America, including a detailed map of New France, which later became Canada. He also created maps of other parts of the world, including Africa and Asia.
Bellin's work had a significant impact on the field of cartography and many of his maps and charts were used by navigators and explorers well into the 19th century. He was also a member of several scientific societies, including the Royal Society in London and the Académie Royale des Sciences in Paris.
Jade
Jadeite and jade are two different types of minerals that are often used interchangeably to refer to a green-colored gemstone that has cultural and spiritual significance in many parts of the world.
Jadeite is a pyroxene mineral with the chemical formula NaAlSi2O6. It is one of the two types of minerals that are commonly referred to as "jade" (the other being nephrite). Jadeite is a relatively rare mineral that is found in metamorphic rocks in certain regions of the world, including Myanmar (formerly Burma), Guatemala, and California. It is known for its bright green color, which is caused by the presence of chromium and other trace elements. Jadeite is also valued for its hardness and toughness, which makes it suitable for use in jewelry and other decorative objects.
Jade, on the other hand, is a term that is used more broadly to refer to a variety of green-colored gemstones, including both jadeite and nephrite. It is often associated with Chinese culture, where it has been used for thousands of years in art, jewelry, and other decorative objects. Jade is believed to have a range of spiritual and healing properties, including promoting harmony and balance, and is often associated with good luck and prosperity.
Pounamu is a type of greenstone that is highly valued by the indigenous M?ori people of New Zealand. It is also known as New Zealand jade or by its mineral name, nephrite.
Pounamu is found in several locations in the South Island of New Zealand, including the Arahura River, the Marsden Valley, and the West Coast. It is typically dark green in color, although it can also be light green, gray, or white. Pounamu is known for its hardness, durability, and toughness, which make it a popular material for carving, jewelry, and other decorative objects.
For the M?ori people, pounamu is considered a taonga, or treasure, and is highly valued for its spiritual and cultural significance. It is often used to represent strength, resilience, and connection to the land and the ancestors. Pounamu is also used in many traditional M?ori ceremonies and rituals, and is
While jadeite and jade are often used interchangeably, it is important to note that not all green-colored gemstones are actually jade. To be considered true jade, a stone must be either jadeite or nephrite and have certain specific physical and chemical properties.
Jaeger-Lecoultre
Since its inception, Jaeger-LeCoultre has epitomized the
pinnacle of Swiss luxury watchmaking. With a rich heritage dating back to 1833,
the brand has consistently demonstrated exceptional craftsmanship, technical
innovation, and elegant designs that have stood the test of time.
Founded by Antoine LeCoultre, a master watchmaker, the company
began as a small workshop in Le Sentier, Switzerland. LeCoultre's unwavering
commitment to precision and excellence quickly garnered recognition within the
industry. However, it was not until 1937, when a partnership was formed with
Edmond Jaeger, a prominent watchmaker from Paris, that Jaeger-LeCoultre emerged
as a distinct entity.
The collaboration between Jaeger and LeCoultre brought
together technical expertise and manufacturing prowess, resulting in a powerful
synergy that would propel the brand to new heights. The combined forces of both
visionaries gave birth to a legacy that would shape the future of horology.
Jaeger-LeCoultre's journey towards greatness was marked by
an unwavering dedication to innovation and technical breakthroughs. In 1903,
the company introduced the world's thinnest pocket watch, a testament to their
commitment to pushing the boundaries of watchmaking. This was followed by the
creation of the Atmos clock in 1928, an extraordinary timepiece that harnessed
changes in atmospheric pressure to power its mechanism.
However, it was the introduction of the iconic Reverso in
1931 that truly solidified Jaeger-LeCoultre's place in horological history.
Designed originally for British polo players, the Reverso featured a unique
reversible case, protecting the delicate watch face during intense sporting
activities. Its Art Deco aesthetic and ingenious engineering captivated the
world, making it an enduring symbol of elegance and functionality.
Over the years, Jaeger-LeCoultre's commitment to excellence
attracted collaborations with prestigious brands, artists, and designers.
Collaborations with Aston Martin, renowned luxury car manufacturer, resulted in
exclusive timepieces that embodied the grace and precision of their automotive
counterparts. Collaborations with artists such as Christian Louboutin and Marc
Newson added a touch of artistic flair to limited-edition collections,
showcasing the brand's ability to seamlessly blend tradition and innovation.
Masterpieces of haute horlogerie have always been at the
core of Jaeger-LeCoultre's offerings. The brand's expertise in intricate
complications and high-end watchmaking is unparalleled. From perpetual
calendars to minute repeaters, tourbillons, and chronographs, each timepiece is
meticulously crafted by highly skilled artisans who embody the brand's
commitment to precision and refinement.
Jaeger-LeCoultre's unwavering pursuit of excellence has been
rewarded with numerous awards and accolades. The brand's dedication to pushing
the boundaries of watchmaking has positioned it as a leader in the industry, a
true beacon of innovation and craftsmanship.
Today, Jaeger-LeCoultre remains committed to its legacy of
excellence. With a focus on blending tradition with modernity, the brand
continues to introduce new calibers, materials, and designs that captivate
watch enthusiasts worldwide. Each Jaeger-LeCoultre timepiece is a testament to
the brand's unwavering dedication to creating watches of exceptional quality,
enduring beauty, and timeless elegance.
Jaeger-LeCoultre is a member of the Swatch Group, which is
the largest watchmaking company in the world. The company continues to produce
high-quality watches, and it is one of the most respected watchmakers in the
world.
In conclusion, Jaeger-LeCoultre's history is a testament to
the brand's unparalleled mastery of Swiss luxury watchmaking. From its humble
beginnings to its current status as a global icon, Jaeger-LeCoultre has
consistently exemplified precision, technical innovation, and timeless elegance.
With a legacy spanning nearly two centuries, Jaeger-LeCoultre continues to
enchant watch enthusiasts with its extraordinary creations, solidifying its
place as one of the most esteemed and revered watch brands in the world.
Jalk, Grete Juel
Grete Juel Jalk (1920–2006) was a Danish furniture designer. From the 1960s, she did much to enhance Denmark’s reputation for modern furniture design with her clear, comfortable lines. She also edited the Danish magazine Mobilia and compiled a four-volume work on Danish furniture. In 1953, Jalk opened her own design studio. Inspired by Alvar Aalto’s laminated bent-plywood furniture and Charles Eames’ moulded plywood designs, she began to develop her own boldly curved models. Jalk developed many simple sets of furniture for manufacturers, including a high desk and stool, a set of shelves in Oregon pine and a series of chairs with upholstered seats and backs on a curved steel base. Her industrially produced furniture has clear, comfortable lines. Economic in their use of materials, they soon became competitive, increasing Denmark’s international reputation for furniture design. Firms in the United States and Finland have also manufactured some of her lines.
James Deakin & Sons
James Deakin & Sons was based in Sheffield, England and specialised in the manufacture of silverware and other silver products. The company was founded by James Deakin in the 19th century and passed down to his son, also named James, who took over the business in the early 20th century. James Deakin & Son was known for producing high-quality silverware and other silver products, including cutlery, candlesticks, and tea sets. The company was also involved in the production of silver jewellery and other decorative items. The firm ceased trading in 1936.
James Dixon & Sons
British silver manufacturer James Dixon & Sons was founded in Sheffield, England in 1806. The company was known for producing high-quality silverware, such as tableware, tea sets, candlesticks, and other decorative items. They were particularly well known for their Sheffield plate (an early form of silver plating) and electroplating techniques. They also produced a wide range of other items, including silver-plated tea services, trays, and other decorative items. James Dixon & Sons was considered to be one of the most prestigious silver manufacturers of the 19th century, and their silverware was highly sought after by both individuals and institutions. In 1920 the business became became a Limited Liability company and continued to be a family run enterprise until 1976 after which it was acquiired by British Silverware Limited and consolidated into the stable of famous names in that company..
James Giles, Worcester Artist / Engraver
James Giles was a renowned 18th century. British porcelain decorator. He was born in 1718 and worked in the porcelain industry for over 50 years, becoming one of the most highly regarded porcelain painters of his time.
Giles was known for his intricate and detailed designs, which often incorporated delicate flowers and other botanical motifs. He was particularly skilled at painting birds and insects, and his work was admired for its lifelike depictions of these creatures. Giles also experimented with new techniques, such as the use of enamels and gilding, to create unique and eye-catching pieces.
Giles worked for several porcelain factories during his career, including the Worcester, Longton Hall and Bow. He was also commissioned by wealthy clients to create one-of-a-kind pieces, and his work can be found in many of the great homes and collections of 18th-century England.
Giles' work is considered to have decorated some of the finest examples of British porcelain from the 18th century. His intricate designs and masterful use of colour and form continue to inspire and delight collectors and enthusiasts alike.
View further examples of James Giles, Worcester Artist / Engraver
James Greig
James (Jim) Greig was a New Zealand ceramic artist born in 1936. He originally studied architecture at Auckland University but became interested in pottery after meeting Len Castle. Greig attended Castle's evening classes for three years before moving to Northland to set up his own pottery studio. He went on to become the resident potter in charge of the art and design centre at Massey University before setting up his own studio in Greytown in 1968.
In 1978, Greig was granted a QEII Arts Council grant, which allowed him to travel to Japan, where he studied the techniques of Japanese potters and developed strong connections with the pottery community. He was awarded a Japan Foundation Fellowship in 1982 and spent a year living, working and studying in Japan. During this year, he exhibited in the highly regarded Tachibana Ten exhibition and at the Akasaka Green Gallery in Tokyo. Greig was made a Cultural Ambassador by the New Zealand Government in 1986. He exhibited over 200 pieces of his work at the Tachikichi Department store in Kyoto that same year, but unfortunately suffered a heart attack and passed away in his hotel room on the day of the exhibition.
Greig's works are held in the collections of several museums, including the Victoria and Albert Museum in London, the Museum of New Zealand Te Papa Tongarewa, The Dowse Art Museum, in Lower Hutt the Japanese Imperial household and at the United Nations Headquarters in New York. In 2016, Te Papa acquired 23 pieces from the artist's estate, and a survey of Greig's work, James Greig: Defying Gravity, including many pieces not previously exhibited, opened at The Dowse Art Museum in December 2016.
James Ii
James II (1633 - 1701) was king of England and Ireland, and as James VII, King of Scotland from 1685 until the "Glorius Revolution" in 1688.
James Macintyre & Co.
James MacIntyre & Co was a British pottery company that was established in 1896 in Burslem, Staffordshire. The company was founded by James MacIntyre, who had previously worked for the pottery firm of Minton. MacIntyre & Co. initially produced a range of ceramic items, including earthenware and porcelain goods.
In the early 20th century, James MacIntyre & Co became known for its production of high-quality art pottery. The company was particularly famous for its "Florian Ware" range, which featured brightly coloured floral patterns on a variety of ceramic items, including vases, bowls, and plates.
William Moorcroft was a talented ceramic artist who worked for James MacIntyre & Co. Moorcroft joined the company in 1897 and quickly became known for his unique designs and high-quality craftsmanship. In 1913, Moorcroft launched his own line of pottery, which he called "Moorcroft Pottery." Despite this, he continued to work for James MacIntyre & Co until 1928.
During his time at James MacIntyre & Co, Moorcroft developed a number of famous designs, including the "Hazledene" and "Wisteria" patterns. These designs proved to be extremely popular and are still highly sought after by collectors today.
The association between James MacIntyre & Co and William Moorcroft helped to establish both the company and the artist as major players in the world of British pottery.
James Northfield
A Melbourne painter, illustrator and poster artist, James Northfield was born in Bendigo in 1887. He painted impressionist style landscapes, but is best known as a poster artist for the Australian National Travel Association from the 1920s to the 1970s, promoting Australian holiday destinations to local and overseas travellers. Many of poster designs were included in the 1999-2000 exhibition Follow the Sun - Australian travel posters 1930s–1950s at the National Library of Australia, and in other locations.
James Shoolbred & Co
James Shoolbred & Co. was a prominent British furniture manufacturer and retailer that played a significant role in the late 19th and early 20th centuries. The company was known for producing high-quality furniture and home furnishings. James Shoolbred, the founder of the company, started his career as a draper and silk merchant in London. In 1825, he established his own business in Tottenham Court Road, London. Initially, the company focused on textiles and drapery.
In the 1860s and 1870s, James Shoolbred & Co. expanded its offerings to include furniture and home furnishings. This expansion coincided with the Victorian era, a time of increased interest in interior decoration and home improvement. James Shoolbred & Co. popularised the "Aesthetic Movement" in interior design, and the company had a department known as the "Art Furniture Department," which produced stylish and often ornate furniture pieces influenced by the Aesthetic Movement.. This movement emphasized the importance of beauty and art in everyday life, influencing the design of furniture and decor during that period.
James Shoolbred & Co. participated in various international exhibitions, including the Great Exhibition of 1851 in London and the Paris Exposition Universelle of 1867. Their presence at these exhibitions helped them gain recognition for their craftsmanship and design. : The company continued to thrive into the early 20th century. However, like many businesses, it faced challenges during and after World War I. The business eventually declined, and the original company ceased operations in 1931.
Jane Brenkley
Hannah Eliza Jane Brenkley (1882 - 1973) (nee Hopkins) was a New Zealand artist and craftswoman. She was born in Norsewood, Hawke's Bay, New Zealand. Her parents were Scandinavian and had immigrated on board the Hovding. When she was five years old, she started sketching; a family member gave her a paint set and she began to paint in watercolours of landscapes, flowers and herbs. She never formally studied art or painting, but became a sought-after artist.
When she was 18, she married sawmiller Thomas Brenkley. The couple lived most of their lives on their dairy farm in the Norsewood-Ormondville area and raised 10 children.
Brenkley was also a wood carver and produced domestic items such as tables, fire screens, umbrella stands, bookends, paperknives, breadboards, decorated boxes and eggcups. These were created with a pocketknife and paintbrush. Brenkley admired Maori culture and many of her items feature artistic elements of Maori style, such as using pa?ua shell for the eyes of carved figures. A piece of her wood carving work was displayed in the women's section of the New Zealand Centennial Exhibition in 1939.
In 1999, the Hawke's Bay Cultural Trust staged a solo exhibition of Brenkley's work, entitled 'Jane Brenkley: a path through the bush'.
Janet Mansfield
Janet Mansfield (1934-2013) was an Australian potter who was known for her woodfired and salt-glazed vessels. She was born in Sydney and studied ceramics at the East Sydney Technical College (now the National Art School) from 1964-1965. After graduating, she set up her own studio in Turramurra, where she began making thrown domestic stoneware, handbuilt garden pots, and thrown and assembled sculptural pieces.
In 1977, Mansfield moved with her family to Gulgong, New South Wales, where she established an anagama wood-fired kiln and began making salt-glazed ware using local clay. Her work in this medium was highly acclaimed, and she was awarded the Medal of the Order of Australia in 1987 for her services to ceramics.
Mansfield was also a significant publisher and author. She founded and edited the magazines Pottery in Australia (now called Journal of Australian Ceramics) from 1976 to 1989, and Ceramics: Art and Perception from 1990 to 1995. She also wrote several books on ceramics, including "The Art of Salt Glazing" (1992) and "Ceramics: Art and Perception" (1994).
Mansfield's work is represented in major public collections in Australia and overseas, including the National Gallery of Australia, the Art Gallery of New South Wales, and the Victoria and Albert Museum in London. She was a highly influential figure in the Australian ceramics community, and her work continues to be admired by collectors and curators around the world.
Japanese Bizen Wares
Bizen ware is a type of traditional Japanese pottery that has been produced in the Bizen area of Okayama prefecture for over 900 years. The pottery is characterized by its unique, unglazed surface and the use of local clay that contains iron and other minerals. Bizen ware is traditionally fired in anagama or noborigama kilns, which are wood-fired kilns that can reach extremely high temperatures.
The pottery has a rustic, natural appearance, and is known for its beautiful, irregular patterns created by the flame, ash, and smoke during the firing process. The pottery was originally used for everyday items like plates, bowls, and jars, but over time, it has been used for a wider range of items including incense burners, vases, and tea ceremony implements.
Antique and vintage Bizen ware can be highly prized by collectors for its rustic beauty, as well as its historical and cultural significance.
Japanese Koro
A koro is a type of Japanese incense burner that is used to burn and hold incense sticks. It is typically a small, cylindrical container with a removable lid that is used to hold the incense sticks upright. Koros have a long history in Japan, dating back to the Heian period (794-1185), when they were first used in religious ceremonies and rituals.
During the Edo period (1603-1868), koros became popular among the samurai class and the wealthy merchant class as a way to purify the air and create a pleasant aroma in their homes. Koros during this period were often made of metal, such as bronze or brass and were decorated with intricate designs and motifs, such as dragons and phoenixes.
In the Meiji period (1868-1912), with the opening of Japan to the world, koros started to be produced in a wide range of materials, including ceramics, lacquerware, and bamboo. The production of koros also expanded and became more diverse, with the introduction of new designs and styles, including the introduction of new forms like the Koro, which was made to be used in tea ceremony.
Today, koros are still used in traditional Japanese settings, such as temples and tea ceremony, but they are also used in aromatherapy, yoga, meditation and other spiritual practices.
Japanese Obi
The obi is a sash worn with traditional Japanese clothing such as kimono or yukata. The obi is usually wide, ranging from 10-30 centimeters in width, and can be several meters in length, depending on the style and the wearer's size. The obi is tied around the waist, with the ends wrapped around the body and tied in a knot at the back or the front, depending on the occasion and the formality of the attire.
The obi is an essential component of traditional Japanese clothing and is often made from luxurious fabrics such as silk, brocade, or embroidered cloth. It is available in a wide range of colors and designs, from simple and understated to vibrant and ornate, with patterns and motifs ranging from traditional Japanese symbols to modern designs.
The style and design of the obi can convey various meanings and indicate the wearer's social status, age, and gender. For example, a simple and understated obi may be worn for everyday wear, while a more ornate and elaborate obi may be worn for formal occasions such as weddings or tea ceremonies.
Japanese Shi-Shi Dogs
Japanese Shi-shi dogs, also known as shishi or lion dogs, are part of traditional Japanese culture. They are typically depicted as a lion-like creature with a fierce expression and large, curled mane. The shi-shi is a symbol of protection and is often placed at the entrance of homes, temples, and government buildings to ward off evil spirits and bring good luck.
The origins of the shi-shi can be traced back to China, where they were first used as a symbol of power and protection in the Han Dynasty (206 BCE to 220 CE). They were later introduced to Japan during the 7th century, where they were incorporated into the culture and beliefs of the Japanese people.
Over time, the shi-shi has become a popular decorative item and a symbol of Japanese culture. They are often made of stone, bronze, or wood and can be found in a variety of sizes and styles. They are also a common decorative feature in traditional Japanese gardens.
Japanesque
Japanesque decoration refers to a style of art and design that incorporates Japanese motifs and elements into decorative objects, furniture, and architecture. This style emerged in the late 19th century and was popularized in the early 20th century as Western countries began to trade with and learn more about Japanese culture.
It is characterised by its use of traditional Japanese elements such as bamboo, cherry blossoms, koi fish, and landscapes. It often features a minimalistic and refined aesthetic, with clean lines and simple forms. Some common materials used in Japanesque decoration include wood, bamboo, lacquer, and ceramics.
Japanesque decoration had a significant influence on Western art and design, particularly in the Art Nouveau and Arts and Crafts movements. It also played a role in the development of Japonism, a movement in Western art and design that was inspired by Japanese art and culture. Today, Japanesque decoration continues to be used in a variety of contexts, from interior design and architecture to fashion and graphic design.
Japanning
Japanning is the early eighteenth century technique used by European craftsmen to imitate the oriental style lacquer work that became popular in England, France, the Netherlands, and Spain in the 17th century.
The lacquer used was based on the lac beetle dissolved in alcohol (as used in French polish) and differed from the Chinese lacquer which was based on tree sap.
Each layer of the lacquer was allowed to dry and then sanded down. It was applied over cream, yellow, green, red, or black grounds. Japanning using gold leaf was also widely used with lacquer work. The technique can be found on bureaux, cabinets, chests, longcase clocks, and chairs.
Japonaise
In 1853, Japan ended the long period of self-imposed isolation from the rest of the world and trade with Europe and America gradually developed. Impetus was given by the Meiji Revolution of 1867-8 which began the ruthless Westernization of Japan. As the Japanese enthusiastically embraced all things western, there was a corresponding appreciation of traditional Japanese art forms in the west. This led to traditional Japanese designs being incorporated into furniture, ceramics, and silverware in the third quarter of the 19th century.
Examples of the Japanese influence are Japanese motifs, faux bamboo, fretwork and lacquer work.
Japy Frères and Japy & Cie
Japy Frères (Japy Brothers) and Japy & Cie (Japy & Company) were two of the most important French clockmaking companies of the 19th century. They were founded by the Japy family, who were originally from Switzerland but moved to France in the late 18th century.
The Japy family started their clockmaking business in the town of Beaucourt in eastern France in the late 18th century. The company grew rapidly and soon became one of the leading clockmakers in France. In 1806, the Japy brothers, Frederic and Louis, founded Japy Frères, which became famous for its high-quality clocks and watches. The company quickly established a reputation for innovation and technological excellence, and it was awarded numerous prizes and honors for its products.
In the mid-19th century, Japy Frères and Japy & Cie became two separate companies. Japy Frères focused on the production of clocks and watches, while Japy & Cie specialized in the production of metal products, including parts for clocks and watches. Both companies continued to grow and expand, and by the end of the century, they had become two of the largest and most important clockmaking companies in France.
During the 19th century, Japy Frères and Japy & Cie played a key role in the development of the French clockmaking industry. They introduced many technological innovations, such as the use of interchangeable parts and the development of mass production techniques. They also helped to establish the standardization of timekeeping, which became increasingly important in the industrial era.
The legacy of the Japy family and their clockmaking companies can still be seen in the many antique clocks and watches that bear their name, as well as in the continued importance of French clockmaking as a cultural and artistic tradition.
Jarrah
A eucalypt, known by its aboriginal name jarrah, it grows only in the south-west of Western Australia. The timber is a dark red-brown in colour with similar grain and colouring to mahogany and was used extensively in house construction as well as for making furniture.
Jasper Morrison
Jasper Morrison is a British industrial designer who is known for his minimalist and functional designs. He was born in London in 1959 and studied design at Kingston Polytechnic, the Royal College of Art, and the Berlin University of the Arts. In 1986, he opened his own design studio in London.
Morrison's designs are characterized by their simplicity, clarity, and attention to detail. He often uses everyday objects as inspiration, and his designs are often described as "super normal." During his career, Jasper Morrison has collaborated with numerous prestigious design brands and manufacturers, including Vitra, Cappellini, Flos, Alessi, and Muji. He has designed a wide range of products, including furniture, lighting, tableware, and electronics. Some of his most iconic designs include the Thinking Man's Chair, the Plywood Chair, and the "Air Chair," which he designed in 2000 for Italian furniture manufacturer Magis..
Morrison's work has been exhibited in museums and galleries around the world, and he has received numerous awards, including the Compasso d'Oro, the Designpreis der Bundesrepublik Deutschland, and the Elle Decoration British Design Award. He was appointed Commander of the Order of the British Empire (CBE) in 2020 for services to design.
Morrison is a leading figure in the world of industrial design, and his work has had a significant impact on the way we interact with the objects in our everyday lives.
Jean Paul Gaultier
Jean Paul Gaultier is a French haute couture and prêt-à-porter fashion designer. He is described as an "enfant terrible" of the fashion industry and is known for his unconventional designs with motifs including corsets, marinières, and tin cans. He was born on April 24, 1952, in Arcueil, France. His mother was a clerk and his father an accountant. It was his maternal grandmother, Marie Garrabe, who introduced him to the world of fashion. He never received formal training as a designer. Instead, he began to send sketches to famous couture stylists at an early age. Pierre Cardin was impressed by his talent and hired him as an assistant in 1970. Then he worked with Jacques Esterel in 1971 and Jean Patou later that year again worked for Cardin managing the Pierre Cardin boutique in Manila for a year until 1974.
Gaultier launched his first collection of women's ready-to-wear clothing in 1976. His designs were immediately noticed for their originality and humor. He often used unconventional materials and silhouettes, and he challenged traditional notions of beauty and gender. Gaultier's designs were also known for their references to popular culture and history.
In 1982, Gaultier founded his own fashion label. He quickly became one of the most successful designers in the world. His designs were worn by celebrities such as Madonna, Kylie Minogue, and Rihanna. Gaultier also collaborated with musicians, such as David Bowie and Grace Jones. Gaultier launched his first fragrance, Classique in 1993. The fragrance was an instant success and became one of the best-selling perfumes in the world. Gaultier has since launched a number of other successful fragrances, including Le Mâle, Scandal, and 212 VIP.
In 2003, Gaultier was appointed creative director of French luxury house Hermès. He remained in this role until 2010. During his time at Hermès, Gaultier brought a new sense of modernity to the brand's designs. In 2014, Gaultier announced that he would be retiring from ready-to-wear fashion. He said that he wanted to focus on his couture line and his other creative projects. Gaultier's final ready-to-wear collection was shown in Paris in January 2015.
Gaultier has continued to be active in the fashion industry since his retirement from ready-to-wear. He has continued to design couture collections, and he has also launched a number of new projects, such as a line of home goods and a museum exhibition of his work.
Jean Prouve
Jean Prouvé (1901-1984) was born in Nancy, France, into a family of artists and designers. His father, Victor Prouvé, was a prominent Art Nouveau ceramist. Jean was apprenticed to a blacksmith at the age of 14, and then studied engineering at the École Nationale Supérieure des Arts Industriels de Nancy.
In 1923, Prouvé opened his own workshop in Nancy, where he began to produce wrought-iron furniture and other objects. He earned a reputation for his innovative designs and his use of new materials and techniques. In the early 1930s, he began to experiment with sheet metal, and he developed a number of new folding and bending techniques that allowed him to create strong and lightweight furniture.
In 1934, Prouvé introduced his Standard chair, a simple and affordable chair made from bent sheet metal and plywood. The Standard chair quickly became a popular choice for schools, hospitals, and other public spaces.
In the 1930s and 1940s, Prouvé also designed and built a number of prefabricated houses and other structures. He was a pioneer in the use of prefabricated construction, and he believed that it could be used to create high-quality, affordable housing for everyone.
After World War II, Prouvé continued to design furniture and architecture. He also became a vocal advocate for social and environmental justice. He taught at the École Nationale Supérieure des Arts Décoratifs in Paris from 1958 to 1971, and he was elected a member of the Académie des Beaux-Arts in 1972.
Prouvé passed away in 1984. His work is characterized by its simplicity, functionality, and elegance. He was a master of using industrial materials and manufacturing techniques to create beautiful and durable objects.
Jean Schlumberger
Jean Schlumberger was a renowned French jewellery designer who worked for Tiffany & Co. from 1956 until his death in 1987. He was known for his unique and imaginative designs that incorporated natural elements and bold colors. Some of his most famous creations for Tiffany include:
• The Bird on a Rock brooch: This iconic piece features a diamond-studded bird perched atop a yellow diamond that resembles a piece of quartz. The design was inspired by Schlumberger's love of nature.
• The Ribbon Rosette necklace: This necklace features a cascading ribbon of diamonds and yellow gold, finished with a rosette of diamonds in the center.
• The Sea Urchin brooch: This playful piece features a sea urchin made of textured gold with a starfish and sea anemone in the center, all set with precious stones.
• The Crown of India necklace: This extravagant necklace features a cascade of diamonds and colored gemstones, including rubies, emeralds, and sapphires, set in a gold and platinum frame.
• The Melon Slice brooch: This whimsical piece features a carved melon made of coral and gold, with a stem and leaves made of diamonds.
Schlumberger's designs for Tiffany are highly sought after by collectors and jewelry enthusiasts, and his legacy continues to inspire new generations of designers.
Jean-Emile Puiforcat
Jean-Emile Puiforcat (1897-1945) was a French silversmith, sculptor, and designer who is considered one of the most important Art Deco silversmiths. His father, Louis-Victor Puiforcat, was a prominent silversmith, and his grandfather, Emile Puiforcat, had founded the family's silverware business in 1820. Jean-Emile Puiforcat was born in Paris in 1897 and began his apprenticeship as a silversmith at the age of 14. After completing his apprenticeship, he worked for several other silversmiths before opening his own workshop in 1921.
Puiforcat's work was characterized by its clean lines, simple forms, and use of geometric shapes. He was also known for his use of innovative materials, such as platinum and stainless steel. Puiforcat's designs were highly influential, and his work is still highly sought-after today. Some of Puiforcat's most famous pieces include the Épigramme tea service, the Étoiles fruit bowl, and the Émeraude vase. These pieces are all characterized by their simplicity, elegance, and use of geometric shapes. Puiforcat's work was also highly influential on other designers, such as René Lalique and Jean Dunand.
Puiforcat was a member of the Union des Artistes Modernes (UAM), a group of French artists and designers who were dedicated to creating modern and innovative design. The UAM was highly influential in the development of Art Deco style. Puiforcat's work was exhibited at many major exhibitions throughout his career, including the Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris in 1925. His work is also included in the collections of many major museums, such as the Museum of Modern Art in New York City and the Louvre Museum in Paris.
In addition to his work as a silversmith, Puiforcat was also a sculptor and designer. He created a number of sculptures in bronze and stone, as well as a variety of other objects, such as lamps and clocks. Puiforcat's work was always characterized by its simplicity, elegance, and use of geometric shapes.
Puiforcat died in Paris in 1945 at the age of 48. His work continues to be admired for its beauty, simplicity, and innovation.
Jean-Jacques Caffieri
Jacques Caffieri was a French metalworker and sculptor who was active in the 18th century. He was born in Paris in 1678 and was the son of a metalworker, Pierre Caffieri. Jacques was trained in his father's workshop and went on to become one of the most prominent metalworkers of his time.
Working primarily in bronze, Caffieri was known for his skilful and detailed craftsmanship. He created a wide range of decorative objects, such as candelabra, vases, clock cases, and fireplaces. He also created sculptures, many of which were allegorical or mythological in nature.
Caffieri was appointed as the official bronze-worker to King Louis XV of France in 1730. He was appointed "sculpteur ordinaire du roi" (sculptor to the king) in 1745. He worked for the king and his court, as well as for private patrons. Many of his works are still on display in French palaces and museums, such as the Louvre and Versailles.
He was also a teacher, and many of his students went on to become successful metalworkers and sculptors in their own right. He was a member of the Académie Royale de Peinture et de Sculpture and he was awarded the title of "Premier Sculpteur du Roi" (First Sculptor to the King) in 1775.
Jacques Caffieri died in Paris in 1755, he left a legacy of beautiful and elegant works, which are considered some of the finest examples of French decorative arts from the 18th century.
Jean-Marie Massaud
Jean-Marie Massaud is a prominent French contemporary designer known for his innovative and versatile work in various design fields, including furniture, industrial design, architecture, and interior design. Born on August 26, 1966, in Toulouse, France, Massaud has made a significant impact on the design world with his unique approach and aesthetic sensibilities.
Massaud's studied at the École Nationale Supérieure de Création Industrielle (ENSCI) in Paris, where he graduated in 1990 and embarked on a career that would see him collaborate with some of the most prestigious design and furniture companies globally. Throughout his career, Massaud has demonstrated a keen ability to merge aesthetics, functionality, and sustainability in his designs. He has been associated with various renowned brands, including Arper, Poliform, Cappellini, and Cassina. His furniture designs often feature clean lines, organic shapes, and a focus on ergonomic comfort. He has a knack for creating pieces that not only look visually pleasing but also enhance the user's experience.
Apart from furniture design, Massaud has also made his mark in other areas. He has worked on architectural projects that blend modern aesthetics with functionality. His interior designs often reflect his minimalist yet comfortable approach, creating spaces that are visually appealing and user-centric.
In addition to his commercial designs, Massaud has received recognition and awards for his work, which reflects his continuous pursuit of excellence and innovation in the design field. His designs are sought after by individuals, businesses, and collectors who appreciate his modern, sustainable, and user-oriented approach to design.
Jelly Mould
In past times, both savoury and sweet jellies were popular, and to improve the presentation of the jellies, ceramic jelly moulds were made from about 1750.
The first jelly moulds were made from salt-glazed stoneware and were often in geometric shapes intended for a single serve. From about 1830, metal jelly moulds also came into use. Copper moulds were tinned on the interior to prevent poisoning.
Glass jelly moulds became popular from the 1930s onwards. Nowadays most jelly moulds are plastic or aluminium.
Jennens & Bettridge
The company of Jennens & Bettridge, in operation from around 1815 to 1864 were the pre-eminent manufacturers of papier mache wares, such as writing boxes, trays, fans and furniture such as chairs and small tables. Their wares usually featured painted decoration and was sometimes inlaid with mother of pearl, a process which the company invented and patented. They were based in Birmingham, but opened a branches in London and Paris.
Jennens & Bettridge were appointed Papier Mache Manufacturers to King George IV, William IV, and Prince Albert, and exhibited a variety of wares at the Great Exhibition in 1851.
Most papier mache objects are unmarked, but those of Jennens & Bettridge are usually stamped with the company name inpressed to the underside.
Jenny Orchard
Ceramic artist Jenny Orchard was born in Ankara, Turkey, in 1951 to a British army officer and his wife. She spent her childhood in Rhodesia, now Zimbabwe, where she developed a deep love for the natural world.
She left Rhodesia in 1969 and spent six years in London before moving to Australia. Orchard began producing quirky ceramics after a semester of ceramics tuition at Alexander Mackie College in Sydney, influenced by Ettore Sottsass and his Memphis group. Her oddity vessels sold well, and her ceramic creatures grew out of her vessels. She started teaching ceramics in 1982 and has taught at various tertiary colleges.
Orchard's totems represent unity, and each element embodies a particular form of celestial life. Her creatures express her reverence for all life, and the empathy she feels with such forms. Orchard has exhibited widely in Australia and participated in shows in Japan, Germany, Italy and the USA. Her commissions include ceramic murals for the Sheraton International Hotel, Arlington Virginia, USA (1987), ceramic fish for Vatuele Resort Fiji (1990), a 6-meter-tall public sculpture in pressed metal in Paddington Sydney (2000/2001). Her work is represented in most state and regional galleries, many major private collections, and the Aichi Prefecture Government Design Collection, Japan.
Jens Peter Dahl-Jensen
Jens Peter Dahl-Jensen (1872-1949) was a Danish ceramic artist who worked for the Royal Copenhagen porcelain factory from 1897 to 1917. He was known for his realistic and expressive animal figurines, which were often inspired by his travels to Asia.
Dahl-Jensen was born in Nibe, Denmark, in 1872. He apprenticed as a joiner before studying at the Royal Danish Academy of Fine Arts in Copenhagen. After graduating, he worked as a modeller for the Bing & Grøndahl porcelain factory from 1894 to 1897. In 1897, he joined Royal Copenhagen, where he remained for the rest of his career.
Dahl-Jensen's animal figurines are characterized by their realistic detail and expressive poses. He often used his own observations of animals in nature as inspiration for his work. His figurines were also influenced by his travels to Asia, where he saw traditional Chinese and Japanese porcelain.
Dahl-Jensen's most famous figurines include the "Thai Temple Dancer," the "Lion," and the "Serval." His work is still highly sought-after by collectors today.
In addition to his work for Royal Copenhagen, Dahl-Jensen also worked as a freelance artist. He produced a number of bronze sculptures, which were exhibited in galleries and museums throughout Europe.
Dahl-Jensen died in Copenhagen in 1949. He is considered one of the most important Danish ceramic artists of the 20th century.
Jens Quistgaard
Jens Harald Quistgaard, commonly known as Jens Quistgaard, was a Danish industrial designer renowned for his contributions to the field of kitchenware design. He was born in 1919, in Copenhagen, Denmark. His father was a silversmith, and Quistgaard began learning the craft at a young age. He also studied drawing and sculpture at the technical school in Copenhagen. After completing his studies, Quistgaard worked for several different design studios, designing furniture, jewellery, and other objects.
In 1954, Quistgaard met the American businessman Ted Nierenberg. Nierenberg was impressed by Quistgaard's work, and he invited him to come to the United States to work for his company, Dansk Designs. Quistgaard accepted Nierenberg's offer, and he moved to New York City in 1955. This partnership proved to be instrumental in Quistgaard's career as it provided him with a platform to showcase his innovative designs to a global audience.
Quistgaard's designs were characterized by a seamless fusion of traditional craftsmanship and modern aesthetics. He drew inspiration from various sources, including Scandinavian folklore, nature, and historical design elements. His work often featured clean lines, organic shapes, and a strong emphasis on functionality.
One of Quistgaard's most iconic designs was his collaboration with Dansk Designs on the creation of the Kobenstyle line of cookware in 1956. Kobenstyle introduced a fresh and modern approach to kitchenware design, with its sleek enameled steel pots and pans featuring distinctive teak handles. The line was an instant success, and its popularity endured for decades. In addition to Kobenstyle, Quistgaard designed a wide range of kitchenware products for Dansk Designs, including flatware, serving utensils, cutting boards, salt and pepper mills, and more. His designs were characterized by their high-quality materials, attention to detail, and timeless appeal. Byy 1982, Quistgaard had created more than 2,000 different designs for Dansk of dinnerware, glassware and items for the home.
Quistgaard's contributions to kitchenware design extended beyond his work with Dansk Designs. He collaborated with numerous other companies and created designs for renowned brands such as Georg Jensen, Kronjyden, and Nissen Denmark, among others. His work received critical acclaim and several prestigious awards, including the Gold Medal at the Triennale di Milano in 1957.
Quistgaard's lighting designs are particularly notable for their simple, elegant forms and their use of natural materials, such as wood and glass. Some of his most iconic lighting designs include the Cobra lamp, the Fjord lamp, and the Tjorn lamp.
In 1985, Quistgaard left Dansk Designs to start his own design studio. He continued to design products for the rest of his life, and he died in 2008 at the age of 88.
Jens Risom
Jens Risom was a Danish-American furniture designer known for his significant contributions to the world of mid-century modern design, particularly during the 1960s and 1970s. He was born in Denmark and initially studied at the Royal Danish Academy of Fine Arts in Copenhagen, where he was exposed to the principles of Scandinavian design and craftsmanship. This education would later influence his design philosophy. He emigrated to the United States in 1939.
In the early 1940s, Jens Risom partnered with the American furniture manufacturer Hans Knoll to create his eponymous company, Jens Risom Design, Inc. This collaboration marked the beginning of his influential career in American furniture design. He is best known for his modern, functional, and often minimalist furniture designs. He used a range of materials, including wood, leather, and fabric, to create his pieces. Some of his iconic designs include the "600 Series" and "Jens Chair," which became staples of mid-century modern interiors.
Risom's Scandinavian heritage played a significant role in shaping his design approach. He combined the Scandinavian emphasis on simplicity, functionality, and natural materials with American manufacturing techniques to create furniture that was both aesthetically pleasing and practical for everyday use.
While Jens Risom was most active as a designer during the 1940s through the 1970s, his designs have maintained their popularity and relevance. In the 2000s, his work experienced a resurgence in interest, and many of his vintage pieces became highly sought after by collectors and enthusiasts.
Jens Risom's contributions to mid-century modern design are celebrated for their enduring appeal. His designs encapsulate the essence of the era, characterized by clean lines, functionality, and a harmonious blend of form and function. His work continues to influence contemporary designers and remains highly collectible.
Jens Risom passed away on December 9, 2016, but his legacy lives on through his timeless furniture designs.
Jet
Jet is a dense black fossilised wood, almost like coal, and very light in weight. It is easy to cut, so carved well.
It became popular in the Victorian era for mourning jewellery, which became fashionable after the death of Queen Victoria's husband Prince Albert in 1861.
The latter part of the Victorian era was characterised by the sentimentality associated with mourning. Black has been the colour for mourning in the Western world since at least the Roman Empire, and as well as jewellery, the period saw the colour used in furniture, clothing and stationery as a mark of respect to the deceased.
Jet was in abundant supply around Whitby in Yorkshire and so jet became the obvious material for this type of jewellery. Some jet was also imported from Spain at the height of its popularity in order to meet demand.
As well as factories producing jet items, carving of the material became a cottage industry, with the fruits of labour displayed in the front window of houses in and around Whitby.
Jet may show marks of the carver's tools unlike Vulcanite, a similar coloured material which was moulded into shape.
Imitations of jet were also made in glass, black onyx and black Bakelite.
Jet can become dull, or the surface can display a bloom, over the passage of time, and objects that retain their original shiny appearance will command a premium. Other factors contributing to value are the quality of the carving or engraving.
Jewelled Decoration
Jewelled decoration on ceramics is a technique where small, colourful, and often metallic beads or "jewels" are applied to the surface of ceramic objects to create intricate and highly decorative designs. This technique has been used throughout history and across different cultures, but it was particularly popular during the late 19th and early 20th centuries, especially in Europe.
The jewelled decoration is usually applied by hand, one bead at a time, onto a base glaze or enamel. The beads can be made of glass, porcelain, or even precious stones, and are often set in a metal setting, such as gold or silver. The end result is a highly decorative and often luxurious surface, which can add a lot of visual interest and value to the ceramic object.
Jewelled decoration was used on a wide range of ceramic objects, including vases, plates, bowls, and figurines. It was particularly popular in the Art Nouveau and Art Deco periods, where it was used to create highly stylized and ornate designs.
Jiajing Mark
The Jiajing mark on Chinese porcelain refers to the reign mark of the Jiajing Emperor (r. 1521-1567) of the Ming Dynasty in China. The mark usually appears as six characters in underglaze blue on the base of the porcelain object and indicates that the object was made during the Jiajing period of the Ming Dynasty.
The Jiajing reign was a time of great artistic production and experimentation in China, particularly in the field of porcelain. The Jiajing Emperor was a patron of the arts and his reign saw the development of new decorative techniques and styles, including the use of underglaze blue decoration, which became a hallmark of Ming Dynasty porcelain.
It should be noted that not all porcelain objects with a Jiajing mark are necessarily from the Jiajing period, as the mark has been copied and imitated by later generations of potters.
Jielde
Jielde is a French lighting company founded in 1950 by Jean-Louis Domecq. The company is known for its functional and minimalist lighting designs. Jielde lights are often used in commercial and industrial settings, but they are also popular for home use.
The first Jielde light was the "Jielde 03", a desk lamp designed by Jean-Louis Domecq. The Jielde 03 was a simple and functional design, with a metal arm that could be adjusted to direct the light where it was needed. The Jielde 03 was an instant success, and it helped to establish Jielde as a leading lighting company.
In the 1960s, Jielde began to expand its product line to include other types of lighting, such as wall lights, ceiling lights, and floor lamps. The company also began to collaborate with other designers, such as Pierre Paulin and Serge Mouille. These collaborations resulted in some of Jielde's most iconic designs, such as the "Jielde 220" wall lamp by Pierre Paulin and the "Jielde 222" floor lamp by Serge Mouille.
Jielde continued to produce innovative and stylish lighting designs throughout the 20th century. The company's lights are known for their high quality, durability, and functionalityand for their minimalist aesthetic, which makes them a popular choice for modern and contemporary interiors.
Jielde remains a leading lighting company and continues to produce high-quality lighting designs that are both functional and stylish, using traditional methods and high-quality materials.
Jimmy Choo
Jimmy Choo is a British luxury fashion house specializing in shoes, handbags, accessories, and fragrances. The company, J. Choo Limited, was founded in 1996 by Malaysian Chinese couture shoe designer Jimmy Choo and British Vogue accessories editor Tamara Mellon.
Jimmy Choo was born in 1948 in the Crown Colony of Penang, British Malaya, into a family of shoemakers. Of Chinese descent, his family name is Chow, but was misspelled on his birth certificate as Choo. Choo's father, a shoemaker who made all of his shoes by hand, taught him the craft. "My parents were shoemakers and I have followed my father's lead. He inspired me," said Jimmy Choo. He made his first pair of shoes when he was 11 years old, a pair of slippers. Between 1982 and 1984, Choo studied at Cordwainers Technical College in Hackney (now part of the London College of Fashion) in London.
After graduating, Choo worked as a freelance shoemaker for several years, making shoes for celebrities and fashion designers. In 1986, he opened his first shop in London's East End. His craftsmanship and designs soon caught the attention of the fashion world, and he was featured in Vogue magazine in 1988. Patronage from Princess Diana in the early 1990s further boosted his image.
In 1996, Choo partnered with Tamara Mellon, then-accessories editor at British Vogue, to launch Jimmy Choo Ltd. The company quickly became a global success, and its shoes were worn by celebrities such as Kate Moss, Angelina Jolie, and Jennifer Lopez. In 2001, the company went public on the London Stock Exchange.
In 2011, Choo stepped down as creative director of the company. He remained a shareholder and ambassador for the brand until 2017, when he sold his remaining shares. The brand claims to have been a favourite of Diana, Princess of Wales. The company was listed on the London Stock Exchange until it was acquired in November 2017 by Michael Kors Holdings, now Capri Holdings, a fashion conglomerate that also owns Michael Kors and Versace. The company continues to be a leading luxury footwear brand, with stores in over 70 countries. Its shoes are known for their high quality, craftsmanship, and glamorous designs.
Jingdezhen Kilns
The Jingdezhen kilns are a series of kilns located in Jingdezhen, a city in the Jiangxi province of China, which have been producing high-quality porcelain since the Han Dynasty (206 BCE–220 CE). The city's location in a valley surrounded by mountains provided it with abundant supplies of high-quality kaolin clay, which is essential for the production of porcelain.
Jingdezhen quickly became one of the most important centres of porcelain production in China, and its porcelain was highly prized by the imperial court and exported to markets throughout Asia and Europe. During the Song Dynasty (960-1279 CE), the kilns began to produce blue-and-white porcelain, which became a hallmark of Jingdezhen porcelain production.
In the Ming Dynasty (1368-1644 CE), Jingdezhen porcelain production reached its peak, with the kilns producing a wide range of objects, from bowls and vases to figurines and architectural tiles. The porcelain produced during this time was noted for its fine quality, translucent white body, and delicate decoration. The kilns also developed new decorative techniques, such as the use of overglaze enamels and famille-verte ("green family") decoration.
During the Qing Dynasty (1644-1912 CE), the Jingdezhen kilns continued to produce porcelain, but the market for porcelain began to shift towards export markets in Europe and the Americas. Jingdezhen porcelain was highly prized by European collectors and royalty, and the kilns produced many objects specifically for export, such as tea sets, dinnerware, and decorative objects.
Today, the Jingdezhen kilns continue to produce porcelain, although the industry has faced challenges from modern manufacturing techniques and competition from other countries. Nevertheless, the city remains an important center of porcelain production and has become a popular destination for tourists interested in traditional Chinese crafts and culture.
Jo Caddy
Artist and ceramicist Jo Caddy was born in the state of Washington, USA, in 1916 and studied art at Vancouver School of Art in Canada in the 1930s. She migrated to Australia in 1951 and lived in Tasmania for 6 years before moving to Adelaide. She worked as a lecturer at the South Australian School of Art from 1957-1963 and at the University of Adelaide Adult Education Department from 1960 to 1964 and then from 1965 to 1988. Her first solo exhibition was in 1964 and she held solo shows in Melbourne, Adelaide as well as participating in numerous group shows. She was the winner of the Art Gallery of New South Wales Archibald Prize in 1968 and 1973 and won the Portia Geach Prize in 1967, and a finalist in the Portia Geach Prize in 2002. Her works are held in major Australian galleries, including the Art Gallery of South Australia, the National Gallery of Australia, and the Powerhouse Museum.
Caddy died in Adelaide in 2006 at the age of 90. <p>
Joachim Matthias Wendt
In many respects the history of Wendt's is a potted history of Australian gold and silver smithing. State directories of the late 1800s show that they sold watches, jewellery, rings, trophies, church plate, optical goods and electroplate. They also repaired watches and jewellery.
Joachim Matthias Wendt arrived in Port Adelaide in 1854, just 18 years after the foundation of South Australia. He was born in 1830 in Denmark. His mother died when he was nine years of age, leaving his father to look after him and two sisters. Joachim became a watchmaker's apprentice.
He brought these skills to South Australia, quickly opening a small watchmaking and jewellery shop in Pirie Street, Adelaide. Business was good and so he soon moved to better premises in Rundle Street.
Wendt's soon became recognised as a top quality shop. The jewellery, silverware, watches and clocks were equal to the best which were imported. In 1864 and 1865 Joachim received first prizes at a Scottish exhibition. In 1871, Wendt's was selected to make silverware caskets featuring Australian motifs for the Duke of Edinburgh, who was visiting Adelaide and other towns.
So pleased was the Duke of Edinburgh with Wendt's craftsmanship that he purchased additional items and appointed J. M. Wendt 'Jeweller to His Royal Highness in this Colony', By this time, twelve silversmiths, watchmakers, jewellers and shop assistants were being employed. What could not be made locally was imported.
Wendt's reputation for quality was further confirmed by the award of two first prizes for silverware at the 1878 Paris Exhibition. Success followed success, leading to a broadening of interests, including an involvement in the building of the Theatre Royal, the Adelaide Arcade and the Freemason's Hall.
J. M. Wendt had married a widow, Johiamic Koeppen, in 1872. Her son Herman entered her husband's jewellery business and added Wendt to his name, becoming Herman Koeppen (H. K. J Wendt. He and his brother, Jule, in 1903 were made partners of the business, Jule was sent abroad to be the overseas buyer.
Joachim Wendt died in 1917 aged 87. Nonetheless, the business continued to flourish under H. K. Wendt's management. His eldest son, Alan, joined the business in 1919, becoming a partner. On his father's death in 1938, Alan became sole proprietor. In 1947, Alan's son Peter Koeppen Wendt, joined his father and they became the first directors of the newly formed private company.
The final managing director of J. M. Wendt's was Timothy Wendt. Five generations of the family held executive positions in the business until its closure at the end of the 20th-century.
A highlight in Wendt's long and successful history was to be commissioned by the South Australian Government to manufacture a necklace and ear-rings for Queen Elizabeth II, and cuff links for the Duke of Edinburgh, for their visit in 1954. The jewellery had to incorporate opals, the most magnificent of which was the 203 carat 'Andamooka' white opal owned by the Government. Palladium was chosen as the metal and the large opal was flanked by 180 diamonds. The necklace and earrings are illustrated.
A trade journal described the gift as follows: 'The opal and diamond necklet and ear-rings suite is mounted in jewellery palladium with the large opal as the centre of the necklet. This is flanked by elegant side pieces, hand-carved in an attractive scroll design handset with diamonds. The chain at the back is of diamonds, each set in a diamond-shaped setting alternating with links pierced in the matching scroll designs and finished with a diamond set snap.'
As Wendt's centenary year official history closed 'In this way Wendt's first hundred years were fittingly symbolised'. Alas, Wendt's has now closed
From: Carter's "Collecting Australiana", William & Dorothy Hall, published by John Furphy Pty. Ltd. 2005
Joan Campbell
Joan Campbell (1925-1997) was an Australian potter and ceramic artist. She was born in Geelong, Victoria, and moved to Western Australia with her family while a teenager. She developed an interest in pottery after attending a hobby class and this led her to pursue pottery as a craft, building a wood-fire kiln in her suburban backyard. In the late 1950s she worked with Daniel de Blanken, a Dutch potter who had settled in WA. and later with the Australian potter Eileen Keys (1903-1992). In the mid 1960s she developed an interest in the Japanese technique of raku, which became Campbell’s preferred way of firing. In 1968 Campbell helped establish the Western Australian Branch of the Crafts Association of Australia (later Craft Association of Western Australia) as the Association's secretary. She was a foundation member of the Crafts Board of the Australia Council (which was established in 1973), and was a member of the Australia Council from 1974 to 1977. She held her first solo exhibition at the Old Fire Station Gallery in 1969, and exhibited at the Victoria & Albert Museum in London in 1972. In 1977 she was awarded an MBE (member of the Bristish Empire) for her work in the Arts.
Joan Campbell died in 1997.
Joe Colombo
Joe Colombo (1930-1971) was an Italian designer and architect who is considered one of the most important figures in mid-century modern design. He was known for his innovative and futuristic designs, which often incorporated new materials and manufacturing techniques.
Colombo was born as Cesare Colombo in Milan, in 1930. He studied painting and sculpture at the Brera Academy of Fine Arts, and then architecture at the Milan Polytechnic. After graduating, he worked as a painter and sculptor for several years. In 1959, he began to focus on design, and in 1962, he founded his own design studio in Milan, where he began creating cutting-edge furniture pieces that defied traditional aesthetics. His designs were characterized by their sleek lines, modular structures, and innovative use of materials. He soon became one of the most sought-after designers in Italy.
Colombo's designs were often inspired by his interest in technology and futurism. He was particularly interested in the use of new materials, such as plastic and fiberglass, and new manufacturing techniques, such as injection moulding. He also experimented with new forms and functions, and his designs often challenged traditional notions of furniture design.
Some of Colombo's most famous designs include the Universale sofa (1965), the 4860 armchair (1967), and the Tube chair (1969). These designs are still popular today, and are considered to be classics of mid-century modern design.
Colombo died in 1971, at the age of 40, leaving behind a body of work that is still admired and studied by designers today. He was awarded the Compasso d'Oro, the most prestigious design award in Italy, in 1967 and his work is included in the permanent collections of the Museum of Modern Art in New York City, the Centre Pompidou in Paris, and the Victoria and Albert Museum in London.
Johan Rohde
Johan Rohde was born in Randers, Denmark, the son of a merchant. He studied painting at the Royal Danish Academy of Fine Arts from 1882 to 1886, but was dissatisfied with the Academy's conservative teaching methods. In 1891, he co-founded Den Frie Udstilling with other artists who shared his dissatisfaction with the Academy.
Rohde's work was influenced by the Arts and Crafts Movement and the Art Nouveau movement. He was particularly interested in the use of simple, geometric forms and natural materials. He designed a wide range of objects, including furniture, silverware, jewelry, and textiles. His work is characterized by its clean lines, elegant proportions, and use of natural materials.
Johann Friedrich Eberlein
Johann Friedrich Eberlein was a German sculptor who lived and worked during the 18th century. He is best known for his bronze figurative sculptures and monuments, many of which still stand today in cities throughout Germany. Eberlein's work was heavily influenced by classical Greek and Roman art, as well as the Renaissance and Baroque periods, and his sculptures are characterized by their attention to detail, naturalistic depictions of the human form, and lifelike postures and expressions.
Johann Joachim Kandler
Johann Joachim Kandler was a German sculptor who was instrumental in the development of Meissen porcelain during the 18th century. He was born in 1706 and began working at the Meissen porcelain factory in 1731 after an apprenticeship with Dresden.. He quickly rose through the ranks and became the chief sculptor at the factory, a position he held until his death in 1775.
He is best known for his exquisite figurines, which are characterized by their attention to detail and lifelike quality. He created a wide range of figurines, including animals, mythological creatures, and historical figures, as well as more whimsical designs such as children at play and musicians.
Kandler's designs were often inspired by the art and culture of other countries, including China and Japan. He incorporated elements of Chinese and Japanese design into his figurines, including intricate patterns and delicate details. He also drew inspiration from the European rococo style, which was characterized by its ornate decoration and light, playful designs.
His figurines were hugely popular and helped to establish Meissen porcelain as one of the most prestigious and sought-after ceramic styles in Europe. His designs were imitated by other porcelain factories across Europe, but his work remains among the most highly prized and collectible of all Meissen porcelain.
Johannes Andersen
Johannes Andersen was a Danish mid-century furniture designer who was born in Aarhus, Denmark in 1903. He apprenticed as a cabinetmaker, becoming certified in 1922. By the mid-1930s, when Danish modern design rose in popularity beyond Denmark, he opened his own workshop. He continued to work with other design houses as well, including CFC Silkeborg in Denmark and Trensum in Sweden.
Atr the end of World War II, Andersen saw the burgeoning interest in Scandinavian modern design. He took full advantage of this and began to sell his shapely and eye-pleasing tables, chairs and sideboards to markets outside of Denmark. Other Scandinavian manufacturers took notice of Andersen’s work, which led to many successful, career-long collaborations for the furniture maker.
Andersen's furniture is known for its distinctive shapes, flowing contours, and "restrained chic." He was deeply drawn to organic shapes and flowing lines, and he elevated Scandinavian modernism's prioritization of practicality and space conservation to new heights. He worked with luxurious woods like teak, mahogany and rosewood for a range of designs that merged grace and function.
Some of Andersen's most famous designs include the Capri table, the Smile coffee table, and the Pelican chair. The Capri table is a classic example of Andersen's use of curves and flowing lines. The table has a round top with a curved apron, and the legs are tapered and slender. The Smile coffee table is also a curvaceous design, with a round top and a curved base. The Pelican chair is a more sculptural design, with a curved backrest and a seat that resembles the beak of a pelican.
Andersen's furniture is still highly sought-after today, and it is considered to be some of the finest examples of Danish mid-century modern design. His work is represented in the collections of museums around the world, including the Museum of Modern Art in New York City and the Victoria and Albert Museum in London.
Andersen died in 1991 at the age of 88.
John and Hester Bateman
John (? - 1760) and Hester (1708-1794) Bateman were a husband and wife team of British silversmiths who worked in London in the late 18th and early 19th centuries. John Bateman was a goldsmith and silversmith who ran a successful business in London, and he was known for producing high-quality silverware. After his death in 1760, his wife Hester took over the business and ran it successfully for over 30 years. She was one of the first female silversmiths in England to work independently, and she was known for producing elegant and high-quality silverware. Hester Bateman's work is highly sought after by collectors today, and it is considered some of the finest silverware produced in England in the late 18th and early 19th centuries.
John Bell (sculptor)
John Bell (1811-95) was a British sculptor who was active in the 19th century. He was born in Scotland and studied sculpture in Italy before returning to Britain, where he worked as a sculptor and teacher. Bell was known for his portrait busts and memorial sculptures, and his work can be found in galleries and public spaces throughout Britain. Some of his notable works include a bust of Sir Walter Scott, located in the Scottish National Portrait Gallery in Edinburgh, and a monument to Admiral Lord Nelson, located in Trafalgar Square in London. He also made models for Minton's parian range and for Henry Cole's Summerly Art Manufacturers.
John Cary
John Cary was an English cartographer and engraver who lived in the late 18th and early 19th centuries. He is best known for his detailed and accurate maps of England and Wales, which were widely used during his lifetime and remain popular among collectors today.
Cary was born in London in 1754 and began his career as an engraver and mapmaker in the late 1700s. He quickly gained a reputation for producing high-quality and accurate maps, and he began to publish his own atlases and maps in the early 1800s. His maps were known for their detailed engraving and the use of bright and vivid colours.
One of Cary's most famous works is his "New and Correct English Atlas" which was published in 1808. The atlas was a collection of maps of England and Wales, and it was considered to be one of the most accurate and detailed atlases of its time.
Cary also developed a system of map production that was more efficient and cost-effective than the traditional methods of the time, which allowed him to produce and sell his maps at a lower price than his competitors.
Cary died in London in 1835, but his maps and atlases continued to be popular and widely used well into the 19th century.
John Crawford
John Crawford (1951-2012) was a New Zealand potter. He was born in Runanga, West Coast, New Zealand, and grew up in a coal-mining community. He attended Greymouth High School, where he met Yvonne Rust, who was the art teacher at that time. She encouraged him to train under Jack Laird at Waimea Craft Pottery in Nelson.
Crawford trained at Waimea Craft Pottery from 1969 to 1974. In this studio workshop, run in the style of Bernard Leach, he learned to use a wheel, glazing, and firing. In 1974 he set up a studio in Ngakawau, a small settlement 30 km north of Westport. Hector Pottery was operated collaboratively by John and his wife Anne, who had also done her training at Waimea Craft Pottery.
Crawford's work encompassed a wide range of forms, from functional ware to sculptural objects. He was known for his use of simple, organic shapes and his experimentation with different glazes and firing techniques. His work was often inspired by the natural world, and he often used local materials in his work.
Crawford exhibited his work extensively in New Zealand and overseas. He won numerous awards for his work, including the New Zealand Ceramics Award in 1984 and 1994. In 1986 he was the New Zealand guest potter at the first National Australian Ceramics Symposium in Canberra. He was a committee member of the New Zealand Society of Potters, and president from 1985 to 1988.
Crawford's work is held in public collections in New Zealand, Australia, and the United States. He died in 2012 at the age of 61.
John Crichton
John Crichton was born in Bombay in 1917 and moved to England as a child. He studied at Birmingham College of Art. During World War II, he served as an official war photographer.
He moved to New Zealand in 1949, establishing John Crichton Limited, in Auckland in 1951, offering interior design services. He designed and sold furniture, lighting and ceramics. and was an artist working in mosaics, pen and ink and watercolour. Crichton was able to promote his designs beyond New Zealand, featuring chairs and lamps in the British journal Decorative Art: the studio yearbook in 1955 and 1957.
He was a founder of the New Zealand Society of Industrial Designers (NZSID) in 1959, elected to membership soon after the Society's incorporation in 1960, and served on its council to 1966.
Crichton died in New Zealand on 7 January 1993. Examples of his work are held in the collections of Museum of New Zealand Te Papa Tongarewa.
John Croucher
John Croucher (1951-2023) was a pioneering New Zealand glass artist, glassmaker, and alchemist. He played a leading role in the development of studio glass in New Zealand and internationally, and was known for his innovative techniques in glassblowing and glassmaking, as well as his development of new colors and textures for glass.
Croucher was born in Auckland, New Zealand, in 1951. He began his career as a potter, but in the early 1970s he became interested in glassblowing. He travelled to the United States to study glassblowing at the Pilchuck Glass School, where he was taught by some of the leading glass artists of the time, including Dale Chihuly and Marvin Lipofsky.
After returning to New Zealand, Croucher set up his own glassblowing studio in Auckland. He quickly established himself as one of the leading glass artists in the country. He was known for his innovative techniques in glassblowing, such as his use of multiple layers of glass to create complex and colourful forms. He was also one of the first glass artists in New Zealand to use kilncasting, a technique that allows for the creation of large and complex glass forms.
In the early 1990s, Croucher became interested in glassmaking. He began experimenting with different recipes for glass and developed a number of new colours and textures. In 1993, he founded Gaffer Coloured Glass Ltd., a company that manufactures and sells coloured glass for glass blowing. Gaffer Glass quickly became known for its wide range of colors and high quality glass.
Croucher's work has been exhibited in galleries and museums around the world. He has also received numerous awards for his work, including the prestigious New Zealand Society of Arts and Crafts Award in 2007.
Croucher died in 2023 at the age of 72. He left behind a legacy as one of the most important and influential glass artists in New Zealand history.
John Duffecy
John Henry Canterbury Duffecy (1919 – 2009) was born in Redfurn NSW, and was a self-taught furniture designer. His business, John Duffecy Furniture, operated from a shop in Glenmore Road, Paddington, NSW in the 1960s & 1970s. He was commissioned by prominent Sydney residents to design furniture, and the firm of Bowmer & Rogers manufactured some of his furniture.
John Ellicott, Clockmaker
John Ellicott (1706-1772) was an English clockmaker who was born in London and after completing his apprenticeship as a clockmaker, quickly gained a reputation for his technical skill and became well-known for his innovations in the field of horology.
Ellicott's most significant contribution to the field of clockmaking was the invention of the compensated pendulum, a device that uses two pendulums of different lengths to counteract the effects of temperature changes on the accuracy of a clock. This invention was a major improvement over previous pendulum designs and helped to increase the accuracy of timekeeping.
Ellicott was also known for his work as the clockmaker to King George III. He was appointed to this position in 1760 and was responsible for maintaining and repairing the clocks and timepieces used by the royal household. During this time, he also created a number of highly accurate timepieces, including marine chronometers, which were used to determine longitude at sea.
Ellicott was widely recognized for his achievements during his lifetime and was awarded several honors, including the title of "Master Clockmaker to His Majesty" by the King.
John Emes
John Emes (1772–1808) was a 19th-century London silversmith. He is considered one of the most important silversmiths of the Georgian period, and his work is characterized by its elegant design and fine finish. He was born in London in 1772. He apprenticed to the silversmith Paul Storr, and in 1796 he set up his own workshop at Amen Corner, London. Emes quickly established a reputation for his high-quality work, and he was soon patronized by some of the most prominent families in England.
Emes's work is known for its elegant design and fine finish. He often used classical motifs in his work, and he was also known for his innovative use of new techniques, such as the use of engine turning. Emes's work is highly sought-after by collectors, and his pieces can fetch high prices at auction.
His most admired creations included a tea service made for the Duke of Northumberland, c. 1800, a coffee service made for the Duke of Devonshire, c. 1802, a dessert service made for the Marquess of Hertford, c. 1804, a dinner service made for the Prince of Wales, c. 1806.
Emes died in 1808 at the age of 36. He was buried in St. Paul's Cathedral, London.
John Flaxman
John Flaxman, English sculptor, modeller, and designer, lived from 1755 to 1826. He was one of the leading artists of the late 18th and early 19th centuries, and he is widely regarded as one of the greatest sculptors of the Neoclassical era.
Flaxman was born in London and apprenticed to the leading sculptor of his day, Joseph Wilton. He quickly established a reputation as a talented sculptor and was commissioned to produce works for many of the leading figures of his time, including members of the royal family and the aristocracy.
Flaxman's style was characterized by its simplicity, classical elegance, and harmonious composition. He was particularly known for his depictions of classical mythology and literature, and his work was highly regarded by contemporary critics and collectors.
In addition to his work as a sculptor, Flaxman was also a successful designer and modeller. He created many designs for ceramics, jewellery, and other decorative objects, and his work was widely imitated by other artists and manufacturers.
John Francis
Francis studied under Samuel Joseph and Francis Leggatt Chantrey, two of the most prominent sculptors of the time. He began exhibiting his work at the Royal Academy in 1820, and he quickly gained a reputation for his skill and craftsmanship. Over the course of his career, Francis created busts and statues of many notable figures, including King William IV, Queen Victoria, Prince Albert, The Duke of Wellington, Lord Byron, Sir Robert Peel, Charles Dickens and Horatio Nelson
Francis's work is characterized by its realism and its attention to detail. He was also known for his ability to capture the likeness of his subjects. His busts and statues are now on display in museums and galleries all over the world. In addition to his work as a sculptor, Francis was also a teacher. He trained a number of notable sculptors, including Joseph Durham and Matthew Noble. He was also a member of the Royal Academy, and he served as its president from 1851 to 1857.
Francis died in London in 1861 at the age of 80. He is buried in Highgate Cemetery
John Gould and Elizabeth Gould
John Gould and his wife Elizabeth Gould were prominent figures in the field of ornithology during the 19th century. Together, they made significant contributions to the study of birds through their meticulous illustrations and descriptions of various avian species.
John Gould, born on September 14, 1804, in England, began his career as a taxidermist, working at the Zoological Society of London. His talent for capturing the lifelike appearance of birds led him to pursue a career in ornithology. In 1830, he published his first major work, "A Century of Birds from the Himalaya Mountains," which featured detailed illustrations of birds from India and Southeast Asia.
Elizabeth Gould, born Elizabeth Coxen on July 18, 1804, also in England, shared John's passion for natural history and artistic talent. She became John's collaborator and produced many of the initial sketches for their publications. Elizabeth's artistic abilities were highly regarded, and her contributions played a vital role in the success of their works.
Together, John and Elizabeth Gould embarked on several scientific expeditions to various parts of the world to study and document new bird species. They travelled to Australia, New Zealand, and the surrounding regions, where they encountered a vast array of unique avian species. The Gould's meticulously observed and collected specimens, which formed the basis for their subsequent publications.
The Goulds' most significant publication was "The Birds of Australia," a comprehensive work comprising several volumes and featuring illustrations of more than 600 bird species. It was considered a landmark achievement in the field of ornithology. Other notable publications by the Goulds include "The Birds of Europe" and "The Birds of Great Britain."
Unfortunately, Elizabeth Gould's life was cut short when she passed away on August 26, 1841, at the age of 37, shortly after giving birth to their eighth child. John Gould continued their work and collaborated with other artists to complete their ongoing projects.
John Gould's contributions to ornithology extended beyond his artistic endeavors. He described numerous new species and played a crucial role in popularizing the concept of "Gouldian finches," a group of colourful birds from Australia.
The legacy of John and Elizabeth Gould lies in their stunning illustrations and scientific contributions to ornithology. Their works continue to be celebrated for their artistic beauty and scientific accuracy.
John Harrison
John Harrison (1693-1776) was an English clockmaker who is widely regarded as one of the most important horologists in history. He is best known for his development of the marine chronometer, a highly accurate timepiece that made it possible to determine a ship's longitude at sea.
Harrison was born in Foulby, Yorkshire, England, and began his career as a carpenter and clock repairman. In 1728, he was awarded a government prize of £20,000 (equivalent to several million pounds today) for his design of a marine chronometer that could accurately measure longitude at sea.
Over the course of his career, Harrison designed and built several more marine chronometers, each of which was more accurate and reliable than the last. His fourth and final chronometer, known as H4, was completed in 1759 and was tested on a voyage to Jamaica in 1761. The chronometer proved to be highly accurate, enabling the ship's captain to calculate the longitude of the ship with an error of just a few miles. This was a major breakthrough in navigation and helped to make ocean voyages much safer.
Harrison's work on the marine chronometer earned him worldwide recognition and he was awarded the Copley Medal by the Royal Society in 1749 and again in 1765. Despite his achievements, Harrison faced significant opposition and criticism from members of the scientific establishment, who were reluctant to accept the idea of a clockmaker from a humble background challenging their authority.
In addition to his work on the marine chronometer, Harrison also made important contributions to the design of other clocks and watches, including the grasshopper escapement and the bimetallic strip. He died in London in 1776, having made a lasting impact on the field of horology and navigation.
John Henry Belter
John Henry Belter (1804 - 1863) was a German-American furniture designer and manufacturer active in the mid-19th century. He is best known for his Rococo Revival-style furniture, which was crafted from a type of compressed sawdust and resin known as "laminated rosewood." Belter's furniture was highly sought after during the Victorian era and is considered some of the most elaborate and opulent furniture of the period.
John James Audubon
Jean Jacques Audubon was the birth name of John James Audubon, an American ornithologist, naturalist, and artist. Audubon was born in 1785 in what is now Haiti and is best known for his book "The Birds of America," which features detailed, life-size illustrations of more than 400 North American birds. Audubon is considered one of the greatest bird artists of all time and is credited with helping to popularize the study of ornithology. He died in 1851, and his work continues to be widely admired and is considered an important part of the natural history of the United States..
John Kendrick Blogg
John Kendrick Blogg, now primarily known as a talented wood carver, was also a poet, hymn writer and industrial chemist and perfume manufacturer. He was born in Toronto, Canada in 1851 and studied chemistry at Toronto University before becoming a junior partner in his uncle's firm of dispensing chemists. He left Canada and arrived in Melbourne in 1877 and in 1884 established a business as manufacturing chemists based in Melbourne. As a wood carver, he carved a wooden casket for King Albert of Belgium in 1915. A sculptured panel he had carved was presented to the Prince of Wales when he visited Melbourne in 1920.
John Lambe
John Lambe was an 18th century silversmith who worked in London. He was born in 1738 and apprenticed to the silversmith John Edwards. Lambe became a freeman of the Goldsmiths' Company in 1762 and set up his own workshop in the Strand.
Lambe was a prolific silversmith and produced a wide range of work, including tea and coffee services, salvers, candlesticks, and boxes. His work is characterized by its elegant design and fine craftsmanship. Lambe was also a skilled engraver and many of his pieces are decorated with intricate engraving.
Lambe's work was highly sought-after by collectors and he was patronized by some of the most important families in Britain, including the Duke of Northumberland, and the Earl of Sandwich, the Duchess of Devonshire and Marquess of Rockingham. Lambe died in 1791 at the age of 53. Lambe's work remains highly prized by collectors and his pieces can fetch high prices at auction. In 2015, a tea and coffee service by Lambe sold for £250,000.
John Langlands I
John Langlands I was a Newcastle (England) based silversmith who was active from the mid-1750s to the early 1790s. He was part of the Langlands family, who for sixty years were the largest silverplate producers in Newcastle.
Langlands was born in Newcastle in about 1730. He apprenticed to Isaac Cookson, a silversmith and goldsmith, in 1747. When Cookson died in 1754, Langlands and another of Cookson's apprentices, John Goodrick, took over the business. The partnership lasted until Goodrick's death in 1757.
After Goodrick's death, Langlands continued to operate the business on his own. He was joined by his son, Robert, in 1774. In 1778, Langlands formed a partnership with John Robertson I. This partnership lasted until Langlands' death in 1793.
Langlands was a prolific silversmith. He produced a wide range of silverware, including tankards, cups, bowls, candlesticks, and tea sets. His work was known for its high quality and elegant design.
Langlands died in Newcastle in 1793. He was succeeded in the business by his son, Robert. The Langlands family continued to produce silverplate in Newcastle for over 100 years.
John Lawrence
John Lawrence was born in Essex, England in 1929, and
graduated from Wimbledon School of Art after World War II.
He has worked in studios in Finland, the UK and in France,
and helped to establish a ceramics department at Luton School of Art. Lawrence
continued to teach in Luton alongside his partner, ceramicist Ann Verdcourt.
Together they migrated to New Zealand in 1965 and started producing ceramics in
Dannevirke, from where John Lawrence passed away in 2022.
John Papas
John Papas was born in Auckland, New Zealand in 1942, to Scottish and Greek parents. He began pottery making in 1963, and he quickly established himself as one of the leading potters in the country. He has exhibited extensively throughout New Zealand and internationally, and his work is held in public and private collections around the world.
He is known for his diverse and innovative work and works in a variety of materials, including earthenware, stoneware, and porcelain. Papas's work is characterized by its bold forms, vibrant colours, and unique textures. He is not afraid to experiment, and he is constantly pushing the boundaries of what is possible with clay. He is also a master of traditional pottery techniques, such as wheel throwing and hand-building.
One of the things that sets Papas's work apart is its diversity. He is equally comfortable making functional vessels, such as bowls and mugs, as he is making abstract sculptures. He is also a skilled muralist, and he has created several large-scale murals in New Zealand and Australia.
John Papas is a passionate advocate for pottery, and he has played a significant role in promoting the craft in New Zealand. He has taught pottery workshops throughout the country, and he has been a mentor to many young potters.
John Parker
John Parker was born in Auckland, New Zealand in 1947. In 1970 Parker graduated from Auckland Teachers College with a Teachers College Diploma with Distinction. He attended the Royal College of Art, London, from 1973 to 1975, graduating with a Master of Fine Arts. He returned to New Zealand in 1977.
He began night classes with in Auckland in 1966, and in 1967 he built a stoneware kiln and from 1977 to 1981 he was director of the Auckland Studio Potters Centre.:?92?. In 2013 Parker was a finalist in the Portage Ceramic Awards
Parker is also a set designer for theatre and performing arts. He has designed over 23 drama and musical theatre productions with Auckland Theatre Company. He has used the skills he has developed as a theatre designer to present strongly designed installations of groups of his own ceramic works.
In 2002 City Gallery Wellington mounted a 30-year survey of Parker's work titled John Parker: Ceramics. In September 2016 Te Uru Waitakere Contemporary Gallery launched John Parker: Cause and Effect, an exhibition and accompanying publication of the same name, celebrating Parker's 50 years of practice. In October 2016 the Museum of New Zealand Te Papa Tongarewa opened John Parker: Handmade Precision.
John Perceval
John Perceval was a prominent Australian artist known for his contributions to the fields of painting, sculpture, and ceramics. Born in 1923 in Victoria, Australia, Perceval began his career as a painter, but later turned his attention to ceramics, producing a range of works that are highly regarded for their innovative designs and technical excellence.
Perceval's ceramics are characterized by their bold use of colour and form, often featuring brightly painted surfaces and expressive, sculptural shapes. Many of his pieces are also notable for their whimsical, playful designs, which often incorporate animals, plants, and other natural motifs.
One of Perceval's most significant contributions to Australian ceramics was his role in establishing the Arthur Merric Boyd Pottery in Victoria in 1944. This studio, which Perceval co-founded with Arthur Boyd and other artists, quickly became a centre for innovation and experimentation in the field of ceramics, and helped to elevate the status of Australian ceramics on the international stage.
Perceval continued to produce ceramics throughout his career, and his works can be found in many major Australian museums and private collections. Recognized as one of the most important ceramic artists of the 20th century, John Perceval died in 2000.
John Philemon Backhouse
Born in England in 1845, John Philemon Backhouse moved to New Zealand by 1865 where he served in the armed constabulary. He painted in the thermal areas of New Zealand and created pencil, wash, and watercolour sketches of the Onehunga area and other parts of Auckland. He became a fulltime artist in the early 1890s and sketched scenes of New Zealand and visited Australia and many of his sketchbooks are in the Turnbull library. He also created studies of birds and insects. He is known for painting on shells and small boards. He died in 1908.
John Robinson
John Robinson 1935-2007 was a British self-taught sculptor and tapestry artist. He was born in London to an Australian father and an English mother. He spent part of his childhood in Australia, where he developed an interest in sculpting while farming in the Ninety-Mile Desert.
Robinson returned to England in 1969 and established a studio in Devon. He worked in a variety of mediums, including bronze, wood, stainless steel, and marble. His subject matter was both figurative and abstract, but he was best known for his sculptures of children and sports figures.
Robinson's work was shown in numerous exhibitions around the world, and he received many public commissions. Some of his most notable works include the Hammer Thrower outside the Bowring Building, Tower Hill, London, Acrobats outside the Sports Centre in Canberra, Australia, and the Gymnast at the Olympic Museum in Lausanne, Switzerland
In the early 1970s, Robinson began the Universe Series of Symbolic Sculpture, which now comprises over one hundred works. This series explores the human experience from the beginning of time to the present day, and includes sculptures of the earth, animals, man and woman, birth, religion, civilization, and death.
Robinson was also a tapestry artist. He created eleven tapestries for the Universe Series, which were exhibited at various locations around the world. He was a strong advocate for the arts and was a founding member of the Bradshaw Foundation, a charity that supports artists and encourages creativity.
Robinson was a highly respected sculptor, and his work is admired for its beauty, dynamism, and emotional power. He died in 2007 at the age of 71.
John Roy
John Roy, born 1972, is a New Zealand potter who is known for his work with iconic forms and social memory. He was born in Christchurch, New Zealand, and received a Bachelor of Fine Arts in Ceramics from Whanganui Polytechnic in 1997.
Roy's work is often inspired by everyday objects, such as cups, bowls, and plates. However, he twists and distorts these forms to create new and unexpected shapes. His work is also often highly decorated, with intricate patterns and designs.
Roy is interested in the way that objects can carry social memory. He believes that the objects we use in our everyday lives can tell us a lot about our culture and our history. His work often explores themes of identity, belonging, and nostalgia.
Roy's work has been exhibited extensively in New Zealand and internationally. He has also won numerous awards for his work, including the Premier Award at the New Zealand Society of Potters Exhibition in 2004 and the Supreme Award at the Waiheke Ceramics Award in 2004.
Roy's work is held in public collections throughout New Zealand, including the Sarjeant Gallery Whanganui, the Museum of New Zealand Te Papa Tongarewa, and the Auckland War Memorial Museum.
John Skeaping
John Rattenbury Skeaping (1901-1908) was born in Essex into an artistic family - his father was a painter and illustrator and his mother was a musician.
He studied at Goldsmith's College, the Central School of Arts & Crafts and the Royal Academy in 1919-20. In 1924 he was awarded the Prix de Rome, a scholarship allowing young artists and the same year married the sculptor Barbara Hepworth. (The marriage was dissolved in 1933.)
John Skeaping's first exhibition at the Royal Academy was in 1922 and in 1926 he produced the first of many sculptures for Wedgwood. In total around 10 figures were produced up to the 1940s in cream, basalt, grey and moonstone colours, the most notable of which, from the Australian perspective, was the kangaroo.
In World War II he served in the intelligence services and with the SAS and in 1953 became Professor of Sculpture at the Royal College of Art.
His work with Wedgwood was only a small portion of his extensive career.
John William Lindt
John William Lindt (1845 - 1926) was a German-born Australian landscape and ethnographic photographer, early photojournalist, and portraitist. He is best known for his photographs of Australia and New Guinea in the late 19th century.
Lindt was born in Frankfurt, Germany, on New Year's Day 1845. He came to Australia in 1862, aged 17, and worked as a piano tuner and repairer. In 1867, he became a photographic assistant to Conrad Wagner in Grafton, New South Wales. He married Wagner's daughter, Anna, in 1872 and took over management of the studio in 1869.
In 1873, Lindt moved to Sydney and opened his own studio. He quickly became one of the most successful photographers in the colony, specializing in landscape and ethnographic photography. He was also a pioneer of photojournalism, and his photographs were often published in newspapers and magazines.
In 1885, Lindt joined an expedition to New Guinea, where he took some of the earliest photographs of the island. His photographs of New Guinea were widely acclaimed, and they helped to raise awareness of the island's people and cultures.
Lindt continued to work as a photographer until his death in 1926. He is considered one of the most important photographers of Australia in the 19th century.
John Willis Good
John Willis Good was an English sculptor who was born in London in 1845. He studied at the Royal Academy Schools and exhibited at the Royal Academy from 1870 to 1878. Good is best known for his animal sculptures, which are characterized by their realism and their expressiveness. He also produced a number of portrait busts and other works.
Good's early work was influenced by the French animalier sculptors of the 19th century, such as Antoine-Louis Barye and François Pompon. However, he developed his own unique style, which was characterized by its boldness and its sense of movement. Good's sculptures are often highly detailed and realistic, and they capture the essence of the animals they depict.
Good's most famous work is probably his sculpture of a racehorse, entitled "The Tired Hunter". This sculpture was exhibited at the Royal Academy in 1875 and was immediately praised by critics. It is now considered to be one of the finest animal sculptures of the 19th century.
Good died in 1879 at the age of 34. He had only a short career, but he produced a body of work that is still admired today. Good is considered to be one of the most important animal sculptors of the Victorian era.
Good's work is held in the British Museum, the Victoria and Albert Museum, the Metropolitan Museum of Art and collections around the world,
Johnson & Simonsen
Established in Melbourne 1895 the manufacturing firm of Johnson and Simonsen became one of the major jewellery manufacturers in Melbourne. Their hallmark was a ’Square and Compass” used in conjunction with the guarantee marks of the M.J.A. of Victoria.
Johnson Brothers
Johnson Brothers was a British tableware manufacturer and exporter that was noted for its early introduction of "semi-porcelain" tableware. It was among the most successful Staffordshire potteries which produced tableware, much of it exported to the United States, from the 1890s through to the 1960s. They were also important manufacturers of large bathroom ceramics. Some of its designs, such as "Eternal Beau", "Dawn", "Old Britain Castles" and "Historic America", achieved widespread popularity and are still collected today.
The company was founded in 1883 by four brothers, Alfred, Frederick, Henry and Robert Johnson. Their father married the daughter of a master potter, Alfred Meakin. In 1883, Alfred and Frederick Johnson began production at a defunct pottery, known as the Charles Street Works, that they had purchased at a bankruptcy sale in Hanley, Stoke-on-Trent. At first, they specialised in the manufacture of durable earthenware, which they called "White Granite". The success of this venture led to rapid expansion. In 1888, the Reverend Henry Johnson joined the business and the company's name was changed to Johnson Brothers.
In the early 1900s, Johnson Brothers began to produce a wider range of tableware, including fine china and bone china. They also introduced a number of innovative new designs, such as their "Eternal Beau" pattern, which was first introduced in 1905. This pattern was an instant success and is still one of the most popular Johnson Brothers designs today.
During the Second World War, Johnson Brothers' production was focused on making utilitarian items, such as bomb craters and gas masks. However, after the war, the company returned to producing tableware and other decorative ceramics. In the 1950s and 1960s, Johnson Brothers continued to be a major player in the British tableware market. They produced a wide range of popular designs, including "Dawn", "Old Britain Castles" and "Historic America".
In 1968, Johnson Brothers was acquired by the Wedgwood Group. The company continued to operate under the Johnson Brothers name for a number of years, but its production gradually declined. In 2003, the manufacture of Johnson Brothers tableware ceased in the UK and was transferred to China. The Johnson Brothers brand name is still owned by the Wedgwood Group, but it is no longer used for the production of tableware.
Joint Stool or Joined Stool
A broad term used to describe small wooden stools dating from the 16th to the 18th centuries, with turned legs and stretchers and constructed with a pegged mortice and tenon joint, and made by a joinder rather than a cabinetmaker.
Jolliff (f. E. Cox) (australia)
Frederick Edwin Cox (1871-1955) in 1950 was born in England and moved to Australia in 1913. He didn’t commence potting until he was aged sixty and continued almost up to his death in 1955. He branded his pottery “Jolliff” which was his mother’s maiden name.
Jon Jansen
Jon Jansen was a furniture business established in Auckland in 1951 by Lincoln Laidlaw, previously a toy manufacturer. The company imported products but also manufactured it's own lines, which were developed by Dutch designers, Edzer Duije (Bob) Roukema and his assistant Jan Knoll. As well, Bob Roukema developed his own style that were compatible with designs by top mid-century designer. The store was a success and became a three story emporium, as well as opening an additional three satellite stores. The store closed in the early 1960s due to the imposition of import controls, the departure of the two Dutch designers and increased competition.
Jonathan De Pas
Jonathan de Pas (1932–1991) was an Italian architect and designer who played a significant role in the mid-century design movement. He was born in Milan and became one of the prominent figures in the Italian design scene during the 20th century.
He studied architecture at the Politecnico di Milano, where he developed a strong foundation in design principles and later collaborated with Donato D'Urbino and Paolo Lomazzi. Together, they formed a design partnership that produced innovative and iconic pieces during the 1960s and 1970s. The trio is often referred to as "D'Urbino, Lomazzi, and De Pas."
The designs of Jonathan de Pas and his partners, were characterized by a playful and experimental approach. They often incorporated unconventional materials and forms into their furniture and product designs. Their work reflects the spirit of the post-war Italian design scene that sought to break away from traditional norms.
One of their most famous creations is the "Joe" armchair, designed in 1970. This chair, resembling a baseball glove, showcases their whimsical and innovative design style. They also designed the "Blow" sofa, another iconic piece that pushed the boundaries of traditional furniture design.
The designs of D'Urbino, Lomazzi, and De Pas received recognition both in Italy and internationally. Their works are considered influential in the evolution of design during the mid-20th century.
Jonathan de Pas continued to contribute to the design world until his passing in 1991. The legacy of D'Urbino, Lomazzi, and De Pas lives on through their innovative designs, which are often celebrated and collected by design enthusiasts and museums around the world.
Jorgen Jensen
Jorgen Jensen was the eldest of Georg Jensen's sons. He was born in Copenhagen in 1895 and died in 1966. He trained as a silversmith in Munich from 1912 to 1914, and then returned to Georg Jensen's silversmithy in Copenhagen for further education from 1914 to 1917. He worked for the company for many years, and his designs are still produced today.
Jorgen Jensen was a talented silversmith and jewellery designer. His work was inspired by nature and often featured organic forms and motifs. He was also a skilled craftsman, and his work is known for its high quality. Some of his most famous designs include the "Wave" vase, the "Leaf" candlestick, and the "Swan" salt and pepper shakers.
His talents helped to establish Georg Jensen as one of the leading silversmiths in the world. He was also a mentor to many young designers, and his influence can be seen in the work of many of his contemporaries.
Josef Hoffmann
Josef Hoffmann (1870-1956) was an Austrian architect and designer, and a prominent figure in the Vienna Secession and Wiener Werkstätte movements. He is particularly known for his modernist designs and his influence on the development of 20th-century design.
Hoffmann designed a wide range of products, from furniture and lighting to textiles and ceramics. His mid-century wares are characterized by their clean lines, geometric forms, and use of high-quality materials such as wood, metal, and leather. Hoffmann's designs were often intended to be both functional and beautiful, and many of his pieces remain popular with collectors and design enthusiasts today.
Some of Hoffmann's most famous mid-century designs include his Sitzmaschine chair, which features a curved seat and backrest and a metal frame, and his Kubus armchair, which is constructed from leather and tubular steel. He also designed a range of tableware, including the iconic Kubus tea set, which features a square form and simple, elegant lines.
Hoffmann's influence on design extended beyond his own work, as he taught and mentored many other designers who went on to become influential in their own right. His designs are considered classics of the modernist style.
Josef Lorenzl, Sculptor
Josef Lorenzl (1892-1950) was an Austrian sculptor and artist who is known for his Art Deco bronze sculptures of dancers and other figures. Lorenzl was born in Vienna, Austria and studied at the Vienna School of Arts and Crafts. After completing his studies, he began working for the Austrian bronze foundry Goldscheider, where he quickly gained a reputation for his talent and skill as a sculptor.
His work was heavily influenced by the Art Deco movement, which was characterized by its stylized, geometric designs and emphasis on luxury and elegance. He was particularly interested in the human form, and many of his sculptures depict dancers, acrobats, and other performers in various poses and movements. Lorenzl's sculptures are notable for their attention to detail and their use of contrasting textures and finishes, such as smooth and polished surfaces alongside rougher, more textured areas. He often incorporated decorative elements such as feathers, beads, and tassels into his sculptures, which added to their glamour and sophistication.
He produced a large number of sculptures during his career, and some of his most famous pieces include "The Dancer," "The Wave," and "The Skater," all of which capture the grace and fluidity of the human form in motion.
Lorenzl continued to work as a sculptor throughout his life, but his career was interrupted by the outbreak of World War II and he died in Vienna in 1950.
Joseph Lycett
Born in England in 1774, Joseph Lycett was an accomplished portrait painter and miniature painter. Convicted of forgery and transported to Sydney, arriving in 1814. He was again convicted in 1815, this time of forging bills drawn on the Post Office and sent to Newcastle. In the ensuing years Joseph Lycett painted scenes of Australia's countryside. After three of his paintings were presented to Lord Bathurst as a gift he was granted a pardon in 1818 and then returned to England in 1822 where he published a three-part book. This was later bound as 'Views of Australia'. Much of his work is owned by the Mitchell Library Sydney.<p>
Joseph Sly
Prominent Australian Colonial furniture maker Joseph Sly was born in England in 1834. He immigrated to Australia in the mid-1850s, during the height of the gold rush, and soon found work as a carpenter and furniture maker in Melbourne.
Sly established himself as one of the leading furniture makers in the colony, and his work was highly sought after by wealthy and influential members of society. In the late 1860s, Sly established his own furniture-making business in Melbourne, which he named Joseph Sly & Co. Sly's work was characterized by its elegance and sophistication, and he was particularly known for his skill in crafting elaborate designs, such as ornate carving and inlaid patterns. His furniture was also notable for its durability, with many pieces surviving to this day in excellent condition.
Despite his success, Sly was known for his modesty and his commitment to his craft. He never sought the limelight, preferring instead to let his work speak for itself. He continued to produce furniture until his death in 1916, at the age of 82.
Joseph-Gabriel Argy-Rousseau
Joseph-Gabriel Argy-Rousseau (1885-1963) was a French glass artist who was active in the early 20th century. producing Art Nouveau glassware and other decorative objects. Joseph-Gabriel Argy-Rousseau's glassware is characterized by its intricate, organic designs and vibrant colours. It was highly sought after during his lifetime and is still collectible today. In addition to glassware, Joseph-Gabriel Argy-Rousseau also produced jewellery, enamel work, and other decorative objects such as vases, bowls, lamps and lampshades
Jouet and Fj (france Jouets)
The Jouet and FJ (France Jouets) company was founded in Paris in 1946 by Jean Frémont. Frémont had previously worked for the toy company Jouet de Paris, and he decided to start his own company after Jouet de Paris was acquired by the British toymaker Chad Valley. The company's early products were made of plastic, which was a relatively new material at the time. Jouet and FJ was one of the first companies to use plastic in toys, and their products were quickly popular with children all over France.
In the 1950s, the company began to expand its product line to include other types of toys, such as cars, trucks, dolls, and action figures. The company also began to export its products to other countries, including the United States and the United Kingdom. In the 1960s, the company's name was changed to FJ (France Jouets). The company continued to grow in the 1970s, and it became one of the leading toymakers in France.
However, the company began to face increasing competition from foreign toymakers in the 1980s. FJ (France Jouets) was unable to compete with the lower prices of foreign toys, and the company began to lose market share. In the 1990s, the company was acquired by the British toymaker Hornby. Hornby attempted to revive the company, but FJ (France Jouets) was unable to regain its former success. The company's operations were gradually phased out in the following years, after being a major player in the French toy industry for over 50 years.
Joustra Toy Company
Joustra was a French toy company founded in Strasbourg in 1934. The company's name is an abbreviation of "Jouets de Strasbourg", which means "toys from Strasbourg". Joustra was initially known for its tinplate toys, including cars, trains, and airplanes. In the 1950s, the company began producing plastic toys, and in the 1970s, it began importing Japanese toys. Joustra went bankrupt in 1987.
Like many other businesses during World War II, Joustra faced challenges due to the scarcity of resources and restrictions imposed by the war. However, after the war, the company resumed production and continued to grow. Joustra was one of the most popular toy companies in France for many years. Its toys were known for their high quality and durability. Joustra toys were also popular for their realistic designs. The company's cars, trains, and airplanes were often modeled after real-life vehicles.
Joustra also collaborated with other well-known toy manufacturers. For example, in the 1950s, they partnered with the famous German toy company Schuco. With the rise of plastic toys in the 1960s and 1970s, Joustra adapted to the changing market trends and began producing toys made of plastic. This shift allowed the company to offer a wider range of products and attract a larger customer base.
Over the years, the ownership of the Joustra toy company changed hands several times. It was acquired by the Ceji Arbois Group in the late 1970s and then by the Simba-Dickie Group in the 1990s.
Jova Rancich
Jova Rancich is a New Zealand ceramics artist renowned for her large-scale, abstract sculptures. Her work draws inspiration from the natural world, resulting in visually striking and thought-provoking creations. Rancich employs various techniques, including hand-building, wheel-throwing, and glazing, to bring her artistic vision to life.
Rancich's work has been exhibited in both solo and group exhibitions in New Zealand and internationally, showcasing her talent and garnering acclaim. Her remarkable contributions to the field have earned her numerous awards, including the prestigious 2016 Te Waka Toi Award for Excellence in Ceramics.
Notably, in 2017, Rancich was commissioned to craft a monumental ceramic sculpture for the Christchurch Botanic Gardens. Titled "The Tree of Life," this awe-inspiring artwork stands at an impressive height of 10 meters and incorporates natural materials such as clay, sand, and rocks. Unveiled in 2018, "The Tree of Life" has become a beloved attraction within the Botanic Gardens, captivating visitors with its beauty and symbolism.
Rancich's portfolio includes exhibitions that have showcased her talent and creativity. Noteworthy exhibitions featuring her work include "Jova Rancich: Recent Work" at Lopdell House Gallery in Auckland (2015), "Jova Rancich: The Tree of Life" at Christchurch Botanic Gardens (2018), and "Jova Rancich: New Work" at Starkwhite Gallery in Auckland (2020).
Rancich's artistic contributions have been recognized and collected by prestigious institutions. Her works can be found in the collections of renowned museums such as Auckland Art Gallery Toi o T?maki, Christchurch Art Gallery Te Puna o Waiwhet?, and the Museum of New Zealand Te Papa Tongarewa in Wellington.
Jrd Toys
JRD was a French toy manufacturer founded in 1922 by Jean Robert Delord. The company specialized in die-cast toy cars, and its products were known for their high quality and realism. JRD was one of the leading toy manufacturers in France during the 1950s and 1960s, and its toys were exported to many countries around the world.
JRD toys are known for their high quality and realism. The cars are made with die-cast metal, and they have many moving parts. The details are also very accurate. Some of the most popular JRD toys include the JRD 2CV, a die-cast model of the Citroën 2CV, one of the most popular cars in France, the JRD Renault 4CV: A die-cast model of the Renault 4CV, another popular French car, and the JRD Simca Aronde: A die-cast model of the Simca Aronde, a popular French car of the 1950s.
The company ceased production in 1975, but its toys are still sought after by collectors today.
Ju Wood
Ju wood, also known as southern elm, is a large-grained wood of which most provincial furniture is made. Its appeal is greatly enhanced by cleaning and waxing.
Judaica
Historical objects, especially in silver, and literature relating to the Jewish faith.
Jugendstil
The German and Austrian version of the Art Nouveau style and the other related styles that were expanding everywhere in Europe in the early 20th century.
The name was derived from the title of the Munich cultural magazine, "Die Jugend", with the addition of "Stil", which translates as "youth style".
Jugendstil encompasses all forms of architecture and art: industrial facilities, elevated-train systems, villas, churches, as well as the interior design of bars and coffee houses
In Austria, Jugendstil developed also in various ways, mainly under the effect of the Viennese Secession and of the Wiener Werkstätte.
Jugendstil
Jugendstil is the German term for the Art Nouveau movement that flourished in Europe from the late 19th century to the early 20th century. It was characterized by flowing lines, organic forms, and decorative motifs inspired by nature, as well as an emphasis on craftsmanship and a rejection of mass-produced goods.
In Germany, Jugendstil emerged as a response to the industrialization and mechanization of society, and it drew inspiration from various sources, including the Arts and Crafts movement, the Pre-Raphaelites, and Japanese art. It was characterized by an ornamental and expressive style that was applied to a wide range of media, including architecture, interior design, furniture, jewelry, ceramics, and graphic design.
Some of the most prominent exponents of the Jugendstil style in Germany include architects such as Peter Behrens, Josef Hoffmann, and Otto Wagner, as well as artists such as Gustav Klimt, Alphonse Mucha, and Aubrey Beardsley. The style had a significant impact on German design and culture, and it continues to influence contemporary art and design.
Jules Moigniez
Jules Moigniez (1835-1894) was born in Senlis France. He specialized in game bird and animal sculpture and had considerable fame. All of his bronzes were cast by his father who started a foundry in 1857 for this sole purpose.
Juliet Peter
Juliet Peter (1915-2010) was a New Zealand artist and illustrator. Born in Anama in rural Mid Canterbury, she did not receive a formal education but attended the Canterbury College School of Art after returning to New Zealand with her sister in the 1930s. Peter began working for the Department of Education in 1947 as an illustrator, and also exhibited her works at various galleries during this time. In 1952, she married potter Roy Cowan and moved to London to study at the Central School of Arts and Crafts and Hammersmith School of Art.
Peter's work was exhibited at various galleries and shows, including The Eighties Show at The Dowse Art Museum in 1999, which featured artists who were still active in their eighties. She was awarded a Companion of the New Zealand Order of Merit in the 2000 Queen's Birthday Honours for her services to the arts. Peter's work is held in the collections of the Christchurch Art Gallery Te Puna o Waiwhetu, The Dowse Art Museum, and the Museum of New Zealand Te Papa Tongarewa. She passed away in 2010 and was buried at M?kara Cemetery. In 2014, her work was shown alongside Roy Cowan's in the exhibition A Modest Modernism at The Dowse Art Museum.
Julio Santos
Julio Santos was born in Marinha Grande Portugal in 1933, a village with a long history of the ancient craft of glass blowing. At the age of twelve he became an apprentice in the National Fabrica de Vidros in Marinha Grande.
By 1956 he was a fully qualified glass blower and began work at the Vicris Glass Works and in 1962, he became Master Glass Blower at the Dorsteenhutte Glass Works of Wolfach in the Black Forest of Germany, where he worked for five years.
Julio Santos arrived in Australia, January 1968, with his wife and son. When he first came arrived he worked with BHP in Port Kembla as a railway labourer for six months then moved to Newcastle and worked at Phillips Lighting Industries where he became a Master Glass Blower. From 1976-78 he taught part time at College of Advanced Education in Newcastle and in 1979, he worked as a tutor in Glass Blowing at Caulfield Institute of Technology in Melbourne (now Chisholm) where he helped to establish the glass workshop until 1982.
Julio Santos then moved to Tomago, a suburb of Newcastle and set up his own studio. In 1998 he returned to Portugal as the guest of honour at the 2nd Biennale for glass artists. That same year he was asked to return to receive the award for the Most Internationally Recognised Master Glass Blower of Portugal.
Julio Santos has had many exhibitions both locally and internationally and in 2002 he collaborated with Stephen Skillitzi to create a show titled 'War of the Worlds'.
Jumeau Dolls
The Jumeau firm was founded in the 1840s, and initially made papier mache dolls. From about 1860 they also made glazed porcelain dolls and later unglazed bisque headed dolls with composition bodies, for which the company is best known. The papier mache and porcelain dolls were unmarked, making it difficult to associate them with Jumeau.
The two types of dolls associated with Jumeau, poupees (fashion ladies) and bebes (child dolls).
Poupees were the most popular type of doll manufactured from the late 1850s through to the 1870s. They had adult bodies, and were dressed in realistic clothing, including shoes, hats and accessories, that mirrored the fashions of the time.
In the late 1870s Jumeau commenced manufacturing the bebe (child) dolls, which had bisque heads, paperweight glass eyes, exaggerated eyebrows. Most had closed mouths until the 1890s.
In the 1890s competition from cheaper German imports threatened the French doll producers and in order to save their businesses, Jumeau and some of the other French manufacturers merged to form SFBJ (the Société Française de Fabrication de Bébés et Jouets.)
Jun Ware
Jun ware is a type of Chinese ceramic that was produced during the Northern Song Dynasty (960-1127) in the Henan province. It is known for its thick, opaque glaze that is typically blue or purple, although it can also range from yellow to green. Jun ware is highly valued for its unique coloration, which is the result of the glaze's reaction with the firing process and the kiln atmosphere.
It is also known for its simple, elegant shapes, which often include bowls, dishes, and vases. The clay used to make Jun ware is typically of a high quality, with a fine grain that allows for precise shaping and a smooth surface.
In addition to its aesthetic qualities, Jun ware is also prized for its technical sophistication. The thick glaze of Jun ware requires a high-temperature firing process that is difficult to control, and the results can be highly variable. As a result, Jun ware was produced in small quantities and was only available to a select group of individuals, including the imperial court and the wealthy elite.
Junghans Uhren Gmbh
Junghans Uhren GmbH is a renowned German watch and clockmaking company with a long and distinguished history. The company was founded in 1861 by Erhard Junghans and his brother-in-law, Jakob Zeller-Tobler, in the town of Schramberg, located in the Black Forest region of Germany. Initially, Junghans focused on manufacturing high-quality pocket watches with precision movements. The company's commitment to innovation and craftsmanship was recognised and they became one of the largest watch manufacturers in the world.
In the late 19th century, Junghans embraced the industrial revolution and began introducing mechanized production methods, including the use of machinery and assembly lines. This allowed for increased production capacity and greater efficiency in the manufacturing process. Junghans played a significant role in the development of accurate and reliable timekeeping. In 1903, they introduced the first German self-winding wristwatch, known as the "Junghans Autowinding." This innovative timepiece featured a movement that wound itself through the natural motion of the wearer's arm.
Throughout the early 20th century, Junghans continued to expand its product range. They began producing table clocks, wall clocks, and a wider variety of wristwatches, catering to different styles and functions. The company's commitment to precision and quality led to numerous awards and accolades, solidifying their reputation as a leading watch and clock manufacturer.
During World War II, Junghans, like many other German companies, shifted its production to support the war effort. They produced timekeeping instruments for the military, including chronometers and timing devices used in aviation. After the war, Junghans faced the challenges of rebuilding and adjusting to the changing market. They adapted to the rise of electronic timekeeping and quartz technology by introducing quartz watches in the 1960s. Junghans was at the forefront of this technological advancement, producing accurate and reliable quartz timepieces.
In 1985, Junghans merged with the Diehl Group, a German engineering and technology company. This collaboration allowed for further innovation and expansion of Junghans' product range. Junghans continues to produce a diverse range of watches, including classic mechanical watches, innovative quartz watches, and stylish design-led timepieces.