Learn about antiques and collectables...
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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.
Laburnum
Native to Europe and the United States, Laburnum timber is used as inlay, marquetry and oyster veneer on furniture pieces from the 17th century. It has a beautiful, rich golden colour and interesting grain patterns. It can also be used in small turned items, such as knobs or handles, where its density and hardness can be an advantage. Laburnum is not commonly used in furniture construction due to its tendency to warp and split when exposed to changes in temperature and humidity. It is also a relatively hard and dense wood, which makes it difficult to work with hand tools.
Lacquered Lacquerware
Lacquer is a clear or coloured resin that is obtained from the sap of several species of trees in the genus Rhus, particularly the Rhus verniciflua tree, which is native to China and Japan. The resin is harvested by making incisions in the tree bark and collecting the sap that oozes out.
The sap is then processed and refined through a series of steps, which may include filtration, heating, and chemical treatments. The resulting lacquer is a highly durable and glossy material that is used as a finish for furniture, musical instruments, and other objects.
Lacquer has been used for thousands of years in Asia, where it is valued for its beauty and durability. It is applied in multiple thin layers, with each layer being allowed to dry and harden before the next one is added. The process can take several weeks or even months to complete, but the resulting finish is incredibly hard, glossy, and resistant to scratches and wear.
The lacquer derived from the resin of the Rhus tree has been used for decoration of furniture in several countries in Asia, particularly China, Japan, Korea, and Vietnam. These countries have rich traditions of using lacquer for furniture decoration and have developed unique techniques and styles of lacquer work.
In China, lacquer has been used for furniture decoration for over 2,000 years, and it became a major art form during the Ming (1368-1644) and Qing (1644-1912) dynasties. Chinese lacquerware is known for its intricate carving, painting, and inlay work, as well as its use of bold colours and designs. Lacquer was used to decorate furniture such as cabinets, screens, and chairs.
In Japan, lacquer has been used for furniture decoration for over 1,000 years. Japanese lacquerware is characterized by its simplicity and elegance, and it often incorporates natural materials such as wood, bamboo, and shells. Lacquer was used to decorate furniture such as chests, cabinets, and trays.
In Korea, lacquer has been used for furniture decoration for over a thousand years. Korean lacquerware is known for its restrained and understated beauty, and it often features delicate patterns and designs that are achieved through careful layering and carving. Lacquer was used to decorate furniture such as cabinets, chests, and screens.
In Vietnam, lacquer has been used for furniture decoration for over 2,000 years. Vietnamese lacquerware is known for its vibrant colours and intricate designs, and it often features scenes from daily life, nature, and mythology
Lactolian Ware
Lactolian ware was a "New Art" technique that was perfected by the Doulton & Co. Art Director, John Slater and named lactolian ware, the name being derived from the Latin for ‘milky’ because of the attractively muted pastel shades of powder blue and olive green.
Ladder Back Chairs
Ladder back chairs were a popular style of seating in the 17th and 18th centuries, particularly in England and America. They were typically made from hardwood, such as oak, elm and beech and were known for their simple yet sturdy construction.
The defining feature of ladder back chairs is the upright back, which is made up of horizontal slats that resemble the rungs of a ladder. These slats are typically curved or slightly concave to provide a comfortable backrest, and they are held in place by vertical stiles that run from the top to the bottom of the chair.
The seat of a ladder back chair is typically made from woven rush or cane, which is stretched over a wooden frame. Some ladder back chairs feature upholstered seats, but this was less common in the 17th and 18th centuries.
Ladder back chairs often have turned legs and stretchers, which provide stability and support. The legs are usually straight and slightly tapered, and the stretchers connect the legs to prevent wobbling.
The overall design of ladder back chairs is simple and functional, reflecting the utilitarian aesthetic of the time. However, they are often decorated with intricate carving or turned details on the legs and stretchers, adding a touch of elegance to their utilitarian form.
Ladderax Furniture / Robert Heal
Ladderax is a modular furniture system that was designed by Robert Heal in the 1960s for his family's furniture company, Heal's. The system was a response to the changing needs of modern living, which required flexible and adaptable furniture that could be easily assembled and reconfigured.
The Ladderax system consists of modular units, which can be stacked and arranged in a variety of configurations to suit different spaces and purposes. The units are made from a combination of steel frames and wooden shelves, and can be assembled without the need for tools or special skills.
One of the key features of Ladderax is its flexibility. The system can be configured as a bookcase, a shelving unit, a room divider, a display cabinet, and more. The units can also be easily expanded or reduced in size, making it a versatile solution for a range of different living spaces.
Ladderax was an immediate success when it was introduced in the 1960s. Its modular design and clean, modern lines appealed to a new generation of design-conscious consumers who were looking for furniture that was both functional and stylish. The system was also well-received by architects and interior designers, who appreciated its flexibility and adaptability.
Despite its popularity, Ladderax was eventually discontinued in the 1980s as Heal's shifted its focus to other product lines. However, the system has remained a cult favorite among collectors and enthusiasts, who appreciate its timeless design and practicality.
Lalique Car Mascots
Rene Lalique introduced car mascots, marketed as Bouchons De Radiateur (radiator caps) to his product range about 1925, but production lasted for only 6 years, with demand choked by the Great Depression of the 1930s.
Followers of Lalique agree that there were about 30 different patterns produced, plus another 1 or 2 that were not marketed as car mascots, but could have served that purpose.
The rarest Lalique mascot is Renard (the fox) and in 2011 an example sold in Pennsylvania for in excess of $US200,000, which in turn was trumped the following year by the sale of a Renard in Carmel, California for $US338,500.
A full set of 30 Lalique car mascots was sold in March 2010 for $US805,000 (including buyers premium) at a classic car auction in Florida.
Lalique car mascots appeal to both glass collectors as well as classic car collectors, the latter being seen as a rich mans hobby, where participants must be well resourced to be able to afford anything of note, and this is one of the factors that can account for the high prices.
Lalique car mascots that have come onto the Australian auction market in recent years have sold in the range of $5,000 to $10,000.
Lalique Glass
Lalique glass is named after its founder, René Lalique, who was born in Ay, a small town in France in 1860. Lalique was a French glass designer and artist who is considered one of the most influential figures in the Art Nouveau movement. Lalique's fascination with glass started at a young age when he was apprenticed to a jeweller. He later went on to study at the École des Arts Décoratifs in Paris and then worked for several leading Parisian jewellers.
In 1885, Rene Lalique opened his own jewellery workshop in Paris, where he began to experiment with glass. He developed a new style of glass that was more translucent and refractive than traditional glass, and he began to incorporate it into his jewelry designs. Lalique's jewellery quickly gained popularity, and he became known as one of the leading designers of the Art Nouveau movement.
In the early 1900s, Lalique expanded his work into glassware and decorative objects. He created vases, bowls, perfume bottles, and other objects that were adorned with intricate designs and patterns. Lalique was particularly interested in the relationship between light and glass, and he experimented with different techniques to create a unique look for his glassware. He was also known for his use of natural forms and motifs, such as flowers, animals, and insects.
Lalique's glassware was highly sought after and was collected by many wealthy patrons. His work was exhibited at major exhibitions, including the Paris Exposition Universelle in 1900 and the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes. Lalique also worked with other artists of the time, including the famous Art Nouveau artist Alphonse Mucha.
After Lalique's death in 1945, his son Marc Lalique took over the business and continued to produce Lalique glassware. Under Marc's leadership, the company expanded its product line to include crystal sculptures, chandeliers, and other decorative objects. Marc Lalique also collaborated with other artists, such as Salvador Dalí and Georges Braque.
Lalique continues to produce a wide range of glassware and decorative objects, all of which are handmade and crafted using traditional techniques. Lalique glass can be found in museums and private collections around the world and is considered as one of the most iconic examples of Art Nouveau glass design.
Lamb of Manchester
James Lamb (1816-1903), founded a cabinet-making workshop in Manchester which flourished during the boom years of the Industrial Revolution. The firm was renowned for their richly upholstered, finely carved Victorian furniture including dining chairs, settees and cabinets.
They exhibited at the 1862 London Universal Exhibition, and in Paris in 1867 and 1878, winning several awards.
Principally associated with the Aesthetic Movement, Lamb worked in association with several key designers of the period including Alfred Waterhouse, Bruce Talbert and Charles Bevan.
Lambeth Potteries
Lambeth Pottery was a group of pottery factories located in the Lambeth area of London, England, which operated from the 1630s to the 18th century. Lambeth potteries were particularly known for its production of slipware, a type of earthenware decorated with liquid clay, and for its salt-glazed stoneware.
The earliest known potter in the Lambeth area was Thomas Toft, who was working there in the 1630s. Toft was known for his production of slipware, which was decorated with intricate designs made from liquid clay. Toft's work was highly valued and he had a significant influence on the development of slipware pottery in the region.
In the 18th century, Lambeth Pottery became known for its production of salt-glazed stoneware. This type of pottery was fired in a kiln with salt, which created a distinctive glaze that was both durable and waterproof. The potteries in Lambeth produced a wide range of stoneware, including jugs, bottles, and teapots, which were often decorated with elaborate designs.
One of the best known potteries in Lambeth was the Doulton pottery, which was established in 1815 by John Doulton and his partner Martha Jones. The Doulton pottery became famous for its production of stoneware and earthenware, and for its use of innovative techniques and designs. The company continued to operate in Lambeth until the 1950s, when it moved to a new location in Staffordshire.
Lamborn and Wagner
Lamborn and Wagner was an Australian jewellery firm founded in Melbourne in 1858 by William Lamborn and Leopold Wagner. They were one of the earliest manufacturing jewellers in Australia, and their work is highly sought after by collectors today.
Lamborn and Wagner specialized in gold jewellery with a botanical theme, often incorporating kangaroos and emus. Their pieces were known for their intricate craftsmanship and fine detailing. They also produced a range of other jewellery, including silver, enamel, and pearl pieces.
The firm's most famous piece is perhaps the "Kangaroo Brooch," which was made in 1864. The brooch is made of gold and enamel, and it features a kangaroo standing on a vine branch. The kangaroo is surrounded by leaves and flowers, and the entire piece is set with diamonds.
After operating for over 25 years, Lamborn and Wagner closed their business in 1885.
Lambrequin Border
A lambrequin border is a decorative motif and consists of a series of overlapping scalloped or pointed shapes, resembling the drapery of a lambrequin, a type of decorative hanging usually made of fabric or leather that was used to adorn the tops of doors or windows.
In ceramics, the lambrequin border was a popular decorative element in the 19th and early 20th centuries. It was often used to embellish the edges of plates, platters, bowls, and other serving pieces, as well as on vases, jars, and other decorative items. The border was typically applied using a transfer printing technique or hand-painted by skilled artisans.
The lambrequin border was popular in many different styles of ceramics, including those made in the majolica, transferware, and Art Nouveau styles. It was often combined with other decorative motifs, such as floral or foliate patterns, to create a rich and ornate design.
Lame in Fabrics
Lamé is a type of fabric that is often used in the production of clothing and accessories to create a metallic or shimmering effect. It is typically made from a combination of metallic threads, such as gold, silver, or copper, and other fibres such as silk, polyester, or nylon. It can be woven or knitted, and is often used to create garments and accessories that are meant to be eye-catching and glamorous. It is commonly used for evening wear, such as dresses, skirts, and blouses, as well as for costume design and stage clothing.
One of the characteristics of lamé is that it can be very lightweight and drapes well, making it a popular choice for flowing and draped garments. It can also be used for accessories such as bags, shoes, and belts, and is often combined with other materials such as leather or suede to create contrasting textures. Lamé can be created in a range of colours and finishes, from bright and bold metallics to more subtle, iridescent effects. Some types of lamé are also available with a patterned or embossed finish, adding an additional layer of texture and interest to the fabric.
While lamé is often associated with formal or evening wear, it can also be used in more casual or everyday garments and accessories, depending on the style and application. However, due to its metallic and often flashy appearance, it is generally considered a statement fabric and is not appropriate for all occasions.
Lancaster & Sandland Ltd
Lancaster & Sandland Ltd. was a pottery and porcelain manufacturer in Stoke-on-Trent, England. The company was founded in 1887 by Frederick John Lancaster and Thomas Henry Sandland. The company's first factory was located in Hanley, Stoke-on-Trent. They produced a wide range of pottery and porcelain products, including tableware, decorative items, and figurines. The company's products were known for their high quality and their distinctive style and were exported all over the world.
Named after the company's founders, Lancaster Ware was a line of earthenware that was produced from 1887 to 1968 known for its simple, clean lines and its bright, cheerful colors, while Sandland Ware was produced from 1900 to 1968 and was known for its delicate, ornate patterns. The company also produced a wide range of figurines, including animals, people, and mythical creatures known for their high quality and their realistic detail.
The company went into voluntary liquidation in 1968. However, the company's products are still highly sought-after by collectors and enthusiasts.
Landells Studio Pottery
Flora Annie Margaret Landells (nee Le Cornu) (1888-1981), painter and potter, was born in 1888 in North Adelaide. The family moved to Guildford, Western Australia, in 1896. In 1903 Flora Landells began studies at the Perth Technical School, under J. W. R. Linton. She was an outstanding student, achieving first-class passes and securing scholarships. A member of the Western Australian Society of Arts from 1904, she exhibited regularly to 1914, winning the open competition and the (Deborah) Hackett prize for drawing in 1906. Examples of her work were included in the Australian Exhibition of Women’s Work (1907) and the Franco-British Exhibition at Wembley, London (1908). She taught art at Methodist Ladies’ College (1908-48) and at Midland Junction Technical School (1909-30). She also took up china painting, using lustres and featuring geometric patterns or stylised swirling forms.
Flora and her husband Reg Landells were also pioneering potters in Western Australia, establishing the Landells Studio Pottery about 1929. Her pottery comprised hand-built forms and carving. During World War II, to relieve the shortage of imported ceramic wares, the pottery produced a mass-market range for sale at Harris, Scarfe & Sandovers Ltd. In 1947 Flora held solo exhibitions at the (Sir) Claude Hotchin and Newspaper House art galleries. After the war her pottery featured wheel-thrown forms with Chinese glazes, or was inspired by native vegetation.
A painter in oils and watercolours, Flora taught art at Methodist Ladies’ College (1908-48) and at Midland Junction Technical School (1909-30). She also took up china painting, using lustres and featuring geometric patterns or stylised swirling forms. Her teachers were probably the sisters Helen and May Creeth, who fired her work until she imported a kiln about 1920. On 20 December 1913 at the Guildford Methodist Church she married Reginald Burns Landells, a pharmacist. The couple lived at Maylands, where in 1925 Mrs Landells set up a school of art. Her students included Marina Shaw, Amy Harvey, Jean Darbyshire and Rolf Harris. From 1927 she held a number of solo exhibitions at which she showed drawings, paintings, china painting and pottery.
Flora Landells died in 1981. Her work is represented in the Art Gallery of Western Australia.
Lantern Clock
The lantern clock is so named because of the resemblance of the outlines of the clock to a lantern, emphasised by rectangular shaped case with pillars to each side, capped by the domed bell that sits on and covers most of the top of the clock, which is surmounted by a finial.
The lantern clock was developed in England after 1600 and similar versions were developed in other countries, during the 17th century.
They were the first type of clock to be made from brass, (earlier clocks were made from wood and iron) and the first to be widely used in private homes. They were weight driven, and designed to be wall mounted, although often having finials on the bottom of each of the four corners which give the impression of feet.
They were spring driven and only accurate to within about 15 minutes per day. With the invention of the pendulum in 1656, which increased accuracy, the works on many lantern clocks were converted by the addition of a pendulum.
Unmodified original lantern clocks are very rare. The original lantern clocks had only one hand, so a lantern clock with two hands is either a conversion, or a later copy, as are most lantern clocks available on the market.
Lanvin
The history of Lanvin, France, begins in 1889, when Jeanne Lanvin opened a small hat shop in the heart of Paris. Lanvin was just 22 years old at the time, and she had just finished her apprenticeship as a milliner. Despite her young age, Lanvin's talent was immediately evident, and her shop quickly became a success.
In 1909, Lanvin expanded her business to include children's clothing. This was a revolutionary move at the time, as children's clothing was not typically considered to be a high-fashion item. However, Lanvin's designs for children were just as stylish as her designs for adults, and she quickly became one of the most sought-after designers for children's clothing in Paris.
In 1923, Lanvin launched her first perfume, Arpège. Arpège was an immediate success, and it quickly became one of the most popular perfumes in the world. The perfume's success helped to solidify Lanvin's reputation as one of the leading fashion houses in the world.
Lanvin continued to design clothes and perfumes until her death in 1946. Her daughter, Marguerite, took over the company after her death, and she continued to run the business until her own death in 1976. In the years since Jeanne Lanvin's death, the Lanvin fashion house has been owned by a number of different companies. However, the company has always remained true to its original vision, which was to create stylish and elegant clothing for women and children.
Today, Lanvin is a global fashion house with a presence in over 50 countries. The company continues to design stylish and elegant clothing for women and children, and its products are sold in some of the most prestigious department stores and boutiques in the world.
Lapis Lazuli
Lapis lazuli is a semi-precious deep blue coloured stone, sometimes with gold inclusions, that has been used for thousands of years for jewellery, decorative items and decoration.
It is mined in Afghanistan, Siberia, Chile, USA and Burma. The mines in north-eastern Afghanistan are the largest source of lapis lazuli, and have been operating for over 6,000 years.
They were the source of the stone for the ancient Egyptian, Greek and Roman civilsations.
Lappet Decoration
In the context of furniture, ceramics, and oriental wares, the word "lappet" refers to a decorative motif that consists of a repeated pattern of stylized or abstracted "lappets."
A lappet in this context is a decorative element that resembles a small, hanging flap of cloth or fabric, but rather are stylized patterns that resemble the shapes and folds of lappets. They can be found on a wide range of objects, including furniture, vases, bowls, and plates.
Lappet decoration can take many different forms, but typically consists of a series of semi-circular or pointed shapes that are repeated in a continuous pattern. The shapes may be simple or highly ornate and may be arranged in a regular or irregular pattern. The design may also include other decorative elements, such as floral or foliate motifs.
Lappet decoration is often associated with Asian design traditions, and can be found on a wide range of objects from these regions, including Chinese porcelain, where lappet decoration is often used as a symbol of abundance and prosperity, and is believed to have protective and auspicious qualities.
Larard and Son
Larard and Son, jewellers was established in Melbourne in 1873, by John Larard who had arrived in Melbourne in 1854, and was initially apprenticed to jeweller James Murray of Bourke Street, Melbourne. Following the passing of his father, John Larard Junior and his younger brother assumed control of the business. In 1881, the business was renamed Larard Bros and relocated to 42 Little Collins Street East in Melbourne.
Larard Bros were both wholesale jewellers and importers, as well as manufacturers. They were well-known for their exquisite craftsmanship and specialized in diamond mounting. Their range of gold jewellery was extensive, encompassing a variety of rings, alberts, muff-chains, masonic jewels, and medals. Among the more innovative ventures of Melbourne's manufacturers, Larard Bros designed and produced goldfield brooches specifically for the Western Australian market.
From its inception in 1889, Larard Bros have been members of the Victorian Manufacturing Jewellers Association (M.J.A). They utilized a distinctive mark consisting of a "Five-pointed Star with Bar," often in conjunction with M.J.A stamps. John Larard Junior, who retired in 1906, passed away in 1938 at the age of 86. The firm continued its operations as manufacturing jewellers at Sugden Place, located off Little Collins Street, until 1945.
Latticino
Latticino glass is a type of decorative glass that is characterized by delicate, swirling patterns of coloured glass threads or canes, which are wrapped around a clear or coloured glass base. The glass threads or canes are usually made of opaque or translucent glass, such as white, blue, pink, or green, and are often twisted or spiralled to create a more intricate pattern.
The word "latticino" is derived from the Italian word for "little lattice," which describes the delicate lattice-like pattern created by the colored threads. Latticino glass is believed to have originated in Venice in the 16th century, and was a popular decorative technique during the 18th and 19th centuries.
Latticino glass is created by first forming a clear or coloured glass base, which is then coated with layers of coloured glass threads or canes. The glassmaker may manipulate the canes or threads to create a specific pattern or design, and may also incorporate additional decorative elements, such as gold or silver leaf, to enhance the overall effect. The glass is then reheated and shaped into its final form, which may be a vase, bowl, or other decorative object.
Laurel Leaf
The use of the laurel leaf as a decorative element can be traced back to ancient Greece and Rome, where it was closely associated with victory and honour. In these cultures, the laurel was a sacred tree that was dedicated to the god Apollo and was believed to have protective and healing properties.
In ancient Greece, the laurel wreath was awarded to victors in athletic competitions, such as the Olympic Games, as a symbol of their achievement. The wreath was also associated with academic achievement, and was often worn by scholars and poets. The Greeks also used the laurel leaf as a symbol of victory in war, and it was often depicted in artwork alongside images of triumphant warriors and heroes.
The Romans continued this tradition, and the laurel wreath became a symbol of the highest military honor, the triumph, awarded to victorious generals. The wreath was also used to crown emperors and other important officials, and was often depicted in Roman art and architecture as a symbol of power and authority.
The laurel leaf is still used as a symbol of achievement, success, and excellence, and is frequently used in logos, emblems, and other branding materials. Its association with victory and honour has made it a popular choice for awards, medals, and other forms of recognition.
Lava Stone Jewellery
The use of lava stone in cameos and other jewellery dates back to ancient times. The ancient Greeks and Romans were known to use lava stone in their jewellery, particularly in the creation of cameos. Lava stone, also known as basalt, is formed from the solidification of molten lava. It is a hard, dense rock that is durable and capable of holding fine details. The black and grey colour of the stone provides an excellent contrast for carving designs and portraits.
The ancient Greeks and Romans would carve images into the lava stone using sharp tools. The raised areas of the design would be polished, while the background was left rough. This technique, known as "intaglio," was used to create intricate designs and portraits. The resulting cameos were often mounted in gold or silver settings and worn as jewellery.
During the 18th and 19th centuries, cameos made from lava stone became popular in Europe. Wealthy travellers on the Grand Tour would bring back souvenir cameos from Italy, where they were produced using the volcanic stone from Mount Vesuvius. The stone's association with the volcanic activity of the region added to its allure and made it a desirable material for jewellery.
In the mid-19th century, a new technique for creating cameos from lava stone was developed. Rather than carving the design into the stone, the image was transferred onto the stone using a chemical process. This allowed for greater precision and detail in the design and made it possible to create multiple copies of the same image.
Today, lava stone is still used in the creation of cameos and other jewellery. The stone's unique texture and durability make it a popular material for modern designers. Additionally, the stone's association with volcanic activity adds a sense of drama and mystique to the jewellery.
Lawrence Ewing
After training and working as teacher, Lawrence Ewing embarked on his journey as a potter in 1973 in Rangiora, a small town located in North Canterbury, New Zealand. Initially, he delved into the craft under the guidance of Michael Trumic, dedicating two years to mastering the fundamentals. Captivated by the burgeoning interest in studio ceramics across New Zealand at the time, Lawrence made the decision to leave his teaching position and fully immerse himself in working with clay. The demand for pottery was so remarkable that potters were able to sell their creations even before they were fired in kilns.
For the following 12 years, Lawrence Ewing devoted himself entirely to pottery, honing his skills and cultivating a unique artistic style characterized by sleek, clean-lined forms adorned with vibrant glazes. In 1986, he was appointed as a full-time lecturer in the ceramics section of the School of Art at Otago Polytechnic in Dunedin, New Zealand.
Lawrence's creations focused on functionality, featuring simple and direct designs. Inspired by his fascination with rope work from his youth, he developed a technique using tarred Indian hemp to fashion decorative elements known as rope grommets. These rope grommets not only added visual appeal, accentuating the rounded nature of the forms, but also served as fully functional handles for larger floor jars.
In 2006, Lawrence relocated to Five Rivers in Northern Southland, New Zealand, where he constructed his own studio and established a kiln. In recognition of his significant contributions to the field of pottery, Lawrence was honored with a Life Membership in the New Zealand Society of Potters in 2010. Lawrence Ewing has held several solo exhibitions in public galleries and his work has been bought by the New Zealand Government for display in New Zealand embassies overseas.
Le Corbusier
Le Corbusier was a Swiss-French architect, designer, and urban planner, widely regarded as one of the most influential figures in the development of modern architecture. He was born Charles-Edouard Jeanneret-Gris on October 6, 1887, in La Chaux-de-Fonds, Switzerland. He was the second son of a watch engraver and a musician.
In his youth, Le Corbusier was interested in art and studied at the École d'Art in La Chaux-de-Fonds. He later worked as an apprentice to several local architects before moving to Paris in 1917, where he established his own architecture studio.
Le Corbusier is known for his innovative ideas about urban planning and architecture, which were based on the principles of functionalism, rationalism, and the use of modern materials and technologies. His work is characterized by clean lines, simple shapes, and the use of industrial materials such as steel, concrete, and glass.
Some of Le Corbusier's most famous buildings include the Villa Savoye in Poissy, France, the Unité d'Habitation in Marseille, and the Chapel of Notre-Dame-du-Haut in Ronchamp, France. He also designed furniture, including the famous LC4 chaise longue, and was a prolific writer, publishing several influential books on architecture and urban planning.
In addition to his architectural work, Le Corbusier was also involved in the design of urban plans for several cities, including Chandigarh in India and Brasília in Brazil. He was a strong advocate for the use of modern architecture as a means of improving the quality of life for people living in cities.
Le Corbusier died on August 27, 1965, while swimming in the Mediterranean Sea near Roquebrune-Cap-Martin, France. His legacy continues to influence architecture and urban planning to this day.
Le Gras
The Legras glassmaking company was founded in 1864 by Auguste Legras, who took over the Saint-Denis glassworks. The company quickly became known for its high-quality decorative glass, and in 1889 it won the Grand Prix at the Paris Universal Exhibition. In the early years, Legras focused on two distinct markets. For the middle classes, it offered good quality decorative glass at accessible prices. For the upper classes, it produced luxury items such as cameo glass and enamelled glass. Cameo glass is created by carving through a layer of colorred glass to reveal a layer of contrasting color underneath. Legras was one of the leading producers of cameo glass in the late 19th and early 20th centuries. Enamelled glass is a type of glass that is decorated with enamel paint. Legras produced a wide variety of enameled glassware, including vases, bowls, and figurines.
In 1883, François-Théodore Legras, Auguste's nephew, joined the company. François-Théodore was a talented designer, and he helped to steer the company in a more artistic direction. Under his leadership, Legras became one of the leading producers of Art Nouveau glass and its pieces are characterized by their flowing lines and organic forms. Art Deco was a decorative art movement that flourished in the 1920s and 1930s. Legras produced a wide variety of Art Deco glassware, including vases, bowls, and figurines.
The company continued to flourish in the early 20th century, but it was forced to close during World War I. After the war, it reopened and continued to produce high-quality glassware until the 1928 when the business was sold
Lea Stein
A French trained artist who was born in Paris in 1931, Lea Stein began making her whimsical pieces of jewellery in 1969 when her husband, Fernand Steinberger, came up with a process of laminating layers of rhodoid (cellulose acetate sheets) with interesting textures and colours.
The layers were baked overnight with a secret component of his creation and then cut into shapes for various designs of pins, bracelets, earrings and shaped decorative objects. Viewed from the side, as many as 20 layers of cellulose can be seen in some models, bonded together to make these pieces.
The most easily recognizable Lea Stein pin is the 3-D fox, which has been produced in a myriad of colours and designs. Often, lace or metal layers were incorporated into the celluloid, which produced an astounding number of unique textures. The 3-D fox's tail is looped from one piece of celluloid.
Many different styles of cats, dogs, bugs, bunnies, birds, ducks and other creatures were introduced, as well as Deco-styled women, mod-styled children, flowers, cars, hats, purses, gold-encased and rhinestone encrusted designs and lots of little "things" such as stars, hearts, rainbows... even pins resembling John Travolta and Elvis Presley.
These 'vintage' pieces of jewellery were made from 1969 until 1981 and are identified by a v-shaped pin-back which is heat mounted to the back of each piece, as are the pin-backs on her newer pieces. The v-shaped pin back is always marked 'Lea Stein Paris.' The smallest pieces have tiny straight pin-backs which say 'Lea Stein.' Some of the thinner pieces have the clasp glued or heat-mounted on a small plastic disk, but all of them are marked in the same way.
Leach, Bernard
Bernard Leach (1887 - 1979) was born in Hong Kong, and later attended the Slade School in London where he studied etching. He visited Japan in 1909 and taught etching but a few years later became interested in Raku style pottery. It was not until 1919 he met potter Hamada Shoji, and the following year they moved back to England, settling in St lves in Cornwall where they set up the Leach Pottery.
They produced pottery with a combination of Eastern and Western styles. Their influence spread and many studio artists took apprenticeship under them, including Michael Cardew, William Marshall, and Leach's sons, David and Michael.
After the death of Bernard Leach in 1979, the business was continued by his wife Janet who operated it until her death in 1999. It was then purchased by a St Ives hotel owner and it is still operating as a pottery and museum.
Lead Crystal
The first clear glass, called cristallo was invented during the 15th century in Venice. Prior to this the glass had a slight yellow or greenish colour as a result of iron ore impurities with the glass. 'Cristallo' was heavily exported .
In 1675, while attempting to counter the Venetian dominance of the glass market, British glassmaker George Ravenscroft invented lead glass, by adding lead oxide to to replace the calcium content in glass.
The new glass he created was quicker to melt, and stayed moulten longer, making it easier to work. More importantly, it had a higher refractive index, adding to its brilliance and beauty, especially when embellished with wheel cut decoration.
Lead crystal, is variety of lead glass, with a higher percentage of lead oxide than lead glass.
Ravenscroft's patent on lead crystal expired in 1681, and more glass makers were able to take advantage of his invention. The expansion in production resulted in England to overtaking Venice as the centre of the glass industry in the eighteenth and nineteenth centuries.
Lead Glass
Lead glass, also known as lead crystal, is a type of glass that contains a high percentage of lead oxide. This gives lead glass a high refractive index, making it sparkle and giving it a distinct "crystal" appearance. Lead glass is often used to make high-end wine glasses, decanters, and other decorative objects. Lead crystal is prized for its clarity, brilliance, and weight, as well as its beautiful, intricate designs.
Lead Glaze
Lead glaze, also known as lead glaze or leaded glaze, is a type of glaze that contains lead oxide as one of its primary components. It was commonly used in the decoration of Chinese and Western ceramics from ancient times until the mid-20th century.
In Chinese ceramics, lead glazes were used as early as the Tang Dynasty (618-907 AD). The use of lead glazes became more widespread during the Song Dynasty (960-1279 AD), when potters developed the technique of firing ceramics at a high temperature to create a translucent, glass-like surface. This type of glaze, known as "celadon," was often used to decorate delicate porcelain vessels.
In the Western world, lead glazes were also commonly used to decorate ceramics. For example, during the Renaissance, lead glazes were often used to create brightly coloured majolica ware, which was popular in Italy and Spain. Lead glazes were also used in the production of English creamware and pearlware during the 18th and 19th centuries.
While lead glazes were prized for their beauty and durability, they also posed a health risk to potters and consumers, as lead is a toxic substance. Today, the use of lead glazes in ceramics is highly regulated or banned in many countries, and modern ceramic artists have developed alternative glazing techniques that are safer and more environmentally friendly.
Lead Statuary and Objects
Lead is a soft, heavy, with a low melting point, making it suitable for detailed moulding. Because of its durability and resistance to corrosion it is suitable for outdoor applications, which has led to its extensive use in garden statues and objects since Roman times.
It develops a silver-grey to lead-grey patina over time.
For garden statuary and objects, it is also a less expensive material to use, than bronze or stone.
However its softness is also a disadvantage as garden statuary made from lead is easily damaged, especially if moulded as a hollow, as for example, in a human or animal form.
Leadlighting
The use of stained glass, held together with leaded strips, sometimes found in cabinet furniture. While stained glass is not uncommon in Victorian houses, it is unusual to find it in furniture before the end of the 19th century. It was favoured by cabinetmakers for sideboards and smaller pieces such as dinner trolleys, in the style of the Art Nouveau, and is often found in kitchen cabinets and display cabinets dating from the 1930s and 1940s.
Leckie, Alexander
Alexander Leckie was born 1932 in Glascow, Scotland.
He studied ceramics at the Glascow School of Art.
He moved to Australia in 1955 and took a position in a ceramics factory in Adelaide.
He was lecturer in ceramics and sculpture at the South Australian School of Art in Adelaide from 1956 to 1962.
In 1966 he returned to London and studied at the London Central School of Arts and Crafts for five months. In the same year he was appointed Senior Lecturer in charge of ceramics at Glascow School of Art.
In 1966 and 1968 he visited Mexico and New York and visited Australia again in 1976.
From 1978 he was Artist-in-Residence at Melbourne State College. In 1982 he again ran a workshop at Melbourne College of Advanced Education, and in the same year retired from Glascow School of Art.
His first solo exhibition was in Melbourne in 1979 and he has also at the Glasgow Municipal Gallery.
His work can be found in the Art Gallery of New South Wales, Art Gallery of South Australia, Art Gallery of Western Australia, and the Newcastle Region Art Gallery.
Leeds Pottery / Hartley Greens & Co. (britain)
Leeds Pottery, also known as Hartley Greens & Co., was one of the most important pottery manufacturers in England during the 18th and 19th centuries. It was founded in 1756 by a group of businessmen including Richard Frank, a local merchant, and his brother-in-law, William Hartley. They acquired the site of an old brewery in the Hunslet district of Leeds and began producing high-quality earthenware.
The company became particularly well-known for its creamware, a type of fine earthenware that was similar to porcelain. Leeds Pottery's creamware was particularly prized for its delicate, off-white color and its durability. The company also produced a range of other products, including tea sets, jugs, and vases, which were exported to many countries around the world.
In the early 19th century, Leeds Pottery experienced financial difficulties due to increased competition from other potteries and the economic depression that followed the Napoleonic Wars. From 1821, the company was sold repeatedly until it finally closed in 1881.
View further examples of Leeds Pottery / Hartley Greens & Co. (britain)
Leerdam (glasfabriek Leerdam), / Royal Dutch Glass
The Royal Dutch Glassworks were established in Leerdam, a town in the Netherlands in 1765. The early years of the glassworks were marked by experimentation with different techniques and styles. One of the most significant developments was the invention of the so-called "Holland White" glass, which was a high-quality, clear glass that was well-suited for industrial and scientific purposes. The glassworks also produced a range of decorative pieces, such as vases, bowls, and figurines.
In the 1920s and 1930s, the glassworks underwent a major shift in style and focus. The company began to embrace the aesthetic of the Art Deco movement, and began producing a range of modern, streamlined glassware. The new designs were popular, and the glassworks became known for its stylish and innovative designs.
During the 1940s and 1950s, the glassworks continued to thrive, despite the difficulties of World War II and the postwar period. The company's focus shifted once again, this time towards mass-produced glassware for everyday use. The company's most popular product was a set of drinking glasses known as "Orangeade glasses," which were named after the orange-flavored soft drink that was popular in the Netherlands at the time.
In the 1960s and 1970s, the glassworks continued to experiment with new techniques and styles. One of the most notable developments was the creation of a range of art glass pieces that were sold under the name "Unica." These pieces were one-of-a-kind creations that showcased the skill and creativity of the glassblowers.
The Royal Dutch Glassworks is still in operation, and is renown for its high-quality glassware and innovative designs. The company has a long history of collaboration with artists and designers, and has produced many iconic pieces over the years.
View further examples of Leerdam (glasfabriek Leerdam), / Royal Dutch Glass
Lego
The history of LEGO began in 1932, when Ole Kirk Christiansen founded the company in a Danish carpentry workshop. Christiansen had been making wooden toys since 1916, and he saw the potential of plastic as a new material for toys. In 1949, LEGO produced its first plastic brick, a precursor to the iconic LEGO brick with interlocking studs on the top and tubes on the bottom. It was patented in 1958 by Christiansen's son Godtfred Kirk, who replaced his father as the head of the company.
The LEGO brick quickly became a success, and the company began to expand its product line to include a variety of other plastic toys, such as cars, trains, and animals. In the 1960s, LEGO began to export its products to other countries, and by the 1970s, it was one of the largest toy manufacturers in the world. In the 1980s, LEGO began to focus on educational toys, and it introduced a number of new products, such as LEGO Technic and LEGO Mindstorms. These products were designed to help children learn about science, technology, engineering, and mathematics.
In the 1990s, LEGO began to expand its product line to include video games, movies, and theme parks. The company also opened a number of new factories around the world. Today, LEGO is one of the most popular toy brands in the world. The company has over 60,000 employees and operates in more than 130 countries. LEGO products are sold in over 140 countries, and the company generates over $5 billion in annual revenue.
The LEGO Group is a privately held company, and it is owned by the Kirk Kristiansen family. The company is headquartered in Billund, Denmark, and it has a number of other offices around the world.
Lehmann Company (germany)
Lehmann Company, also known as Ernst Paul Lehmann Patentwerk, was a German toy manufacturer founded in 1881 by Ernst Paul Lehmann in Brandenburg an der Havel, Germany. The company initially produced metal kitchenware and tinplate toys, but in 1888, Lehmann began producing wind-up toys.
Lehmann's wind-up toys quickly became popular due to their high quality and intricate design. The company's most famous creation was the "Lehmann-Gnom," a small toy figure that could be wound up and would walk forward with a distinctive waddling motion. The Lehmann-Gnom was so popular that it became the company's logo and was used as a trademark on all of Lehmann's products.
In the early 20th century, Lehmann expanded its line of toys to include trains, cars, and airplanes. These toys were also powered by wind-up mechanisms and were highly detailed and realistic, with moving parts and realistic designs. Some of Lehmann's most popular toys included the "Tut Tut" car, the "Ikarus" airplane, and the "Rigi" mountain railway.
In 1921, Lehmann’s cousin Johannes Richter joined the firm and continued to run the company after the death of Ernst Lehmann in 1934. Lehmann Company continued to thrive until the outbreak of World War II, which severely impacted the company's production and sales. After the war the company founds itself located in East Germany under Soviet control and was nationalised by the occupiers.
IN 1948 Richter escaped to West Germany and set up a modest factory which he ran until his death in 1956. The family built a new factory in 1959 outside Nuremburg, later expanding to the USA, and celebrated its 125th anniversary in 2006. The company was purchased by Marklin in 2007 and they continue to distribute the Lehmann brand toys.
Leleu, Jules
Jules Leleu (1883 - 1961) took over from his father in the family's decorative painting business at Boulogne-sur-Mer, France about 1910, and then after World War I diversified into furniture design and manufacture.
By 1924 he was ready to move to Paris where he opened Maison Leleu, and by the 1930s, working with his family members, offered a full range of furnishing services, including interior decoration, furniture and cabinet making, textiles, rugs and lighting fixtures.
He designed luxurious suites for embassies, hotels and ocean liners, such as the SS Ile de France and SS Normandie.
His two sons and daughters continued the family business after the death of their father in 1961.
Lenci Dolls and Ceramics
Lenci was founded in 1919 in Turin, Italy by Enrico Scavini, a business agent and his wife, Elena König.
The name ‘Lenci’ was an acronym for Ludus est nobis constanter industria [Play is our constant work]. The couple's first daughter had unexpectedly suddenly died during a Spanish influenza epidemic, and as reaction to the loss, Elena König had started to create rag dolls, imagining that they could be toys for her lost child. Distributed firstly only among the friends of the family, Elena König’s rag dolls soon achieved popularity with the wider public who appreciated them for their simplicity and creative and meticulous workmanship.
Their success was assisted by participation and awards from a number of prestigious trade fairs, including the International Exhibition of Decorative Arts held in Monza in 1923, the Exposition Internationale des Arts Decoratifs et Industriels Modernes in Paris in 1925 and the International Exhibition in Turin in 1928. As the business grew, production encompassed wooden toys, cloth dolls, and furnishings for children's rooms and accessories for women.
In 1928 the company diversified into ceramics, producing figurines, wall plaques and decorative items hiring a number of well-regarded artists and modellers. By 1930 staff numbers had increased to 600, and the company had further diversified into production of ceramics to offset the decline of sales of dolls due to increased competition.
In 1937 the company was sold to Pilade Garella, and the Garella family ensured Lenci’s survival for the next 60 years, until 1997, when ownership passed to Bambole Italiane srl. Lenci continued to trade until 2002, when the company declared bankruptcy and the business was closed.
Lenox Porcelain Company
The Lenox porcelain company was founded in 1889 by Walter Scott Lenox in Trenton, New Jersey. Originally, the company produced art pottery, but soon shifted its focus to fine china and porcelain.
One of Lenox's early successes was creating a custom set of 1,700 pieces of "White House china" for President Woodrow Wilson in 1918. This led to Lenox becoming the first American company to be honored with a license to produce presidential china.
Over the years, Lenox continued to produce fine china and porcelain, becoming known for its high-quality craftsmanship and elegant designs. In the 1930s, Lenox introduced its "Eternal" pattern, which became one of the company's most popular designs.
During World War II, Lenox produced porcelain for the US Army, including radar insulators, electronic parts, and porcelain spark plugs for military aircraft.
In the 1950s and 1960s, Lenox continued to expand its product line, introducing new patterns and collaborating with famous designers and artists, such as Frank Lloyd Wright and Elsa Peretti.
In the 1980s, Lenox began producing collectible figurines, such as the popular "Lenox Christmas ornaments" and porcelain sculptures of birds and animals.
Today, Lenox is a leading manufacturer of fine china and porcelain, with products sold in department stores and specialty retailers around the world. The company continues to innovate, introducing new patterns and designs while maintaining its commitment to high-quality craftsmanship.
Lenox Silver
Lenox silver
The Lenox Porcelain Company was founded in 1889 by Walter Scott Lenox in Trenton, New Jersey. Originally, the company produced art pottery, but soon shifted its focus to fine china and porcelain. In the early 20th century, Lenox acquired the Meriden Britannia Company, a well-known silver manufacturer, and began producing silver-plated flatware and hollowware under the Lenox name.
During the 1920s and 1930s, Lenox produced a number of silver-plated items in art deco and modernist styles, including cocktail shakers, candlesticks, and trays. The company also produced a line of sterling silver flatware and hollowware in the 1940s and 1950s.
In the 1960s, Lenox began producing a line of silver-plated giftware, including picture frames, desk accessories, and baby gifts. The company also produced a line of sterling silver Christmas ornaments during this time.
In the 1980s, Lenox introduced a new line of silver-plated flatware called "Eternal," which featured a classic, timeless design. The company also produced a line of silver-plated serving pieces and accessories to complement the Eternal flatware.
Lenox no longer produces silver products, as the company has reverted to its core business of fine china and porcelain.
Lenticle in a Long Case Clock
A lenticle in a long case clock (also known as grandfather clocks) is a convex lens used usually located as a small circular window on the front door of the clock case, just below the clock face. The lenticle enables the pendulum to be viewed without needing to open the door in the trunk. The lens is convex, meaning that it bulges outward, and is made of glass
Les Animaliers
Les Animaliers is a term used to describe a movement in French sculpture and decorative arts in the late 19th and early 20th centuries that focused on the depiction of animals. The movement was led by a group of artists known as the Animaliers, who were known for their highly realistic and anatomically accurate sculptures of animals. Many of the Animaliers were trained as taxidermists, and their work was influenced by the naturalist movement, which sought to accurately depict the beauty and diversity of the natural world. The Animaliers were particularly known for their bronze sculptures of animals, which were often cast using the lost-wax process and finished with a patina to give them a naturalistic appearance. The Animaliers' work was popular with collectors and the general public, and it continues to be admired for its attention to detail and technical skill.
Lesney Products
Lesney Products was a British toy company that was founded in 1947 by Leslie Smith and Rodney Smith. The company's name is a combination of the first and last syllables of Leslie and Rodney's first names.
Initially, Lesney produced various small toys and games, but in the early 1950s, they began producing die-cast metal toy cars. These were initially marketed under the name "Matchbox" due to their small size, which made them perfect for fitting into a matchbox.
The first Matchbox car was the #1 Road Roller, which was released in 1953. This was followed by several other vehicles, including a dump truck, a cement mixer, and a fire engine. The company's attention to detail and use of realistic colours and designs made the Matchbox cars popular with children and collectors alike. In the early years the range of Matchbox was limited to 75 models, with one model being dropped as a new one was introduced. In 1956 Lesney introduced the Models of Yesteryear range.
In the 1960s and 1970s, Lesney continued to expand its range of Matchbox cars, introducing new models and series such as the Superfast line, which featured cars with new, faster wheels. The company also produced a range of playsets that allowed children to create their own miniature towns and cities.
In the 1980s, Lesney faced financial difficulties and was eventually purchased by Universal Toys. The Matchbox brand continued to be produced, but the company faced stiff competition from other toy manufacturers, and sales declined. In 1997, the Matchbox brand was sold to Mattel, which still produces Matchbox cars and playsets. Despite its eventual decline, Lesney Products remains an important part of British toy history..
Leuchars & Son
Leuchars & Son was a renowned maker of dressing cases and other luxury silver items. The firm was established in 1794 by James Leuchars in Piccadilly, London. James Leuchars died in 1822 and the business was taken over by his widow Lucy. In 1841, Lucy Leuchars & Son expanded into the premises next door in Piccadilly.
In 1847, Lucy Leuchars died and her son, William, took over the business. William Leuchars was a skilled silversmith and businessman. He exhibited his products at the Great Exhibition of 1851 and the International Exhibition of 1862, winning medals for his work. In 1867, Leuchars opened a shop in Paris under the name of Leuchars & Son.
In 1870, William Leuchars' son, also called William, joined the business. William Leuchars Jr. was also a skilled silversmith and businessman. He continued his father's tradition of exhibiting at international exhibitions, winning a gold medal for his dressing cases at the Paris Exposition of 1878.
In 1884, Leuchars & Son moved their manufactory from 31 Gerrard Street, Soho, London to 8 Sherwood Street, Golden Square, London. In 1888, William Leuchars Jr. sold the business to Asprey & Son. Leuchars continued to trade from their 38 & 39 Piccadilly address until 1902.
Throughout its history, William and Leuchars & Son was known for its high-quality craftsmanship and innovative designs. The firm's dressing cases were particularly popular with the British and French aristocracy. Leuchars & Son also produced a wide range of other silver items, including tea sets, coffee sets, flatware, and jewellery.
William and Leuchars & Son is remembered as one of the leading makers of luxury silver items in the 19th century. The firm's products are highly sought-after by collectors and can be found in museums and auction houses around the world.
Lever Escapement
A lever escapement is a type of escapement mechanism used in mechanical clocks and watches to regulate the timekeeping of the movement. It was invented by British clockmaker Thomas Mudge in the 18th century and is now widely used in modern mechanical timepieces.
The lever escapement consists of three main parts: the escape wheel, the pallet fork, and the lever. The escape wheel is a wheel with teeth that is driven by the clock or watch's main spring or weight. The pallet fork is a two-pronged component that is positioned so that it can engage with the teeth of the escape wheel, and the lever is a small, L-shaped component that is attached to the pallet fork.
When the escape wheel turns, one of its teeth pushes against one of the pallet fork's prongs, causing the fork to pivot. As the pallet fork pivots, it releases the tooth and engages with the next tooth on the opposite side of the escape wheel. At the same time, the lever, which is connected to the pallet fork, rocks back and forth, allowing the escape wheel to turn at a regulated rate.
The lever escapement is prized for its accuracy and reliability and is commonly used in high-end mechanical watches. It allows for precise timekeeping by ensuring that the movement of the watch or clock is regulated and consistent, and its compact size makes it an ideal choice for use in small, portable timepieces.
Levinson & Sons
Levinson & Sons is a Perth-based jewellery business that was established in 1854 by Samuel Levinson. The company has been in continuous operation for over 160 years, and it is one of the oldest and most respected jewellery businesses in Australia.
Samuel Levinson was born in Lithuania in 1824. He came to Australia in 1852, and he set up his jewellery business in Perth in 1854. The business was originally located in Murray Street, and it was known as "S. Levinson, Jeweller."
Levinson & Sons became one of the leading jewellery businesses in Perth. The company supplied jewellery to many of the wealthy and influential families in the city, and it also became the official supplier of jewellery to the Western Australian government.
In 1884, Samuel Levinson's son, David, joined the business. David Levinson was a talented jeweller, and he helped to expand the business into new areas, such as silversmithing and watchmaking.
The company was renamed "Levinson & Sons" in 1900, and it remained in the Levinson family until 1972. In 1972, the business was acquired by the current owners, the Beeck family.
Levinson & Sons remains a family-owned and operated business, located in the heart of Perth. Levinson & Sons is known for its high-quality jewellery, and it offers a wide range of products, including engagement rings, wedding bands, watches, and other jewellery.
Levy, Col
Col Levy was born in Sydney in 1933.
He studied industrial arts at Sydney Teachers College and ceramics at East Sydney Technical College.
In 1957 he spent a year workshop training with Ivan McMeekin at Sturt Pottery, Mittagong, NSW.
In 1964 he established a pottery workshop at Mt Bowen near Windsor, NSW, and worked there while lecturing at East Sydney Technical College part-time. In 1974 he was a member of the Education and Training Committee of the Crafts Board of the Australia Council and in that year studied in Japan under Yu Fujuwara at Bizen for six weeks.
He became a full-time potter in 1978 and from 1979-80 was a member of the Crafts Board of the Australia Council.
He is represented in the collections of the Art Gallery of New South Wales, Art Gallery of South Australia, Art Gallery of Western Australia, National Gallery of Victoria, and Newcastle City Art Gallery, NSW
Liberty & Co.
The world renowned department store Liberty, was originally founded in 1875 as a furniture and drapery shop in Regent Street, London and was known as "East India House".
The business was established by Arthur Lazenby Liberty, (1843-1917). As the original name of the shop suggests, there was a strong emphasis on Oriental & Moorish objects, furniture and fabrics as well as more traditional European items. Under the heading of "curios", he also sold Japanese bric-a-brac of all kinds.
East India House was one of the first major shops to stock extensively products of the Arts and Crafts movement. Goods subsequently produced for Liberty showed both Oriental and Arts and Crafts influence.
In 1884 Liberty opened a costume department and in 1885 a wallpaper department.
Liberty commissioned leading designers of the time to create carpets, ceramics, clothing, furniture, silver and wallpaper exclusively for them.
In 1889 Liberty opened a branch in Paris which was instrumental in exposing Europeans to English Art Nouveau style.
Liberty registered their own silver hallmark in 1894 and in 1899 released a range of gold and silver objects under the name "Cymric", an Art Nouveau interpretation of the Celtic style. They were made by the Birmingham-based company W. H. Haseler.
In 1903 a range of pewter of similar design was released under the name "Tudric". Apart from its interesting designs, Tudric pewter differed from other pewter as it had a high silver content. It was also produced for Liberty by William Haseler of Birmingham.
From 1898 onwards, Liberty retained the services of Archibald Knox (1864-1933). Knox designed much of the Tudric Pewter and Cymric silver as well as textiles, and has been credited with 400 designs.
House rules prevented Liberty designers being allowed to sign their works, except for Archibald Knox.
Pieces with a Knox attribution tend to be the most sought after by collectors, and command a premium in price. Particularly desirable are those items with strong Celtic motifs and brightly coloured enamelling.
Liberty still trades from Regent Street, London.
Library Chair
An easy chair, usually with a somewhat reclining back and open arms. Some versions were made with detachable book and feet rests. Also of interest are metamorphic chairs, a chair which opened up to become a set of library steps. These are quite rare and keenly sought because of their dual function, when they come onto the market.
Library Steps
Library steps were an essential piece of furniture in the 18th and 19th centuries, particularly in large libraries or homes with high shelves. They were designed to provide a safe and stable means of reaching books or objects on high shelves. The most common types of library steps that were in use during that period were:
- Folding library steps: These were designed to be easily stored when not in use. They usually had two or three steps and were made from wood or metal.
- Ladder library steps: These were freestanding ladders that had several steps and a handrail. They were typically made from wood and were often very ornate.
- Metamorphic library steps are in the form of a chair which opens up to become a set of library steps. These are quite rare and keenly sought when they come onto the market because of their dual function.
Library Table
A substantial table, equipped with drawers or cupboards, and sometimes with an adjustable reading rack, designed to stand in the centre of the library. They took the form either of a pedestal desk at which two people could sit opposite each other, or of a more conventional table form. The tops were generally lined with tooled leather. Many Australian examples in red cedar and sometimes stained pine survive from the 19th and early 20th centuries.
Licio Zanetti
Licio Zanetti was an Italian artist and master glass sculptor known for his exquisite glasswork. Born on July 27, 1920, in Murano, Italy, Zanetti hailed from a family with a rich tradition in glassmaking. The island of Murano, near Venice, has been renowned for its glass craftsmanship for centuries. He studied at the Venice Academy of Fine Arts and learned the art of glassmaking in his family's glass furnace. He honed his skills in traditional techniques and then began incorporating modern artistic elements into his work.
His glass sculptures often featured intricate details, delicate forms, and a harmonious blend of colour. Zanetti's creations ranged from small decorative pieces to large-scale sculptures. He was particularly known for his skill in capturing the grace and beauty of the human form in glass. Zanetti's work drew inspiration from both classical and contemporary art, resulting in pieces that were timeless yet innovative. His mastery of the medium and his ability to convey emotion through glass set him apart as a prominent figure in the world of glass sculpture.
Throughout his career, Licio Zanetti exhibited his works internationally, contributing to the recognition of Murano glass as a form of high art. Licio Zanetti passed away in 2019, leaving behind a legacy of exceptional craftsmanship and artistic vision in the realm of glass sculpture.
Lievore Altherr & Molina
Lievore Altherr & Molina is a prominent Spanish design
studio known for its contributions to mid-century and contemporary furniture
design. Based in Barcelona, the studio founded was founded by Alberto Lievore,
Jeannette Altherr, and Manel Molina.
The studio's work is associated with mid-century modern
design principles, characterized by clean lines, simplicity, and a focus on
form and function. They draw inspiration from mid-century design icons while
infusing their creations with a contemporary twist.
The studio has collaborated with various prestigious
furniture manufacturers and brands, such as Arper, Andreu World, Vibia, and more
and their designs have received international acclaim and have been featured in
exhibitions and design publications.
As Spanish mid-century furniture designers, Lievore Altherr
& Molina have received numerous awards and recognitions, highlighting their
contributions to the field of contemporary design.
Ligne Roset
Ligne Roset is a French furniture and lighting manufacturer that was founded in 1860 by Antoine Roset, in Montagnieu, a small village in the Ain region of France . In the early years, Ligne Roset focused on producing wooden umbrellas, walking sticks, and chair frames. However in the post-World War II era, under the leadership of Antoine's grandson, Jean Roset, Ligne Roset began to focus on contemporary furniture design.
The mid-century period, spanning roughly from the 1940s to the 1960s, saw the company embracing modernist influences and collaborating with prominent designers such as Pierre Paulin, Michel Ducaroy, and Didier Gomez. These designers created some of the most iconic pieces of furniture of the 20th century, including the Togo sofa, the Ribbon chair, and the Pipistrello lamp.
Ligne Roset's reputation extended beyond France, and the company gained a global presence over the years. Ligne Roset remains a leading manufacturer of high-quality furniture and lighting. The company continues to work with some of the most talented designers in the world, and its products are sold in over 60 countries.
Lignum Vitae
A West Indian wood, dark greenish brown in colour with black streaks and very dense, used both as a veneers, and for small objects where durability was important, including lawn bowls, snuff boxes, turned cups and bowls and other treen objects.
Lilliput Lane
Known as 'Cottage Ware', ceramic miniature of buildings have been manufactured by many potteries including Goss, Beswick and Royal Winton.
Lilliput Lane commenced production of their miniature cottages in 1982. David Tate, the founder, opened workshops at Skirsgill, in England Lake District and the company has remained in the area ever since. The majority of the models are based on real cottages with collections based not only on British Cottage but also American, and in the past German Dutch and French Cottages.
Most Lilliput Lane Cottages are made on the scale of 1:76. The modellers have more than 200 different tools at their disposal, including dentistry tools, to create a wax model which, is then used to make a mould for the cottage. The cottages have attracted a worldwide collector following. As new models are launched, older models are retired and become collectable. Subtle variations in models can affect the price, for example changes in colour or design, and with regular retirements and new issues, there is solid demand for earlier and rarer cottages.
The most expensive Lilliput cottage sold is the model of The Royal & Ancient Clubhouse at St. Andrews, Scotland. This exclusive silver-plated sculpture was produced between 1997 and 1999 in a limited edition of only nine models worldwide. The models were usually sold by auction at golf tournaments where they commanded a price of between £2,000 and £5,000. All proceeds from the sale of each model were donated to various charities throughout the U.K.
Limed / Cerused Finish
A process for finishing timber whereby the surface was covered with a coating of lime, which was subsequently brushed from the surface, but allowed to remain in the grain. The resulting surface with its streaking and speckling of white was usually left unpolished. The finish was popular for French furniture in the late 19th century, and English cottage style furniture in the early 20th century. Oak timber was popular for liming because its open grain retained a larger amount of the lime than other close grained timbers.
Nowadays the same effect can be achieved by use of paint, or proprietry solutions for "liming".
Limoge
Limoges porcelain is hard-paste porcelain produced by a number of factories in and around the city of Limoges, France beginning in the late 18th century. Limoge refers to the region where the porcelain was produced but, but does not refer to a particular manufacturer. The history of Limoges porcelain can be traced back to the discovery of kaolin, a type of white clay, in the Limousin region of France in the early 18th century. The kaolin was found to be of exceptionally high quality, and soon became sought after by European porcelain makers. By about 1830 had replaced Paris as the main centre for private porcelain factories, although the state-owned Sèvres porcelain near Paris remained dominant at the very top of the market. Limoges has maintained this position to the present day.
One of the first porcelain factories was established in 1768, by Jean-Baptiste Darnet established the first porcelain factory in Limoges, and after the French Revolution a number of private factories were established at Limoges and the production of porcelain in the region quickly grew. Initially, Limoges porcelain was made in the style of Meissen porcelain, with elaborate hand-painted designs and gold leaf decoration. However, by the early 19th century, Limoges porcelain had developed its own unique style, characterized by simple, elegant designs and the use of subtle colours and patterns. Factories today include Bernardaud, Haviland & Co. and Royal Limoges. Nernardaud, Raynaud, J.L Coquet, Haviland and Alberto Pinto.
Linder, Doris
Doris Linder (1896 – 1979) was one of many freelance modellers used by Royal Worcester.
She began working for the firm in 1930 and is mainly remembered for her animal studies, all of which were taken from life.
Linder first modelled her pieces in plasticine, which she always asked to be returned so that it could be reused.
Lindsay Hassett
Lindsay Hassett was a prominent Australian cricketer who played for the Australian cricket team from 1938 to 1953. He was born on August 28, 1913, in Geelong, Victoria, Australia, and grew up with a passion for cricket.
Hassett was a stylish and elegant batsman who played with grace and precision. He made his debut for the Australian cricket team in 1938 against England and quickly established himself as a key player in the team. He played a pivotal role in Australia's performances in the Ashes series against England, scoring heavily in the 1948 series which Australia won 4-0.
Throughout his career, Hassett played 43 Test matches for Australia and scored 3,073 runs at an average of 46.56. He was also known for his captaincy, leading the Australian cricket team in 24 Test matches and winning 14 of them.
In addition to his cricketing achievements, Hassett was also a respected cricket administrator, serving as the Chairman of the Australian Cricket Board in the 1970s. He was also awarded the Order of the British Empire (OBE) in 1953 for his services to cricket.
After retiring from cricket, Hassett worked as a sports journalist and commentator for many years. He passed away on June 16, 1993, at the age of 79, leaving behind a legacy as one of Australia's greatest cricketers and captains.
Linemar
Linemar was a prominent toy and model manufacturer based in the United States. The company was established in 1931 as the toy division of the Line Material Company, which primarily produced electrical and power transmission equipment. Linemar quickly gained recognition for its diverse range of toys and models, particularly during the mid-20th century.
In the early years, Linemar focused on producing tinplate toys, which were popular during that era. They manufactured a wide variety of toys, including wind-up cars, trucks, trains, and mechanical banks. Linemar's tinplate toys were known for their colorful lithography and intricate details, capturing the imagination of children and collectors alike.
During the 1950s and 1960s, Linemar expanded its product line to include battery-operated toys. These toys utilized innovative technology for the time, such as remote controls and realistic movements. Some of the notable battery-operated toys produced by Linemar included robots, space vehicles, mechanical animals, and characters from popular TV shows and cartoons.
Linemar was particularly known for its licensing agreements with popular brands and characters. They produced toys featuring beloved characters like Popeye, Mickey Mouse, Donald Duck, and the Flintstones, among others. These licensed toys helped boost Linemar's popularity and made them a favorite among children and collectors.
In addition to toys, Linemar also produced model kits. Their model kits encompassed various themes, including airplanes, ships, cars, and military vehicles. Linemar's model kits were known for their attention to detail and quality craftsmanship, appealing to hobbyists and enthusiasts.
In 1960, Linemar was acquired by the Japanese toy manufacturer Nomura (also known as Noma or TN). The company continued to produce toys under the Linemar name until the early 1970s. However, by the mid-1970s, Linemar ceased production.
Linen Press
A press or “linen press” is a large,
freestanding cabinets, primarily made of oak, walnut, or mahogany, originally used
for storing linens, tablecloths, and other textiles. The name derives from the
name given to a box that was used prior to the invention of irons for pressing linen
and clothing. In the 18th-19th centuries the press could feature expensive
veneers, intricate inlays, and occupy a prominent placement in bedrooms.
Linenfold Carving
Linenfold carving is a carving style characterized by a pattern of vertical lines and curves that resemble folded linen or cloth. Linenfold carving was used primarily for the decoration of wood panels, which were often used for doors, furniture, and architectural elements such as wainscoting and panelling. The pattern was created by carving a series of shallow, parallel grooves into the wood, which were then smoothed and shaped to resemble folds of cloth.
Linney's Jewellers
Linney's is a jewellery retailer based in Perth, Australia. The company was founded in 1972 by Alan Linney, who started his own small jewellery business. In 1979, Linney's collaborated with Broome-based marine biologist and pearling expert, Bill Reed. Reed was looking for a unique jeweller with an eye for design to transform rare and beautiful Broome pearls into stunning jewellery pieces. Linney's signature free-form designs were the perfect match for Reed's vision, and the collaboration was a success.
Linney's first store opened in Perth in 1983 and the store's eye-catching pearl jewellery quickly gained popularity. In 1985, Linney's opened a second store in Broome. The company continued to grow throughout the 1990s and 2000s, and today it has stores in Perth, Broome, and Melbourne.
Linney's is known for its high-quality pearl jewellery, as well as its unique and innovative designs.
Linthorpe Art Pottery
Linthorpe Art Pottery was a British ceramic manufacturer that operated from 1879 to 1889 in the town of Linthorpe, near Middlesbrough in the north-east of England. The pottery was founded by Christopher Dresser, an influential designer and teacher who was one of the pioneers of the Aesthetic Movement in Britain.
Dresser was interested in the Japanese style of pottery and saw the potential for creating similar ceramics in Britain. He was particularly interested in experimenting with glazes and surface decoration, and he hired skilled local potters to help him realize his vision. The pottery produced a wide range of ceramic wares, including vases, bowls, jugs, and plaques.
One of the key features of Linthorpe Art Pottery was the use of unusual and innovative glazes. The pottery produced a range of unique finishes, including metallic and iridescent glazes, as well as textured and matte finishes. Dresser also experimented with different techniques, such as layering different glazes to create depth and richness of color.
In addition to its distinctive style, Linthorpe Art Pottery was also known for its high quality craftsmanship. The potters who worked for Dresser were highly skilled and produced ceramics that were both beautiful and functional. The pottery also had a strong commitment to using locally sourced materials and supporting local industry.
Despite its success, Linthorpe Art Pottery was only in operation for a relatively short time. The pottery struggled to compete with larger manufacturers and closed in 1889. However, its legacy lived on, and its innovative style and techniques influenced many other British potters in the years to come.
Linton Silver
The Linton's silver workshop in Perth was established early in the 20th century by James Walter Robert Linton. Born in Britain James Walter Robert Linton, was a trained painter and teacher of art, whose father was a practitioner and advocate for watercolour painting. James Walter Robert Linton came to Australia in 1896 to follow up an investment his father had made, and ending up staying. He taught art in Perth and returned to England in 1907-08 to study metalwork. On his return to Perth he went into partnership with another silversmith, Arthur Cross. On Cross' death in 1917, he was joined in the business by his son Jamie, who took over the running of the workshop. James Alexander Barrow Linton was born in Perth in 1904. Known as Jamie, he studied at the Perth Technical College and by 1921 was his fathers assistant in his silver smithing activities. He left Perth in 1926 to study in London and Paris. He returned to Perth in 1927 and worked with his father, eventually taking over the business and continuing the tradition of silver smithing. He died in 1980.
Lion Mask
The lion mask has been used for centuries in various forms of art and design, including furniture, silver, and ceramics, and is usually y depicted as a stylized representation of the face of a lion, often with an open mouth and protruding tongue. and is often used as a handle, knob, or other decorative element.
In furniture design, lion masks were popular in the neoclassical and Empire styles of the late 18th and early 19th centuries. They were often used as decorative elements on the legs or arms of chairs, as well as on cabinet and drawer pulls. It was also used as a handle, knob, or other decorative element.
In silverware design, lion masks were often applied to tea and coffee pots, as well as on candlesticks, snuff boxes, and other small silver items. The lion mask was often used in combination with other neoclassical motifs, such as laurel wreaths or acanthus leaves, to create a sense of grandeur and classical elegance.
In ceramics, lion masks were often depicted in relief, and were sometimes used in combination with other decorative elements, such as garlands or swags.
Lion's Paw
The decorative lion's paw has been used in furniture, silver, and ceramics for centuries. It is a stylized representation of the paw of a lion, often depicted in a highly realistic or stylized form.
In furniture design, lion's paws were popular in the neoclassical and Empire styles of the late 18th and early 19th centuries. They were often used as feet on tables, chairs, and other pieces of furniture. The lion's paw was a popular motif for furniture makers because it added a sense of grandeur and regalness to their pieces.
In silverware design, the lion's paw was often used on the feet of tea and coffee pots, as well as on other pieces of silverware such as wine coolers and tureens. The lion's paw was often used in combination with other neoclassical motifs, such as acanthus leaves or grape clusters, to create a sense of grandeur and classical elegance.
In ceramics, lion's paws were commonly used as feet on vases, urns, and other pottery items. The lion's paw was often depicted in relief or as a highly stylized form, and was sometimes used in combination with other decorative elements, such as garlands or swags.
Lionel Manufacturing Company
The Lionel Manufacturing Company founded in 1900 in New York City by Joshua Lionel Cowen and Harry C. Grant and the company quickly gained a reputation for producing high-quality, realistic toy trains that were popular with children and collectors alike.
In the early years of the company, Lionel manufactured a variety of electric-powered toys, including toy cars and boats. However, it was the production of toy trains that really propelled the company to success. In 1906, Lionel introduced its first electric toy train, which was powered by a transformer and had realistic features such as smoke and working headlights.
Lionel continued to innovate and improve its toy trains, introducing new features such as automatic couplers, remote-controlled switches, and realistic sound effects. The company also expanded its product line to include a range of accessories, such as track, buildings, and scenery, that allowed collectors to create intricate and realistic layouts.
During World War II, Lionel shifted its production to support the war effort, manufacturing items such as compasses and bomb fuses. After the war, the company resumed its production of toy trains and continued to innovate and improve its products.
In the 1950s and 1960s, Lionel faced increased competition from other toy manufacturers and a decline in interest in toy trains among children. The company struggled financially and was sold several times over the years, including to General Mills in 1969.
Despite the challenges it faced, Lionel remained an iconic brand and its products remained popular with collectors. In 1986, the company was purchased by businessman Richard Kughn, who reinvigorated the brand and introduced new products and innovations. Today, Lionel, trading as Lionel Trains Inc. continues to produce toy trains and accessories.
Lit-En-Bateau
Literally from the French, 'boat-shaped bed', an Empire-style bed with curving head and footboards, often forming S-shaped scrolls, with the head and foot of equal height. Also known as a "sleigh bed"
Lithgow Pottery
Lithgow Pottery was established in 1876 after mining became an important industry in the area on completion of the rail link in 1869.
Using the coal resources available, a business was established manufucturing bricks and pipes in in the early 1970s and a pottery in 1876.
The range of pottery produced in the later years of the business included teapots, Toby jugs, cheese covers, bread trays and other utilitarian items. At the same time the brickworks were producing tiles pipes and chimney pots, and of course bricks.
The business closed in 1896 as a result of the 1890s depression, and dumping of cheaper lines from overseas.
As the pottery was only in operation for 20 years the quantity of pottery coming onto the market from this source is limited.
Lithophane
A lithophane is a relief moulded porcelain plaque, the moulded picture only visible by holding the plaque up to the light, or illuminating it from behind. The picture is created by the varying thicknesses of the plaque from translucent to opaque. The technique was patented in Paris in 1827 and the plaques became a very popular novelty made by factories throughout Europe. The quality of the design was often very high. Head and shoulder portraits were very popular, as were landscapes, often of well known views. From 1850 lithophanes were sometimes tinted.
Lithyalin Glass
Lithyalin glass, also known as "Bohemian glass" or "glass porcelain," is a type of decorative glassware that was first produced in Bohemia (now part of the Czech Republic) in the early 19th century. It is a form of opaque glass that resembles porcelain or agate, and is often characterized by its vivid colors and swirling patterns which are created by manipulating the molten glass as it cools. Glassmakers use a variety of techniques, such as blowing, twisting, and marbling, to create these patterns, which can range from simple swirls to complex designs. .
Lithyalin glass is made by mixing various metal oxides, such as copper or cobalt, with opaque white glass, and then heating the mixture until it melts and fuses together. The resulting glass is then shaped and polished to create a smooth, glossy finish.
Littlejohns
Littlejohns, jewellers of Wellington, New Zealand, was founded in 1879 by Wilson Littlejohn and continued by his son, Alexander Ironside Littlejohn. The firm was originally located at 85 Lambton Quay, Wellington, and quickly became one of the city's leading watchmakers and jewellers. In 1882, the firm moved to a larger premises at 119 Lambton Quay, and in 1893, they built their own three-storey brick building at 101 Lambton Quay.
Littlejohns was a pioneer in the manufacture of turret clocks in New Zealand. In 1897, they manufactured the clock for the Wellington Post Office, which was the first turret clock in the country. They also manufactured clocks for other public buildings, including the Invercargill Town Hall and the Port Chalmers Railway Station and in 1903 the firm was awarded a gold medal at the New Zealand International Exhibition for their clockmaking skills. In 1925 the firm was awarded a silver medal at the British Empire Exhibition for their jewellery.
In addition to their manufacturing business, Littlejohns also retailed a wide range of jewellery, watches, and other goods. They were known for their high quality products and their excellent customer service.
The firm continued to be successful throughout the 20th century. In 1962, they were awarded a Royal Warrant from Queen Elizabeth II. They remained in business until 2008, when they were acquired by Michael Hill Jewellers.
Live Steam
Live steam models are small, usually scale models of steam-powered vehicles or machinery that use real steam to power their movement. These models can be incredibly detailed and complex, often featuring working pistons, cylinders, and other steam-powered components.
Live steam models are typically made by hobbyists and enthusiasts, who enjoy building and operating these miniature steam-powered machines. They can be used to create working replicas of everything from steam locomotives and steamboats to steam engines and traction engines.
Ljammhult Mobler
Ljammhult Mobler is a Swedish furniture manufacturing company that was founded in 1955 by Edvin Stahl. The company was established in the small town of Ljammhult, which is located in the Småland region of southern Sweden. Ljammhult Mobler originally started as a small family-owned business, with a focus on producing high-quality furniture that was both functional and stylish.
In the early years, Ljammhult Mobler specialized in manufacturing traditional wooden furniture pieces such as chairs, tables, and cabinets. The company quickly became known for its attention to detail, craftsmanship, and use of sustainable materials. Over time, Ljammhult Mobler expanded its product range to include a wider variety of contemporary furniture designs, such as lounge chairs, sofas, and beds.
Throughout the 1970s and 1980s, Ljammhult Mobler continued to grow in popularity both domestically and internationally. The company gained a reputation for producing well-crafted, durable furniture pieces that were both functional and aesthetically pleasing. As the company expanded, it also began to incorporate new materials into its designs, such as glass, metal, and plastic.
In the 1990s, Ljammhult Mobler continued to innovate and experiment with new furniture designs and production methods. The company began to focus on creating modular furniture pieces that could be easily customized and adapted to fit different spaces and needs. Ljammhult Mobler also started to collaborate with other designers and artists to create unique, one-of-a-kind furniture pieces that were both functional and artistic.
Ljammhult Mobler remains a leading furniture manufacturer in Sweden, known for its commitment to quality, sustainability, and innovation. The company's products are sold both domestically and internationally and are highly regarded for their exceptional craftsmanship, durability, and timeless design.
Lladro
Lladro is a Spanish company known for its high-quality porcelain figurines, sculptures, and home decor items. The history of Lladro dates back to the 1950s, when three brothers, Juan, Jose, and Vicente Lladro, started a small ceramics workshop in Valencia, Spain.
At first, the Lladro brothers made functional items such as plates and vases, but they soon began to experiment with figurines and sculptures. They were inspired by the traditional ceramic techniques of Valencia, as well as the work of European artists such as Meissen and Capodimonte.
In the 1960s, Lladro became more widely known, and the brand's figurines and sculptures became popular collectors' items. Lladro pieces were known for their delicate, intricate designs and attention to detail. The brand's signature style features elegant figures with elongated limbs and flowing garments, often depicted in pastoral scenes or with animal motifs.
In the 1970s and 1980s, Lladro expanded its product line to include decorative items such as lamps and chandeliers. The brand also began to incorporate new materials such as gold and silver into its designs, although Lladro remained committed to traditional ceramic techniques and high-quality craftsmanship.
Although Lladro doesn't typically attribute specific pieces to individual artists. However, there are some Lladro designers and sculptors who are known for their contributions to the brand's iconic style and designs, and they include:
• Fulgencio García - one of the founding brothers of Lladro, he was responsible for many of the brand's early designs and techniques.
• José Puche - a sculptor who has created some of Lladro's most iconic figurines, including the "Girl with Dove" and "Spring Splendor."
• Francisco Catalá - a designer and sculptor who has worked with Lladro for over 30 years, creating many of the brand's romantic and whimsical pieces.
• Juan Ignacio Aliena - a sculptor who has designed many of Lladro's animal figurines, including the "Proud Stag" and "Grazing Mare."
• Eva Maria Cuerva - a designer who has collaborated with Lladro on many of the brand's contemporary collections, including the "Art and Deco" and "Metropolis" lines.
The company still produces its ceramics in Valencia, using the same traditional techniques and attention to detail that have made the brand famous. Lladro continues to innovate with new designs and collaborations with artists and designers from around the world.
Llew Summers
Llew Summers (1947-2019) was a New Zealand sculptor known for his distinctive figurative sculptures of the human form. Born in Christchurch, New Zealand, Summers was a self-taught artist who began sculpting in the early 1970s. He held his first exhibition in 1971 and became a full-time sculptor in 1977.
Summers' work is characterized by its bold and dynamic forms, often with a sense of movement and even flight. He was interested in the beauty of the human body and used his sculptures to celebrate its strength, grace, and sensuality. Summers also believed that art should be challenging and thought-provoking, and his work often explored themes of spirituality, sexuality, and death.
Summers' sculptures are held in public and private collections throughout New Zealand, including the Christchurch City Council Collection, the BNZ Bank Art Collection, and the Sarjeant Gallery. He was the recipient of numerous awards, including the BNZ Art Award in 1984, the BP Art Award in 1989, and the Arts Excellence Awards in 1997.
Lloyd Loom Furniture
Lloyd Loom furniture is a type of wicker furniture, invented by American entrepreneur named Marshall Burns Lloyd in 1917. Lloyd was looking for a way to create durable and comfortable outdoor furniture, and he came up with the idea of weaving cellulose fibers around a metal wire. This method of construction was both strong and flexible, and it created a material that was lightweight and resistant to the elements.
Lloyd Loom furniture became popular in the 1920s and 1930s, as people began to spend more time outdoors and wanted comfortable and stylish furniture for their patios and gardens. The furniture was often painted white or pastel colors and featured clean lines and simple designs that reflected the Art Deco and Modernist styles of the time.
During World War II, the production of Lloyd Loom furniture slowed down as the company focused on producing other products for the war effort. However, after the war, the popularity of the furniture resumed, and it became a staple of mid-century modern design.
Lloyd Loom furniture is still manufactured using the same basic construction method invented by Lloyd over 100 years ago. While it is still used as outdoor furniture, it is also popular for indoor use in bedrooms, living rooms, and dining rooms.
Loaded
In silverware the hollow part of the object, such as the stem of a candlestick or the handle of a knife, that has been filled (loaded) with pitch or sand to add additional weight for stability.
Loaded (candlestick)
A loaded candlestick has a hollow base that has been filled with a weight such as sand or lead shot to make it more stable and less likely to tip over. This method of stabilising candlesticks was in use during the 18th century, when large and ornate candlesticks were in vogue. The under base of the candlestick was designed to be detachable so that it could be filled with the weight, and the top of the candlestick usually featured a cup or spike to hold the candle securely in place.
Locke & Co
The Locke & Co porcelain factory was founded in Worcester, England, in 1896 by Edward Locke. Locke had previously worked in the modelling department at Royal Worcester, and he brought his skills and experience to his new company. The company produced a wide variety of porcelain, including tableware, figurines, and decorative pieces. The company's porcelain was known for its high quality and its distinctive blush ivory glaze. Locke & Co also had a reputation for innovation, and the company was one of the first to use new technologies in the production of porcelain.
The company enjoyed a period of success in the early 1900s, but in 1901 was taken to court by Royal Worcester for using the word "Worcester" on its products. The court ruled in favor of Royal Worcester, and Locke & Co wass forced to change its backstamp. Locke & Co. was eventually forced to close in 1914 due to financial difficulties. The First World War had a negative impact on the porcelain industry, and Locke & Co was unable to weather the storm.
Despite its relatively short lifespan, Locke & Co produced some of the finest porcelain ever made in England, and its pieces are still highly sought-after.
Locket
A locket is an item of jewellery, usually a pendant worn on a chain around the neck, that is hinged and opens to reveal a space, sometimes called a "keepsake compartment", used for storing a a personal memento, such as a miniature, a photograph or strands of hair.
Other styles of lockets are worn as a brooch or bracelet.
They have been around in various forms since the 15th century, but reached the peak of their popularity in the 19th century, when sentimentality was part of the national psyche.
They are most commonly made of gold or silver, often decorated with precious or semi-precious stones and come in many shapes including ovals, hearts and circles.
Loetz Glass Company
The Loetz glass company was founded in 1840 by Johann Loetz in the town of Klostermühle, which is now known as Klášterský Mlýn in the Czech Republic, but then was known as Bohemia. The company began as a small glass factory that produced plain and simple glassware, but in the late 19th century, it gained fame for its unique and innovative Art Nouveau glass designs.
Under the leadership of Johann's son, Maximilian Loetz, the company began to experiment with new glassmaking techniques, including the use of metallic salts to create iridescent glass. This technique, which is now known as "Phenomenon" glass, was a major breakthrough for the company and helped establish its reputation as a leader in the decorative arts.
In 1898, Loetz exhibited its glassware at the Exposition Universelle in Paris, where it was awarded a gold medal for its innovative designs. The company continued to produce glassware in the Art Nouveau style, and its designs became increasingly complex and colourful.
During World War I, the demand for luxury glassware declined, and Loetz struggled to stay afloat. During the 1930s ownership of the company changed several times and it declared bankruptcy in 1939. The company manufactured glassware for the Third Reich through World War II and closed down completely in 1947.
Lone Star Products
Lone Star Products was a British toy company that was founded in 1939 as Die Casting Machine Tools (DCMT). The company was originally based in Palmers Green, North London, and manufactured die-casting machines and equipment. In the early 1950s, DCMT began to manufacture die-cast toys under the brand name "Lone Star". The name was chosen to appeal to the popularity of Western films and TV shows at the time.
Lone Star gained recognition for its die-cast metal vehicles, often made at a smaller scale compared to competitors like Dinky Toys and Matchbox. One of their popular series was the "Roadmaster" line, which featured various cars, trucks, and other vehicles. The company's focus on affordability and attention to detail helped it gain a foothold in the market. In the 1960s, Lone Star introduced the "Impy" series, which included a wide range of die-cast cars and trucks with detailed features. Additionally, they released model kits that allowed children to build their own vehicles, fostering creativity and skill development.
Lone Star also ventured into the action figure market. They produced figures like "Harvey Series" cowboys and "Riding for the Pony Express" figures and also capitalised on the fascination with space exploration during the Space Race era by producing space-themed toys and playsets.Lone Star also produced a number of licensed toys, such as tie-in toys for the James Bond films and The Man from U.N.C.L.E. TV series. The company's peak came in the 1960s, but it began to decline in the 1970s due to competition from Japanese toy makers. Lone Star Toys finally went out of business in 1983.
Despite its relatively short lifespan, Lone Star Toys left a lasting legacy on the British toy industry. The company's products are considered to be some of the finest die-cast toys ever made.
Longines Watches
Longines watches history dates back to 1832, when Auguste Agassiz established a watchmaking workshop in Saint-Imier, Switzerland. From its early days, Longines focused on producing high-quality timepieces known for their precision, elegance, and technological advancements.
In 1867, Longines introduced its first mechanical pocket chronograph, featuring a single push-piece. This innovative design set the stage for Longines' future success in chronograph timekeeping. The brand's commitment to accuracy and precision led to its involvement in timing various sporting events, including equestrian races, gymnastics, and alpine skiing competitions.
During the late 19th century, Longines made significant strides in watchmaking technology. In 1889, the company registered its winged hourglass logo, symbolizing the brand's elegance and precision. Longines also developed the "30H" movement, which became renowned for its accuracy and durability. These achievements solidified Longines' reputation as a leading watchmaker.
In the early 20th century, Longines continued to innovate. In 1912, the brand introduced the world's first electrical sports timing system, capable of recording to 1/100th of a second. This breakthrough technology made Longines the official timekeeper for numerous sporting events, including the Olympic Games.
During the 1920s and 1930s, Longines established itself as a pioneer in aviation watches. The company produced precise and reliable timepieces for aviators and explorers, including Charles Lindbergh, Amelia Earhart, and Howard Hughes. These watches featured innovative functions such as chronographs, multiple time zones, and navigational instruments.
In the following decades, Longines expanded its watch collections, introducing iconic models such as the Conquest, Flagship, and Admiral. The brand's commitment to elegance and technical precision remained central to its watchmaking philosophy.
Longines has also maintained a strong association with the world of sports. The brand has served as the official timekeeper for numerous international events, including the Olympic Games, Formula 1 races, and equestrian competitions. Longines' involvement in sports timing has further enhanced its reputation for accuracy and reliability.
Longines continues to produce a wide range of watches, catering to various styles and preferences. The brand offers collections for men and women, including dress watches, sports watches, and heritage-inspired timepieces. Longines watches are known for their timeless designs, exceptional craftsmanship, and Swiss watchmaking expertise.
Longton Hall Porcelain Factory
The Longton Hall porcelain factory located in Staffordshire, England was founded in 1750 by William Jenkinson who employed a group of Staffordshire potters, including William Littler, John Turner, and Thomas Astbury.
They were looking to produce a higher quality of porcelain than was currently available in England, and Longton Hall porcelain became known for its delicate shapes and high-quality decoration, which often included elaborate floral and gilt designs. The factory produced a wide range of items, including tea sets, vases, and figures, which were sold to wealthy clients throughout England and Europe.
The factory faced financial difficulties throughout its history possibly due to kiln failures, and it was eventually forced to close in the late 1760s. However, Longton Hall porcelain remains highly sought after by collectors, and examples of the factory's work can be found in museums and private collections around the world.
One of the most famous pieces of Longton Hall porcelain is the "Diana and Actaeon" ewer, which is now in the collection of the Victoria and Albert Museum in London. The ewer, which was produced around 1756, depicts the mythological figures of Diana and Actaeon in an elaborate scene that is both technically impressive and artistically beautiful. Other notable pieces include a set of four "Horse Tamer" figures and a "Flower-Encrusted Vase" that is covered in finely crafted flowers and leaves.
Longwy Ceramics
Longwy ceramics are a type of ceramic that are produced in the town of Longwy, in the Meurthe-et-Moselle department of France. The town has a long history of ceramics production from various manufacturers in the town, dating back to the 17th century.
The first known ceramics factory in Longwy was founded in 1678 by the Huart family. The factory produced a variety of ceramics, including tableware, decorative items, and figurines.
In the 18th century, Longwy became known for itheir use of bright colours and bold patterns in their wares. The factory also began to produce ceramics with Chinese and Japanese motifs. In the 19th and 20th century, Longwy ceramics continued to grow in popularity The factories began to produce ceramics with a variety of new designs, including Art Nouveau and Art Deco, producing ceramics for both the domestic and international markets.
Longwy ceramics are still produced in the town, currently by eight manufacturers. The factory produces a variety of ceramics, including tableware, decorative items, and figurines.
Loo Table
A widely used term in the Australian antique trade describing a Victorian tilt-top on a pedestal base originally designed for thecard game Lanterloo or Loo, a 17th-century trick taking game of the
trump family of which many varieties are recorded. Usually round or oval in shape, the top could be tilted vertically when not in use and the table pushed to one corner of the room. English versions are usually veneered in highly figured walnut, rosewood, mahogany, often with cross banding and stringing. In Australia, the form was much simpler with construction of Australia, cedar. The top, when horizontal, was held in place by brass thumbscrews fixed to the pedestal block. The term derives from a card game 'lanterloo' introduced to England from France during the early 19th century.
Quality can vary significantly in loo tables, and in the lesser examples the veneers are not so well figured, construction is lighter, and bases are of plainer design. Check for bubbling veneer, and patches where the veneer has lifted and disappeared. Often the damage occurs in the centre of the table, where a vase has leaked, and if there is inlay in the area, effective repair is almost impossible.
Loop Handles.
Throughout the Georgian period, a form of loop handle was used on drawer fronts, where the pull was attached to a solid or pierced brass backplate, frequently shaped and scalloped. Keyhole escutcheons were often made in similar design. Towards the end of the 18th century, the backplate was often oval in shape and impressed with a variety of beads and patterns. Smaller loop or ring handles were made, with the circular brass backplate complementing the ring pull
Lopers
Wooden slides which are concealed just below the hinged front of a drop front bureau or desk, and when pulled out, support the open desk flap in the horizontal position.
Lorgnettes
Lorgnettes are a type of eyeglasses that were popular in the 18th and 19th centuries. They consist of a pair of small lenses attached to a handle that can be held up to the eyes for reading or other close work.
The first lorgnettes were developed in the early 1700s in France, where they were known as "lorgnettes de toilette." They were primarily used by women as a fashion accessory, as well as for reading and observing people and events from a discreet distance.
As lorgnettes became more popular, they were produced in a variety of styles and materials, including gold, silver, and tortoiseshell. They were also decorated with gemstones and other embellishments to reflect the wearer's social status and personal taste.
In the 19th century, lorgnettes were widely used by both men and women, and were often seen at social gatherings and events such as the opera or the theater. They were also used by politicians and other public figures to help them read speeches and other documents while maintaining eye contact with their audience.
However, with the development of more practical and convenient eyeglasses, lorgnettes gradually fell out of favor in the early 20th century. Today, they are primarily used as historical artifacts or as props in period dramas and other theatrical productions.
Louis Amberg & Son
Louis Amberg was a doll manufacturer who operated a doll factory in Germany in the late 19th and early 20th centuries. Amberg was born in 1864 in the town of Wiesau, Germany, and began his career as a porcelain painter. He later founded his own doll factory in the town of Sonneberg, which was a center of the German toy and doll industry at the time. Amberg's dolls were known for their high quality and attention to detail, and they were popular among collectors. The company produced a wide range of dolls, including bisque dolls, composition dolls, and celluloid dolls, as well as doll houses and other toy accessories. Amberg's dolls were sold both in Germany and abroad, and the company had a reputation for producing some of the finest dolls in the world. Amberg operated his doll factory until his death in 1943. The company continued to operate under his family's ownership for several more years, but eventually went out of business in the 1950s.
Louis Berczi (1938 - 2015)
Louis Berczi was born in 1938 in Devavanya Hungary. He departed Hungary during the 1956 uprising and moved to the Netherlands, where he met his future wife Suzanne. They migrated to Australia in 1964 and the following year registered their first business name “Copper Art Studio Berczi & Company” and later another business name “ Berczi Copper Company Pty Ltd”
On a smaller scale the business produced copper and silverware pieces included a variety of items, such as vases, bowls, candlesticks, and flatware in copper and silverware pieces often incorporating other materials such as wood, stone, and leather into the designs.
Another notable piece was Berczi's "mokume" flatware, which was made from a combination of silver and copper and featured a unique pattern that resembled wood grain. The flatware was inspired by a traditional Japanese metalworking technique known as mokume-gane, which involves layering and bonding different metals together to create a pattern.
Louis Berci suffered a stroke and passed away in November, 2015.
Louis Comfort Tiffany
Tiffany & Co. is an American luxury brand that was founded in 1837 by Charles Lewis Tiffany and John B. Young in New York City. Initially, the company focused on stationary and fine goods, but over time it became synonymous with luxury jewellery and accessories.
One of the most significant figures in the history of Tiffany & Co. is Louis Comfort Tiffany, the son of the company's founder. Louis Comfort Tiffany was an artist, designer, and businessman who is best known for his work in stained glass, ceramics, and jewellery design.
In 1879, Louis Comfort Tiffany founded Tiffany Studios, which was dedicated to the creation of decorative arts. The studio produced a range of products, including lamps, windows, vases, and mosaics, that were highly sought after by collectors and patrons of the arts.
Tiffany Studios was known for its use of innovative techniques and materials, such as Favrile glass, which was developed by Louis Comfort Tiffany and is characterized by its iridescent surface. The studio also employed a team of highly skilled artisans who worked under the direction of Louis Comfort Tiffany to create the intricate designs and decorative details that are a hallmark of the Tiffany style.
Louis Majorelle
Louis Majorelle (1859-1926) was a renowned French artist, furniture designer, and decorator who was a leading figure in the Art Nouveau movement. Born in Nancy, France, the son of a furniture designer and manufacturer, Majorelle trained at the École des Beaux-Arts in Nancy.
In 1879, Majorelle began working in his father's furniture workshop, where he learned about furniture design and manufacturing and in 1901 he took over the business, which he renamed "Majorelle et Fils." He quickly gained a reputation for his innovative designs, which combined traditional furniture styles with Art Nouveau motifs.
Majorelle's furniture designs were characterized by their flowing, organic lines and their use of natural materials such as wood, metal, and glass. He was particularly known for his use of marquetry, in which small pieces of wood are cut and assembled to create a decorative pattern. Many of his designs featured intricate floral and plant motifs, which were a hallmark of the Art Nouveau style.
In addition to his furniture designs, Majorelle was also a skilled decorator and designer of interior spaces. He worked on numerous private homes and public buildings, including the Villa Majorelle, his own home in Nancy, which was designed by the architect Henri Sauvage.
Majorelle's work was exhibited at the Exposition Universelle in Paris in 1900, and he received numerous awards and honors throughout his career.
Louis Philippe Style
The Louis Philippe style of furniture and decorative arts was popular in France during the reign of King Louis Philippe I, which lasted from 1830 to 1848. It is characterized by its simple, understated design, which was a departure from the more ornate styles that had been popular in previous periods.
In furniture, the Louis Philippe style is often identified by its clean lines, soft curves, and use of dark, rich woods such as mahogany, walnut, and cherry. Upholstered pieces often feature simple, plain fabrics in neutral colours like beige, grey, or brown.
In decorative arts, the Louis Philippe style is marked by its emphasis on natural materials and muted colours. Porcelain, glass, and metal objects were popular, as were textiles like linen and cotton. Decorative motifs were often inspired by nature, with themes such as leaves, flowers, and animals.
In summary, the Louis Philippe style is known for its elegance, simplicity, and emphasis on craftsmanship over showiness.
Louis Poulsen
Louis Poulsen is a Danish lighting company that was founded in 1874. The company is known for its high-quality lighting, which is often inspired by Scandinavian design.
Louis Vuitton
Louis Vuitton is a French luxury goods manufacturer, founded by Louis Vuitton in 1854. Louis Vuitton was born in 1821 in Anchay, a small village in the Jura region of France. He moved to Paris when he was 16 years old and began working as an apprentice to a successful trunk maker and packer.
In 1854, Vuitton opened his own shop in Paris, which sold custom-made trunks and luggage. His designs were unique and innovative, featuring a flat top and airtight closure, which made them perfect for stacking and traveling.
In 1892, Louis Vuitton died, and his son Georges took over the business. Under Georges Vuitton's leadership, the company expanded its product line to include handbags, wallets, and other small leather goods. The company also began using the signature LV monogram in its designs, which became an iconic symbol of the brand.
Throughout the 20th century, Louis Vuitton continued to expand and innovate, opening stores in cities around the world and introducing new products and designs. The company became known for its high-end leather goods, luggage, and fashion accessories, and its products were sought after by celebrities and fashionistas alike.
The Louis Vuitton range of products, includes:
• Handbags: Louis Vuitton is best known for its iconic handbag styles, such as the Speedy, Neverfull, and Alma.
• Luggage and Travel Accessories: Louis Vuitton offers a range of luggage and travel accessories, including rolling suitcases, duffel bags, and passport covers.
• Small Leather Goods: The brand offers a variety of small leather goods, such as wallets, cardholders, and keychains.
• Shoes: Louis Vuitton's shoe collection includes sneakers, loafers, and boots.
• Accessories: The brand offers a range of accessories, including scarves, belts, and sunglasses.
• Ready-to-Wear: Louis Vuitton also has a line of ready-to-wear clothing for men and women, including dresses, jackets, and suits.
• Jewellery and Watches: The brand offers a range of fine jewellery, including earrings, necklaces, and bracelets, as well as a line of luxury watches.
• Home Goods: Louis Vuitton has also expanded into the home goods market, offering a range of products such as furniture, bedding, and decor.
Louis Vuitton is a global brand, with stores in over 50 countries, known for its high-end, luxury products, which are often adorned with the brand's iconic monogram or other signature designs.
Louis Wain
Louis Wain was an English artist famous for his illustrations of cats, particularly anthropomorphized cats. His life and career were marked by his unique artistic style and his struggle with mental illness. He was born on August 5, 1860, in London, and grew up in a working-class family. He showed an early talent for drawing and developed his artistic skills through self-study and practice.
Wain initially worked as an illustrator for various publications, including newspapers and magazines. However, he gained widespread recognition for his whimsical and imaginative depictions of cats. His anthropomorphic cat illustrations, which portrayed cats as humans engaged in various activities and dressed in human clothing, became immensely popular in the late 19th and early 20th centuries. Wain's cat illustrations were characterized by their humor and charm, and they often featured playful and exaggerated feline expressions and behaviors. His work contributed significantly to the popularization of cats as pets in Victorian and Edwardian England.
While Louis Wain is not primarily known for ceramics, in 1914, his art took an interesting turn as the artist began experimenting with ceramics. He produced a series of ceramic animals for a London retailer. Although most animals were cats, he also made sculptures of dogs, pigs, and many other animals. Their design showed influence from the Cubist movement and artists like Pablo Picasso. Although popular, they did not grab the attention of the British public the same way his illustrations and paintings had. They did, instead, find a market in the United States. Sadly, and perhaps typical of Louis Wain’s financial misfortunes, the boat transporting them to America was sunk by a German U-boat. The surviving pieces are rare and very valuable,
As Wain's career flourished, he began to show signs of mental illness, particularly schizophrenia. His mental health deteriorated over the years, and he spent time in mental institutions. Despite his struggles, he continued to create art, and his later works reflected the changing nature of his mental state, becoming more abstract and chaotic. He passed away on July 4, 1939, leaving behind a legacy of imaginative cat illustrations.
Louis Xiv
Louis XIV (1638 – 1715), known as Louis the Great or the Sun King, ruled through Cardinal Mazarin as chief minister from 1643 to 1661 and as monarch of the House of Bourbon and King of France and Navarre from 1661 until his death in 1715. His reign of 72 years is one of the longest in French and European history.
Louis Xv Furniture
Louis XV (1710 – 1774), known as Louis the Well Beloved was a monarch of the House of Bourbon who ruled as King of France and Navarre from 1 September 1715 until his death in 1774. He succeeded his great-grandfather Louis XIV at the age of five, but until he reached maturity in 1723, his kingdom was ruled by Philippe II, Duke of Orléans, his first cousin twice removed, as Regent of France.
The Louis XV style of furniture is an exquisite and ornate design aesthetic that emerged during the mid-18th century. Also known as Rococo or Rocaille, this style marked a departure from the more formal and rigid designs of the preceding Louis XIV era, embracing a more playful, graceful, and lighthearted approach to furniture design.
Louis XV furniture is characterized by its delicate and curvaceous forms, asymmetrical compositions, and lavish ornamentation. The style drew inspiration from nature, incorporating organic motifs such as shells, flowers, leaves, and scrolls. Carving and gilding techniques were extensively used to enhance the visual appeal of the furniture.
One of the most distinctive features of Louis XV furniture is the cabriole leg. This leg design curves outward and then tapers inward in an elegant S-shape, terminating in either a scroll or a claw foot. The curvilinear lines of the cabriole leg were a departure from the straight, angular legs of earlier styles, adding a sense of movement and grace to the furniture.
Louis XV chairs often featured exposed wooden frames, intricately carved with rocaille motifs and scrolled armrests. Upholstery, typically made of rich fabrics like silk or velvet, was generously padded and adorned with tufting or ornamental nailhead trim. The chair backs were usually curved and offered a comfortable and enveloping shape.
Chests of drawers and commodes in the Louis XV style featured gracefully curved fronts and were often adorned with intricate marquetry, a decorative technique that involved inlaying various types of wood to create elaborate patterns or scenes. These pieces also commonly included serpentine-shaped fronts, showcasing the style's preference for organic, flowing lines.
Marble-topped tables were prevalent in the Louis XV style, often featuring sinuous forms and intricate detailing on the legs and aprons. Console tables, writing desks, and dressing tables were all crafted in the distinctive Louis XV aesthetic, incorporating delicate carving, elaborate marquetry, and gilded accents.
In terms of materials, the Louis XV style embraced luxurious and fine materials. Exotic woods such as walnut, rosewood, and mahogany were popular choices, and richly veined marble was used for tabletops. Gilt bronze, also known as ormolu, was extensively employed to add decorative elements and accents to the furniture.
The Louis XV style of furniture represents the height of the Rococo period, with its emphasis on elegance, ornamentation, and the pursuit of pleasure. Its graceful and whimsical designs continue to captivate enthusiasts of antique furniture and interior design, offering a timeless charm that reflects the luxurious tastes of the 18th-century French aristocracy.
Louis Xvi Furniture
Louis XVI (1754 – 1793) was King of France and Navarre from
1774 until 1791, after which he was subsequently King of the French from 1791
to 1792, before his deposition and execution during the French Revolution. His
father, Louis, Dauphin of France, was the son and heir apparent of Louis XV of
France. Due to the Dauphin's death in 1765, Louis succeeded his grandfather in
1774.
The Louis XVI style of furniture developed as a reaction to
the lavish and ornate Rococo style of the preceding Louis XV era, reflecting a
shift towards neoclassicism and a return to more symmetrical, restrained, and
refined designs.
Louis XVI furniture is characterized by its clean lines,
geometric shapes, and a greater emphasis on symmetry and proportion. Inspired
by the art and architecture of ancient Greece and Rome, this style drew upon
classical motifs, including fluted columns, urns, laurel wreaths, and Greek key
patterns.
Chairs in the Louis XVI style often feature rectangular or
oval backs with straight or slightly curved lines. The legs are usually
straight and tapered, sometimes with fluting or reeded details. Instead of the
elaborate carvings and curvilinear forms of the previous era, Louis XVI chairs
tend to exhibit simpler and more geometric shapes. The seats are typically
padded and upholstered in luxurious fabrics, often featuring neoclassical
patterns or motifs.
Tables in the Louis XVI style often have rectangular or oval
tops and straight, tapered legs. They may feature decorative inlays or veneers,
such as marquetry or parquetry, showcasing intricate patterns and motifs. These
tables are often crafted from fine woods, such as mahogany, walnut, or oak.
Chests of drawers and commodes in the Louis XVI style are
characterized by clean lines and straight edges. They often feature fluted or
rounded corners and may be adorned with elegant brass or bronze hardware. The front
panels of these pieces may showcase decorative inlays or marquetry,
highlighting neoclassical designs such as urns, swags, or medallions.
Mirrors in the Louis XVI style are typically rectangular or
oval in shape, with straight or gently curved frames. The frames may be adorned
with decorative elements, such as delicate carving or fluting, and feature
neoclassical motifs like laurel wreaths or urns. Gilding was commonly used to
add a touch of luxury and highlight the fine details of the mirrors.
Marble was a favoured material for Louis XVI furniture,
often used for tabletops, mantelpieces, and decorative elements. Light-colored
marbles, such as Carrara or Statuary marble, were popular choices and added a
sense of elegance and sophistication to the pieces.
The colour palette of Louis XVI furniture tends to be light
and restrained. Neutral shades, such as creams, grays, and whites, are commonly
used, often paired with soft pastels or subtle tones. These colors contribute
to the overall sense of elegance and refinement associated with the style.
The Louis XVI style represents a shift towards classical
simplicity and elegance, drawing inspiration from ancient Greek and Roman
aesthetics. Its clean lines, harmonious proportions, and restrained
ornamentation continue to be admired for their timeless beauty and grace. Louis
XVI furniture reflects the refined tastes of the late 18th century, serving as
a testament to the enduring influence of neoclassicism in design and
architecture.
Louis-Albert Carvin
Louis-Albert Carvin was a French sculptor who was born in Paris, in 1875. He studied at the École des Beaux-Arts in Lille under Emmanuel Fremiet and Georges Gardet and then continued his education at the renowned École des Beaux-Arts in Paris. Carvin was a member of the Société des Artistes Francais and exhibited his work at the Salon des Artistes regularly from the late 19th century until 1933.
Carvin was primarily an animalier sculptor, specializing in bronze sculptures of dogs, birds, wild cats, horses, and other creatures. His work is characterized by its realism and attention to detail. His work was heavily influenced by the Art Nouveau movement, which was characterized by its organic forms, flowing lines, and intricate details. Carvin's sculptures often showcased a harmonious blend of natural elements and mythical figures, creating pieces that were both elegant and evocative.
One of his best-known works is "L'Éffort," which was exhibited at the Salon des Artistes Français in 1904. This piece depicted a muscular male figure straining against a rock, symbolizing the concept of effort and determination. The sculpture was praised for its dynamic composition and the artist's ability to capture the human form in a state of intense exertion. Another work is La Muse de l'aviation (1909), a trophy commissioned by the Aero Club of Sarthe for Orville and Wilbur Wright.
Carvin died in Paris in 1951. His sculptures are held by the Musée d'Orsay in Paris, the Metropolitan Museum of Art in New York City, and the Art Institute of Chicago.
Lovatts Langley Ware
Lovatts Langley Ware was a British pottery company that operated from 1895 to 1982. It was located in the village of Langley Mill, Nottinghamshire, England. The pottery was originally founded in 1865 by James Calvert, but it was not until 1883 that Albert and John Lovatt entered into partnership with Calvert and the pottery's name was changed to Calvert and Lovatt. In 1895, William Calvert left the partnership and the pottery was renamed Lovatt & Lovatt. The Lovatt brothers were both experienced potters, having previously worked at the nearby Denby Pottery. Under their leadership, Lovatt & Lovatt quickly became known for its high-quality slip-decorated earthenware.
The pottery's distinctive style was characterized by its use of bold colours and simple geometric designs. Lovatt & Lovatt also produced a range of other types of pottery, including tableware, ornaments, and garden ware. Some of the most popular Langley Ware patterns included Peacock, Sunshine, Wild Rose, Delphinium and Poppy. The pottery was particularly successful in the early 20th century, and its products were exported all over the world. In 1913, the pottery was converted into a private limited company, Lovatt & Lovatt Ltd.
The pottery continued to operate successfully until the early 1960s, when it began to face increasing competition from imported pottery. In 1959, Lovatt & Lovatt was acquired by J Bourne & Son (Denby). The pottery continued to produce Langley Ware under the new ownership, but production gradually declined and the pottery was eventually closed in 1982.
Love Seat / Conversation Settee
The 19th century love seat, also known as the conversation settee, was a popular style of furniture that emerged during the Victorian era. These seats were designed for intimate conversation between two people, and often featured a curved or S-shaped back to facilitate face-to-face interaction.
The love seat was a product of the changing social norms of the time, which placed greater emphasis on privacy, comfort, and leisure. As the middle class grew in size and wealth, people began to spend more time at home, entertaining guests and engaging in leisurely pursuits. The love seat provided a comfortable and stylish seating option for these activities.
One of the most famous designers of 19th century love seats was John Henry Belter, a German immigrant who worked in New York City. Belter's love seats were known for their intricate carvings, curved backs, and use of laminated rosewood. His designs were widely imitated, and many other furniture makers began producing love seats with similar features.
Lowboy
A "lowboy" is a term to describe an 18th century item of period furniture originally used as a dressing table but now often used as a side table. The antique lowboy originally got its name as it is basically a low, small antique table. They were usually made in English oak with one or two drawers on the front and solid brass decorative handles. The earliest examples from the Queen Anne period would have been standing on elegant cabriole legs and made from Walnut or with spectacular figured oyster veneers. The Georgian period produced more simple country designs with turned legs.
Many of these designs were reproduced in the late Victorian and Edwardian eras in mahogany timber. These would come with Chippendale influences like blind fretwork carvings and more intricate decorative handles. They are still used for a variety of interior functions, and can style to a room.
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Lowestoft Porcelain
Lowestoft is a town in Suffolk, and a porcelain works was established there in 1757 by three local residents after a discovery of clay in the area, supposedly using a formula supplied by the Bow porcelain factory in the London suburb of Bow, about 5 miles east of central London.
The works produced soft paste porcelain, with the emphasis on Chinese inspired decoration with underglaze blue in the early years. In later years a wider range of decorative themes were used.
The factory ceased production in 1802, but a company using the name "Lowestoft Porcelain 2000" was established in that year to make porcelain in the old Lowestoft styles, shapes and colours.
Luciano Vistosi
Luciano Vistosi was born on July 25, 1931, in glassmaking city of Murano, Italy, and growing there he was immersed in the rich traditions of glass craftsmanship from a young age. He began his career as a glassblower, working with various Murano glass workshop where he learned the intricacies of working with glass, honing his skills and deepening his understanding of the material.
In 1945 Luciano Vistosi co-founded Vistosi S.p.A., a lighting company based in Murano, along with Guglielmo Vistosi and A.V. Mazzega. Inspired by the Venetian glassmaking tradition, he wanted to create lighting that was both beautiful and functional. Vistosi began by making simple glass lamps, but he soon began to experiment with new shapes and materials. He was one of the first glassmakers to use Murano glass to create large-scale lighting fixtures. Vistosi's designs were often whimsical and playful, and they quickly became popular with designers and homeowners all over the world.
In the 1960s, Vistosi began to collaborate with a number of renowned designers, including Gae Aulenti, Vico Magistretti, and Ettore Sottsass. These collaborations resulted in some of Vistosi's most iconic designs, including the Nebula lamp, the Zig Zag lamp, and the Sphera lamp.
Vistosi died in 1980, but the company continues to produce high-quality lighting fixtures that are inspired by his designs. Vistosi S.p.A. is now one of the leading lighting companies in the world, and its products are sold in over 50 countries.
Lucien Charles Edouard Alliot
Lucien Charles Edouard Alliot, born on November 10, 1877, in Paris, was a prominent French sculptor known for his contributions to the world of art in the early 20th century. He was the son of Napoleon Alliot, who was also a sculptor. Trained at the École des Beaux-Arts in Paris, Alliot honed his skills under the guidance of renowned sculptors of his time. Lucien Alliot regularly exhibited at the Salon de la Société des Artistes Français during the period from 1905-39. He was a member since 1899 and became its vice-president in 1938.
Alliot was a pupil of Barrias and Coutan. His work was influenced by the Art Deco style, but he also retained some elements of traditional academic sculpture. He was known for his sculptures of figures, animals, and busts. Alliot's work often reflected the Art Deco style, characterized by its geometric shapes, sleek lines, and a blend of traditional craftsmanship with modern materials. He gained recognition for his ability to capture movement and emotion in his sculptures, creating pieces that were both dynamic and elegant.
One of Alliot's notable works is the "The Abduction of Europa," a sculpture that depicts the mythological tale of Zeus transforming into a bull to carry Europa across the sea. This piece showcases Alliot's mastery in conveying narrative and emotion through his chosen medium. Alliot's work was included in the art competition at the 1924 Summer Olympics. He was awarded a bronze medal for his sculpture of a huntress.
Alliot was a highly respected sculptor in his time. His work was shown in major exhibitions throughout France and internationally. He was also a successful teacher, and he taught at the École des Beaux-Arts in Paris. While Alliot's career flourished during the first half of the 20th century, the details of his later life and the conclusion of his artistic journey are less widely documented. Alliot died in Nanteuil-lès-Meaux in 1967. His work is still admired today for its elegance, craftsmanship, and technical mastery.
Lucite
Lucite was invented in 1931 by chemists at DuPont. It was crystal clear, resistant to water and UV rays, and was low density yet stronger than previous plastics. Like Bakelite, Lucite was used extensively in war supplies during WWII.
After the war, the plastics were used for jewellery and other items. Lucite rings were highly popular during the '50s and '60s, as were Lucite handbags. In 1993, DuPont sold its acrylic resin operations, and the Lucite name now belongs to Lucite International in Southampton, UK.
Luckenbooth Brooch
A Luckenbooth brooch is a traditional Scottish love token often given as an engagement or wedding brooch, dating from the 18th to 20th centuries. The brooch is heart-shaped and often has a crown above one heart, or two intertwined hearts. They are typically made of silver and may be engraved or set with stones. The name comes from the Luckenbooths of Edinburgh, which were lockable stalls where jewellery and trinkets were be sold. In Edinburgh the booths were located on the Royal Mile near St Giles Cathedral. They were the city's first permanent shops, dating back to the 15th century, and initially housing mainly silversmiths and goldsmiths. The booths were demolished in 1817.
Lucy Boyd Beck
Lucy Boyd Beck was born in Melbourne, Australia in 1914. She studied painting and drawing at the National Gallery School in Melbourne, and later began working with ceramics after being introduced to the medium by her husband, fellow ceramic artist John Beck.
Boyd Beck established her own ceramics studio in the 1960s, where she began experimenting with new forms and techniques. She became known for her delicate, intricately decorated porcelain pieces, which were often inspired by the natural world.
Boyd Beck's work was highly acclaimed for its technical skill and artistic vision, and she exhibited extensively both in Australia and internationally. She was also involved in teaching and mentoring younger ceramic artists, and played a significant role in the development of the Australian ceramics scene.
In 1978, Boyd Beck was awarded the Order of Australia for her contributions to the arts, and in 1987 she was made an Honorary Fellow of the Royal Society of Arts in London.
Boyd Beck continued to work in ceramics until her death in 2000. Her work is held in collections at major galleries and museums in Australia and around the world, including the National Gallery of Australia and the Victoria and Albert Museum in London.
Overall, Lucy Boyd Beck was a highly influential figure in the development of contemporary Australian ceramics, known for her technical mastery, delicate porcelain pieces, and her commitment to teaching and mentoring the next generation of ceramic artists.
Ludwigsburg Porcelain Manufactory
The Ludwigsburg Porcelain Manufactory was founded in Ludwigsburg, Germany, in 1758 by Duke Carl Eugen von Württemberg. It was the second oldest porcelain factory in Germany, after Meissen.
Initially, the factory produced porcelain wares that imitated Meissen porcelain, but it soon developed its own distinctive style. The Ludwigsburg Porcelain Manufactory became famous for its high-quality and innovative pieces, including rococo figurines, vases, tea sets, and decorative objects.
In the early years, the business was under the direction of Johann Christoph Weigel and Joseph Hannong, who were both experienced in porcelain production. Under their leadership, Ludwigsburg produced porcelain items that were richly decorated with ornate designs and bright colors.
Over time, the Ludwigsburg Porcelain Manufactory became known for its collaboration with some of the most talented artists and designers of the day. Notably, it worked closely with the sculptor Franz Anton Bustelli, who created many of the manufactory's most famous figurines.
During the 19th century, the manufactory continued to produce high-quality porcelain wares, including pieces that were decorated in the neo-classical style. However, it faced increasing competition from other porcelain manufacturers in Germany, and it struggled to remain financially viable, and in 1824, the factory closed.
In 1947, Otto Wanner-Brandt revived the Ludwigsburg porcelain factory but due to a lack of demand for fine porcelain it closed in 2016.
Luke Adams
Luke Adams was a trained potter who migrated to Christchurch, New Zealand, from England with his family in 1873. He initially worked for a brickworks, but by 1875, he had moved to another company and returned to making domestic ware. In 1881, when the company closed its pottery section, Adams set up his own business using the surplus moulds and plant, along with the help of his three eldest sons. The Luke Adams Pottery Limited was established and settled on a site in Colombo Street, Sydenham, Christchurch, where it remained until its sale in 1965. The pottery produced colonial-style domestic ware and also won awards at exhibitions, such as the Melbourne International Exhibition in 1880 and the Colonial and Indian Exhibition in London in 1886.
One of the unique products made by Luke Adams Pottery was Kiddibricks, which were small bricks fired and sold as a children's toy. The manufacture of Kiddibricks became automated in 1958 and was sold to Crown Lynn as part of the business. However, the machinery was repurchased by the Adams family and brought back into service until 1999. Pottery from Luke Adams is held in the collections of the Auckland War Memorial Museum and Museum of New Zealand Te Papa Tongarewa.
Luneville France, Ceramics
Lunéville, a town in northeastern France, has been associated with ceramic production since the early 18th century. The town's proximity to the Vosges Mountains provided it with ample supplies of kaolin, the primary ingredient in porcelain production, which made Luneville an ideal location for a ceramics industry.
The Luneville ceramics industry grew rapidly in the 18th and 19th centuries, producing a wide variety of ceramic objects including tableware, decorative vases, and figurines. The earliest known ceramics produced in Lunéville were earthenware pieces with tin-glaze decoration that were popular in the mid-18th century.
In the late 18th century, the introduction of porcelain production techniques from neighbouring Meissen and Sèvres allowed Lunéville's ceramic industry to expand further. The first porcelain factory was established in Lunéville in 1730 by the Count of Custine, and by the mid-18th century, the town had several porcelain factories in operation.
In the 19th century, Lunéville's ceramics industry continued to thrive, with factories producing a wide range of decorative and functional ceramics. The Keller & Guérin factory, established in 1860, became particularly well-known for its Art Nouveau-style ceramics.
One of the most important and well-known Lunéville ceramics factories was the Saint-Clément factory, which was established in 1758 by Jacques Chambrette. The Saint-Clément factory produced a wide range of ceramics, including faience, earthenware, and porcelain. It became famous for its faience figurines, which were popular throughout Europe in the 18th century. The factory is still in production today.
Luristan Bronzes
The Luristan bronzes are a group of small, cast metal objects that were produced in the Luristan region of Iran. They are known for their high quality of craftsmanship and their distinctive style, which is characterized by stylized animal and human figures. These artifacts date back to various periods in ancient history, spanning from the Bronze Age to the Iron Age. The Luristan region was historically inhabited by various cultures, and the artifacts provide valuable insights into the artistic, cultural, and technological achievements of these societies. Some of the notable types of antiquities from Luristan include bronze weapons and tools, horse-related artifacts, ceremonial and religious objects, personal ornaments and household items.
The Luristan artifacts first came to the attention of the international community in the 20th century, when they began to appear in the antiquities market. Many of these artifacts had been excavated from burial sites and tombs, where they had been buried with the deceased. However, the circumstances of their removal and sale have raised ethical and legal concerns, as some artifacts were likely obtained through looting and illegal excavation.
Lustre Ware
Lustre decoration on ceramics is created by painting a thin deposit of metal oxide such as gold, silver or copper onto the surface, and then firing the item again, so that metal oxide forms a thin film on the surface. The finished effect is a shiny metallic surface. The technique was used in the 19th century by potteries such as Crown Devon, Grimwades, Maling, and Royal Doulton. However the best known use was by Wedgwood for its Fairyland lustre.
Lustre Ware
Ceramics that have been coated with metallic oxides and then fired, to give a metallic finish, using a similar technique to, and sometimes resembling the irridescent finish on glass. Colours produced included silver (using platinum), gold, pink, white, copper and cream. Lustre ware was first made in England in the late 18th century. In the 19th century, many Staffordshire potteries produced lustre ware including Crown Devon, Royal Worcester, Carlton Ware, and Wedgwood. A lustre glaze was used very successfully by Belleek, in Country Fermanagh, Ireland. Many of their wares displayed a nautical theme including shell shapes, dolphins, and mer-boys.
Lustres on Chandeliers and Candelabra
Lustres, as seen on candelabra and chandeliers are the glass or crystal drops or pendants that hang from the arms or branches of the fixture. They are often arranged in a decorative pattern and can range in size and shape, from small teardrops to large spheres.
Lustres are designed to catch and refract light, creating a sparkling, shimmering effect. The drops are typically made of cut glass or crystal, which has a high refractive index, meaning that it bends and reflects light in a particularly beautiful way. The drops may be clear or coloured, and may be smooth or faceted.
Lustres have been used in chandeliers and candelabra for centuries, and were particularly popular during the Baroque and Rococo periods. They continue to be used today in both traditional and modern lighting designs, adding a touch of glamour and sophistication to any space.
View further examples of Lustres on Chandeliers and Candelabra
Lustres, Victorian
The primary use of a Victorian lustre was ornamentation. These glass objects with their hanging crystal or glass prisms were status symbols, generally sold in pairs, for use as mantle, table, or sideboard decorations. Some lustres were designed as candle holders.
The prisms, also known as drops, hang from the perimeter of the bowl and are often arranged in a decorative pattern. They are designed to catch and refract light, creating a sparkling, shimmering effect. The drops are typically made of cut glass or crystal, which has a high refractive index, meaning that it bends and reflects light in a particularly beautiful way. The drops may be clear or coloured, and may be smooth or faceted.
The main centres of manufacture are believed to be England and Bohemia, which amongst other styles, produced lustres with enamelled decoration.
Values of lustres are dependent on the colour and decoration on the glass bowls and the size of the prisms and. Damaged or missing drops will considerably depreciate the value.
Lyre
Attributed to the 18th century designer Robert Adam, the back splat of a chair or sthe supports of a table are in the form of a lyre, a Greek musical instrument similar to a harp.
In shape it resembles two reversed scrolls.
Chairs continued to be made in this style for at least the next fifty years.
In Australia many cedar chairs and tables have survived dating to the 1830s and 1840s, featuring the lyre shape in the back splats and as supports for small tables.
Lyre Form Clocks
Named for their distinctive shape, which resembles the musical instrument known as a lyre, with strings extending upwards from a curved body, lyre form clocks were popular in France during the 18th and 19th centuries.
The first lyre clocks were produced in the mid-18th century by French clockmaker Jean-Andre Lepaute, who was commissioned by King Louis XV to create a clock for the Palace of Versailles. The clock featured a lyre-shaped case and was designed to be mounted on a wall. Its success led to the creation of similar clocks in a variety of sizes and styles.
Lyre clocks became particularly popular during the reign of King Louis XVI, who was known for his love of music and the arts. The clocks were often decorated with ornate details, such as gold leaf, enamel, and painted scenes, and were sometimes topped with figurines or other decorative elements.
In the early 19th century, lyre clocks began to incorporate new technological advancements, such as more accurate timekeeping mechanisms and the use of electricity to power the clock's movement. They also became more widely available to the general public and were produced in a range of styles and materials to suit different tastes and budgets.
Lyre Motif
The lyre motif is an ancient decorative design that is believed to have originated in ancient Greece, where the lyre was a popular musical instrument. The lyre itself was often decorated with ornate carvings and designs, including the iconic lyre motif.
In ancient Greek mythology, the lyre was associated with the god Apollo, who was the patron of music and the arts. The lyre was said to have been invented by the god Hermes, who presented it to Apollo as a gift. As a result, the lyre became a symbol of creativity, inspiration, and artistic expression.
The lyre motif typically features a curved or S-shaped body, with strings extending upwards from the base. The motif was often used in architectural decoration, as well as on pottery, jewellery, and other decorative objects.