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.
Pablo Picasso
Pablo Picasso was born in Malaga, Spain, in 1881. He was a child prodigy and showed an early aptitude for art. His father, José Ruiz Blasco, was a painter and art teacher, and he encouraged his son's artistic development. Picasso moved to Barcelona in 1895 to study at the School of Fine Arts. He quickly became disillusioned with the traditional teaching methods, and he left the school after a year. He then moved to Paris, where he met other avant-garde artists, such as Georges Braque and Henri Matisse.
In Paris, Picasso began to experiment with new styles of painting, including Cubism. Cubism is a style of art that breaks down objects into their geometric components. Picasso's Cubist paintings are some of his most famous works, and they helped to revolutionize the world of art.
In addition to painting, Picasso was also a prolific sculptor, printmaker, and ceramicist. He was particularly interested in ceramics, and he experimented with a variety of techniques, including raku and low-firing. His ceramic works are often playful and humorous, and they reflect his lifelong interest in the human form.
Picasso continued to work and experiment until his death in 1973. He is considered one of the most important artists of the 20th century, and his work has had a profound impact on the development of modern art.
Pad Foot
In furniture design, a pad foot refers to a type of
furniture foot that is shaped like a flattened ball or pad. It is a common
design element in traditional furniture styles, particularly in English and
American furniture from the 18th and 19th centuries. The pad foot is typically
wider than it is tall, with a broad, flat surface that rests directly on the
floor. It is often carved or turned with decorative details, such as fluting or
ridges, and can be made from a variety of materials, such as wood, metal, or
leather.
Pad feet are used to support the legs of various types of
furniture, such as chairs, tables, and cabinets. They are often used in
combination with other types of feet, such as bun feet or bracket feet, to
create a more complex and decorative furniture design. In terms of
functionality, pad feet provide stability and support to furniture pieces, and
can help distribute the weight of the piece evenly across the floor. In terms
of design, they add a classic and traditional look to furniture designs, and
are often used to create a sense of elegance and refinement.
Padouk
Padouk is a richly coloured dense and heavy timber, varying in colour from dark crimson to brown and red, found in Africa and Asia. It was often used as a furniture timber in India, for making furniture in the Anglo-Indian style. Padouk was also imported into England and France in small quantities in the 18th and 19th centuries, and occasionally English and French examples of furniture made of this timber come onto the market.
Padparadscha Sapphires
A padparadscha sapphire is the name given to a sapphire that is found in Sri Lanka. Colour can range from a salmon with a pinkish hue to an orange hue. In the Sinhalese language padparadscha is the name given to the color of a Lotus blossom. Sapphires with similar characteristics have been found in Vietnam, Tanzania and Madagascar, but there is dispute in the jewellery trade as to whether these stones should be called padparadscha. At times padparadscha sapphires are known to have been heat treated to intensify their pink coloration.
Pagoda Top
A shape based loosely on that of a Chinese pagoda, that is, pyramidal with sloped sides and a top cap. However there are many variations on the basic shape from a relatively flat pagoda to a tall pagoda with almost parallel concave sides to a true pagoda shape. As found on a pagoda, the pagoda top is often surmounted by a fancy finial. The pagoda top is most frequently found on the hoods of 18th century long case clocks, and on bracket clocks, and sometimes on Chinese Chippendale style furniture.
Pair Cased
A pair cased watch is one with a double case. The movement is encased, and for additional protection this is fitted into an outer case.
Paisley Pattern
The Paisley motif is a decorative design element that originated in Persia (modern-day Iran) and became popular in the West during the 18th and 19th centuries. It is characterized by a teardrop-shaped or leaf-like design with a curved upper end and a tapered, pointed lower end.
In rugs and textiles, the Paisley motif is often used as a repeating pattern or border, and is typically woven or printed in contrasting colours to create a bold and vibrant look. The motif can vary in size and complexity, from small and simple designs to larger, more intricate patterns.
In the 18th and 19th centuries, shawls woven with Paisley motifs were highly prized luxury items, and were exported from Persia and India to Europe and America. The motif also became popular in the design of carpets, upholstery fabrics, and clothing.
Palissy Ware
French Palissy ware originated in the 16th century in France, and is named after Bernard Palissy, a French potter and artist who is credited with inventing the technique used to create the highly detailed and realistic designs that are characteristic of this type of pottery.
Palissy was born in 1510 in Saintes, France, and began his career as a potter, making simple earthenware vessels. However, he became increasingly interested in the natural world, and began studying and collecting plants, insects, and other animals. He also became interested in the art of ceramics, and began experimenting with new techniques to create more elaborate and detailed designs.
Palissy's breakthrough came in the mid-16th century, when he developed a technique for creating highly realistic and detailed ceramic pieces that resembled the natural forms of plants, animals, and sea creatures. He would press real specimens of these objects, such as leaves, shells, and lizards, into a bed of clay, creating an impression that he would then fill with colored glazes. The pieces were fired in a kiln to create a hard, durable finish.
Palissy's work quickly became popular among the French aristocracy, and he was commissioned to create elaborate decorative pieces for wealthy patrons. His work was also exhibited at international exhibitions, where it received widespread acclaim.
After Palissy's death in 1590, his technique for creating these ornate ceramics was passed down through the generations of potters, and Palissy ware continued to be produced in France into the 19th century.
Palladian
Andrea Palladio (1505-80), was an Italian architect and his building designs included use of pediments, cornices, lion masks, paws, acanthus leaves and swags. Palladio did not design any furniture, but his architectural elements have been carried through to furniture by other designers, the most notable of whom was Englishman, William Kent working in the first half of the 18th century.
Palm Stand / Pedestal / Torchere
A stand, popular from the later 19th century until the 1930s, usually about a metre or more in height, for displaying potted palms and especially the aspidistra of the 1930s.. They may be of columnar form or stand upon tall splayed or curved legs, not unlike an extended cabriole leg. Some had a flat top, others had containers built in the piece to hold the pot plant. The flat top style of stand are also known as a pedestal.
Palmette
A decorative motif used in the decoration of ceramics, textiles and furniture, based loosely on the palm leaf and sometimes used with the anthemion, from which it is often difficult to distinguish. The form of the palmette varies from ornate to simplistic.
Paloma Picasso
Paloma Picasso (born Anne Paloma Ruiz-Picasso y Gilot on 19 April 1949) is a French and Spanish fashion designer and businesswoman, best known for her jewellery designs for Tiffany & Co, and her signature perfumes. She is the daughter of artist Pablo Picasso and painter Françoise Gilot. Her name, Paloma (Dove), is associated with the symbol her father designed for the World Congress of Partisans for Peace, held in Paris the same year Paloma was born, and it can be found in many of her father's works.
Paloma Picasso's jewellery career began in 1968, when she was a costume designer in Paris. Some rhinestone necklaces she had created from stones purchased at flea markets drew attention from critics. Encouraged by this early success, the designer pursued formal schooling in jewellery design. A year later, Ms. Picasso presented her first efforts to her friend, famed couturier Yves Saint Laurent, who immediately commissioned her to design accessories to accompany one of his collections. By 1971, she was working for the Greek jewellery company Zolotas. In 1980 Picasso began designing jewellery for Tiffany & Co. of New York.
Picasso's jewellery designs are known for their bold colours, playful shapes, and use of unusual materials. She has said that she is inspired by "the world around me, the people I meet, the things I see." Her jewellery has been worn by celebrities such as Elizabeth Taylor, Audrey Hepburn, and Jackie Kennedy Onassis.
In addition to her jewellery designs, Picasso has also designed fragrances, home goods, and clothing. She has also published several books, including a memoir, "Life With Picasso" (1996).
Picasso is a member of the Picasso family, one of the most famous and influential families in the world. Her father, Pablo Picasso, was one of the most important artists of the 20th century. Her mother, Françoise Gilot, is a painter and writer. Picasso's half-brother, Claude Picasso, is a businessman and art collector.
Picasso is a successful and well-respected designer. Her work has been praised by critics and collectors alike. She is a role model for young women and an inspiration to artists everywhere.
Pamela Ware
"PPP", "Remued" and "Pamela" were trade names or marks used by Premier Pottery, established in Preston, a suburb of Melbourne by two Potters, David Dee and Reg Hawkins in 1929.
The company was set up to produce art pottery, unlike other [potteries of the time whose main business was in producing building materials such as bricks and roof tiles, and who produced decorative items as a sideline.
At first the pottery was marketed with the "PPP" marking and the trade name "Remued" was introduced around 1933, and used alongside the "PPP" brand.
The mark "Pamela" was introduced about the same time in an effort to convince customers that the wares marked with the "Pamela" name were created by a studio potter rather than in a factory, but this mark was in use for less than year.
Some 'Remued" and "Pamela" pieces are also marked "Hand Made".
From around 1934 the company was using the "Remued" name exclusively, and this coincided with the death of one of the founders, David Dee, and an introduction of additional capital by the future wife of Reg Hawkins, Noni Deumer, whose surname spelt backwards is "Remued".
Production at the factory continued under Alan Hawkins, with the head potter, Allan James becoming a part owner in the early 1950s.
The business continued through until the end of 1955 when the firm closed.
"Remued" wares are recognisable by their drip-glazes, use of gum leaves and gumnuts for decoration, twig-like handles on jugs, vases and bowls, and applied decoration featuring grapevines, koalas and other animals.
For a comprehensive history of Premier Pottery go to www.remued.com
Pandora Jewellery
Pandora Jewellery, commonly known as Pandora, is a Danish jewellery company that was founded in 1982 by Per Enevoldsen and his wife Winnie in Copenhagen, Denmark. The company initially started as a small family-run jewellery shop but eventually grew to become one of the world's leading jewellery brands.
In the early years, Pandora primarily focused on importing and selling jewellery from Thailand. However, as demand grew, the founders decided to shift their business strategy towards manufacturing their own jewellery. They established a production facility in Thailand in 1989, where they could maintain strict control over the design, quality, and production processes.
One of Pandora's defining moments came in 2000 when they introduced the charm bracelet concept that revolutionized the jewellery industry. The charm bracelet allowed customers to create personalized jewellery pieces by selecting and adding individual charms to a bracelet. This concept proved immensely popular, and Pandora's charm bracelets became a hallmark of their brand.
Pandora's success continued to soar, and the company expanded globally. They opened their first international store in Hamburg, Germany, in 2003 and later expanded into the United States, Canada, Australia, and various other countries. Their distinctive jewellery designs, especially the charm bracelets, resonated with customers worldwide.
In 2010, Pandora became a publicly traded company, listing its shares on the NASDAQ OMX Copenhagen stock exchange. The following years saw significant growth for the company, with a rapid increase in the number of concept stores and authorized retailers worldwide. Pandora's revenue and popularity continued to rise, and they gained recognition as a leading jewellery brand known for their high-quality craftsmanship and innovative designs.
However, the company faced some challenges in the mid-2010s as demand for their charm bracelets declined. To adapt to changing consumer preferences, Pandora expanded its product offerings beyond charm bracelets and introduced new jewellery lines, including rings, earrings, necklaces, and watches. They also invested in digital marketing strategies and online sales channels to reach a broader customer base.
Pandora Jewellery is known globally for its hand-finished and contemporary jewellery pieces and the company has experienced remarkable growth and success since its humble beginnings in 1982.
Panels
Timber pieces, usually of well-figured wood either recessed or applied over the frames of doors and as decoration elsewhere in the carcase of cabinet furniture. The panels may take a variety of shapes rectangular, square, shield shape, oval, half-round or in the form of Egyptian pylons.
Paolo Buffa
Paolo Buffa was an influential Italian mid-century furniture designer and architect known for his elegant and innovative designs. He was born on January 17, 1903, in Milan, Italy. He showed an early interest in design and architecture, which led him to study at the Brera Academy in Milan, where he honed his skills as an architect and designer.
He commenced his career as an architect and designer in the 1920s. He initially worked with his father, a cabinetmaker, and this experience played a significant role in shaping his future as a furniture designer. His early work was influenced by the Art Deco style that was popular at the time.
Paolo Buffa's design style evolved over the years, blending elements of neoclassicism with modern and Art Deco influences. His furniture designs are characterized by clean lines, graceful curves, and a sense of understated luxury. He was known for using high-quality materials and exquisite craftsmanship in his pieces.
Buffa collaborated with several notable Italian furniture manufacturers and craftsmen, including the Cassina family. His designs were often produced by renowned Italian furniture companies, making them accessible to a broader audience.
Paolo Buffa's work gained recognition both in Italy and internationally during the mid-20th century. His furniture pieces are still highly sought after by collectors and enthusiasts of mid-century design.
He passed away on November 23, 1970, leaving behind a significant body of work that continues to be celebrated and admired by design enthusiasts.
Paolo Costagli
Paolo Costagli was born in Florence, Italy in 1958. He studied jewellery design at the Istituto d'Arte di Firenze, and then worked as an apprentice to several jewellers in Florence and Milan. In 1985, he founded his own jewellery company, Paolo Costagli Gioielli. His designs are known for their blend of traditional and contemporary elements. He often uses antique techniques, such as granulation and filigree, to create jewellery that is both beautiful and timeless. However, he also incorporates modern elements, such as geometric shapes and bold colours, to create jewellery that is both innovative and eye-catching.
Costagli's jewellery has been featured in exhibitions all over the world, including the Metropolitan Museum of Art in New York City and the Victoria and Albert Museum in London. He has also won numerous awards for his work, including the Gold Medal at the Goldsmiths' Guild of Italy in 1995. In addition to his work as a jewellery designer, Costagli is also a teacher and lecturer. He has taught jewellery design at the Istituto d'Arte di Firenze and the Accademia di Belle Arti di Firenze. He has also given lectures at universities and museums all over the world.
Paolo Piva
Paolo Piva was born in Adria, Italy, in 1950. He studied architecture at the University Institute of Architecture in Venice, where he was taught by Carlo Scarpa. After graduating, Piva worked as an architect and designer, and he quickly established himself as a leading figure in the field of Italian design.
Piva's furniture designs are characterized by their sleek lines, minimalist forms, and use of high-quality materials. He often used contrasting materials, such as wood and metal, to create a sense of visual interest. His designs are also notable for their comfortable and functional qualities. Some of Piva's most famous furniture designs include the "Copa" sofa, the "Aura" chair, and the "Bora" table. He also designed a number of other objects, such as lamps, mirrors, and rugs.
In addition to his furniture designs, Piva also designed a number of buildings and interiors. His architectural work includes the C. Jourdan headquarters in Paris, the Palazzo Remer in Venice, and the B&B Italia showroom in Milan. Piva was a professor of industrial design at the University of Applied Arts Vienna from 1988 until his death in 2017. He was a recipient of numerous awards, including the Compasso d'Oro in 1987.
His work is represented in the permanent collections of major museums around the world, including the Museum of Modern Art in New York, the Centre Pompidou in Paris, and the Vitra Design Museum in Weil am Rhein, Germany.
Pap Boat
Pap boats, also known as porridge or feeding boats, were small vessels specifically designed for feeding infants and people with swallowing difficulties. While pap boats were historically made from a variety of materials, including silver, wood and porcelain. Silver pap boats gained popularity during the 18th and 19th centuries due to their aesthetic appeal and association with wealth.
The term "pap" refers to a type of soft food, often a mixture of grains or bread soaked in milk or broth, which was commonly fed to infants or individuals with difficulty chewing or swallowing. The pap boat served as a practical utensil for administering this nourishing food. It typically featured a long and narrow trough-like shape with a spout or pouring lip on one end, allowing for easy and controlled feeding.
The design of silver pap boats varied, ranging from simple and understated to ornate and intricately decorated. Many boats featured engravings, embossments, or chased patterns, showcasing the craftsmanship and artistic skills of the silversmiths who created them. The handles were often curved or shaped for ease of use, and some boats had decorative elements like shell motifs or floral embellishments.
With advancements in medical understanding and the availability of modern feeding utensils, the use of pap boats declined in the 20th century. However, silver pap boats continue to hold historical and sentimental value, and antique examples are highly collectible.
Paperweights
Paperweights, used to hold down papers, and most commonly made in glass, evolved in Venice in the early nineteenth century, and spread to France via Bohemia about 1845, where the finest examples were produced by three factories: Baccarat, Clichy and St Louis. Examples from these manufacturers are mostly unmarked and widely faked and imitated and thus a minefield for the uninitiated. The most popular motif is millefiori ('thousand flowers'), though fruit, single flowers, insects, and other small objects are often used as well as portraits and view. The cheaper paperweights use air bubbles as decoration. The classic paperweights are round and domed, but lesser weights were also made in the form of pyramids and rectangles. The early period of paperweights is reckoned to have ended in 1870 but some 20th century manufacturers such as Lalique, Kosta Boda, Whitefriars and Caithness Glass have produced some fine examples. The great majority of paper weights are unmarked, and glass rarely shows its age.
Paperweights are also made in gold, silver, silver plate, hardstone, amber, ceramic, ivory, timber and other materials.
Papier Mache
A substance made by combining mashed paper with glue and other hardening agents, so that, when dry, it can be cut, shaped and even carved. Invented in the 18th century, papier mache was at first used for small items such as snuffboxes and fans. With an improvement in techniques, it was used in the second quarter of the 19th century for a variety of household furnishings chairs, small tables, fire screens, coal scuttles, trays, inkstands and so on. It was frequently gilded and painted with flowers, fruits and rather sentimental scenes, and commonly inset with mother-of-pearl to achieve a jewelled effect. Given the apparently flimsy nature of the material, it is surprising just how many papier mache pieces have survived.
The best known manufacturer of papier mache was the Birmingham and London firm of Jennens and Bettridge, whose name is stamped on the underside of items manufactured by them.
Because most papier mache furniture was finished in the currently unfashionable colour of black, its popularity and consequently is value has been constrained. If the finish is scuffed, the painted decoration worn or the edges damaged, the value is further decreased
Paragon China Company
The Paragon China Company was a British manufacturer of bone china from 1919 to 1960, based in Longton, Stoke-on-Trent, previously known as the Star China Company, founded in 1897 as a partnership between Herbert Aynsley (great-grandson of the founder of Aynsley China) and Hugh Irving, trading until 1919, and using Paragon as a trade name from about 1900. In 1919, after Aynsley's retirement the company name was changed to Paragon China Company Limited. Irving's two sons subsequently became managing directors of the business.
In its early history the firm manufactured tea and breakfast wares, exporting to Australia, New Zealand and South Africa. In the 1930s, Paragon expanded its markets, to include the Americas, and its range of products to include dinnerware. Also at this time, Paragon began its move towards creating a smokeless factory, installing electric kilns.
The 1960s saw the company change hands several times, owned for a while by T.C. Wild, then forming part of Allied English Potteries, then becoming part of Royal Doulton. The Paragon name was retained, mainly with designs based on traditional floral patterns.
The company was granted a number of Royal Warrants over its life including Queen Mary, who granted a Royal Warrant of Appointment in 1933, King George VI and Queen Elizabeth, who granted a royal warrant for the occasion of their coronation in 1937, and Queen Elizabeth II, who granted a Royal Warrant of Appointment in 1953.
Parasols
Parasols were used by the ancient Sumerians as long ago as 3000 BC and they have been made ever since. However they did not come into use in Europe until the 16th century.
Accepted terminology is that a parasol is designed to protect the user from sunlight, while an umbrella protects the user from rain. Thus the fabric from which a parasol is made is usually not waterproof, and often of much lighter fabric than an umbrella, such as silk, cotton, nylon, gingham and lace, with ivory or wooden shafts.
Victorian era umbrellas had frames of wood or baleen, but these devices were expensive and hard to fold when wet. Englishman Samuel Fox invented the steel-ribbed umbrella in 1852, however metal ribs were known in use in umbrellas and parasols in France at the end of the eighteenth century.
Our grandmothers' parasols had a lot of use, on summer walks in the park, at the races, on or near the river.
It was apparently considered fashionable to have one's dress and parasol in matching material, with the result that the frame was continually being re-covered. Many of these nineteenth century parasols have perished or only the frames remain.
Parcel Gilt
An item or component that is partially gilded, the purpose of the gilding being to accentuate the decoration. For example a silver vessel may have gilded highlights, or the leg of a table or chair may have gilded carvings.
Parian Ware
Parian is a white unglazed statuary porcelain resembling marble, named after the Greek Island of Paros, which produces a very fine white marble. The Copeland & Garrett factory at Stoke-on-Trent is credited with the introduction of parian ware to Britain. Production of parian ware figures at Copeland commenced about 1841, and some of the figures were based on works by sculptors John Bell, and American Hiram Powers. Sales of parian figures were boosted by special orders from the Art Union of London commencing in 1844, where subscribers paid an annual fee, and in return participated in a ballot to receive a copy of an art work.
The increased popularity of parian ware encouraged other factories to begin production of statuary figures, with Minton and Robinson & Leadbetter being the major producers along with Copeland.
Paris Porcelain
Paris porcelain, also known as "soft-paste porcelain," refers to a type of ceramic material that was produced in Paris, France by a number of potteries starting in the mid-18th century. It was a response to the increasing demand for porcelain, which was previously imported from China, and later from Germany and England.
The first successful Paris porcelain factory was established by the chemist and entrepreneur Claude-Francois Thibault in 1745. He was able to create a type of porcelain that was softer and more malleable than the hard-paste porcelain imported from China. This new material allowed for greater artistic expression and decoration, and the Paris porcelain quickly gained popularity among the French nobility and aristocracy.
During the 18th century, many new porcelain factories were established in Paris, each with their own unique styles and techniques. Some of the most famous Paris porcelain factories include the Vincennes factory (founded in 1740 and later moved to Sèvres), the Chantilly factory (founded in 1730), and the Mennecy factory (founded in 1750).
One of the most notable characteristics of Paris porcelain is its elaborate decoration, often featuring intricate hand-painted designs in vibrant colors. Many pieces also feature gold or silver accents, as well as relief decoration in the form of flowers, leaves, and other motifs.
Paris porcelain continued to be produced throughout the 19th and 20th centuries, although the industry faced many challenges due to economic and political upheavals.
Parker 51
The design for the Parker 51 was completed in 1939, Parker's 51st anniversary, hence the name. There were many unique features to the 51 including the tubular hooded nib and an ink collector separate to the feed. Manufactured in a new plastic material 'Lucite', they were revolutionary. The first model was released in the USA in 1941, at a price of $12.50 and until 1948 was sold with a 'Vacumatic' filling system. In 1948 Parker introduced the 'Aerometric Filler'. This series was designated Mk 1 and was manufactured until 1972. Around 1969 a Mk II was introduced with conical ends and a slimmer cap. Later a Mk III was released, similar to the Mk II but now with a metal cap jewel and 'Injection Moulded'. Production continued until around 1980.
Parker Furniture
Parker Furniture is an Australian furniture company that is known for producing mid-century modern furniture during the 1950s to the 1970s. The company was founded in 1935 by two brothers, Jack and Bruce Parker, in Sydney, Australia. Originally, the company produced upholstered furniture, but they later expanded their product line to include mid-century modern designs.
In the 1950s, Parker Furniture began to produce modernist furniture designs that were heavily influenced by the work of Scandinavian designers, particularly Danish designer Hans Wegner. Parker Furniture was known for their use of teak wood, which they sourced from Southeast Asia, and their attention to detail in the construction and finishing of their furniture pieces.
Some of the most iconic pieces produced by Parker Furniture include the Parker Knoll armchair, the Parker-Eames lounge chair, and the Parker sideboard. These designs were not only popular in Australia, but they were also exported to the United States and Europe, where they gained a following among mid-century modern enthusiasts.
In the 1970s, Parker Furniture faced financial difficulties due to increased competition from cheaper imports and a downturn in the economy. The company was eventually acquired by AH Beard, a mattress manufacturer, in 1975. Although the Parker Furniture brand continued to produce furniture under AH Beard's ownership, they shifted their focus to more traditional designs and eventually ceased production altogether in the late 1980s.
Parker Pens
The Parker Pen Company, manufacturer of luxury pens and was founded in Janesville, Wisconsin, in 1888 by George Safford Parker. Parker had previously been a sales agent for the John Holland Gold Pen Company, but he believed he could produce a better pen himself.
Parker's first pen, the Parker Jointless, was patented in 1894 and featured an ink reservoir that could be refilled with a dropper. Parker's innovation was a better ink delivery system, which he called the "Lucky Curve," that prevented ink from leaking and helped the pen write more smoothly.
In 1906, the company moved to Newhaven, Connecticut, where it remains headquartered today. The company continued to innovate, introducing the Duofold pen in 1921, which was the first pen with a streamlined shape and was available in a range of colors.
During World War II, the Parker Pen Company produced pens for the military and introduced the famous Parker "51" pen, which became a symbol of the postwar era. The "51" was popular due to its sleek design and reliability.
In the 1950s and 1960s, Parker continued to expand its product line and introduced ballpoint pens, which became incredibly popular. In the 1970s, Parker introduced the Parker "75" pen, which was a luxury pen made with gold, silver, and platinum.
In 1993, the Parker Pen Company was acquired by the Gillette Company, which later merged with Procter & Gamble in 2005. Parker continues to produce high-quality writing instruments, including fountain pens, ballpoint pens, and rollerball pens, and is recognized as a leading brand in the luxury pen market.
Parquetry
Parquetry is inlay laid in geometric patterns, the contrast being achieved by the opposing angles of the grain and veneers. The herringbone pattern is the most commonly used in flooring, but this is almost never seen in furniture - the patterns used are more complex and unlike flooring, can include several different varieties of timber.
Partner's Desk
A double-sided desk at which two people can sit facing each other. Usually containing drawers on either side and generally leather-topped. Sometimes described as a library desk or library table. They may take the form either of pedestal desks or conventional four-legged tables. Many such desks have survived in red cedar from Australian colonial days, for the most part preserved in banking chambers, court houses, police stations and public service offices. Such colonial government furniture dating from the later part of the 19th century is often stamped with a crown, the 'V.R.' monogram, and sometimes a date.
Parure
A parure, from the French "parer" - to adorn, is a matching set of jewellery, usually consisting of a necklace, earrings, brooch and bracelet. A demi-parure is a smaller matching set , literally 'half a parure', and could comprise any two or three of the above items, for example, a brooch with matching earrings, or a necklace with a matching bracelet.
Pashmina
Pashmina refers to a type of fine cashmere wool, which is obtained from the soft undercoat of the Himalayan mountain goat, called the pashmina goat. The wool is known for its luxurious softness, warmth, and lightweight texture, and is highly prized in the fashion industry for use in shawls, scarves, and other accessories.
The term "pashmina" is also commonly used to refer to a type of shawl or scarf that is made from pashmina wool or a blend of pashmina wool and silk. These shawls are known for their elegance and beauty, and are often considered a high-end fashion accessory. Pashmina shawls are available in a wide range of colours and designs, and are popular among fashion-conscious individuals all over the world.
Paspaley Pearls
Paspaley Pearls is an Australian company that is known for producing some of the world's finest pearls. The company was founded in the 1930s by Nicholas Paspaley, a Greek immigrant who settled in Australia and began diving for pearls in the waters off the country's northern coast.
In the early days of the company, Paspaley focused on wild pearl diving, which involved sending divers into the ocean to search for oysters that contained pearls. The process was risky and often dangerous, but it produced some of the most valuable and sought-after pearls in the world.
In the 1950s, Paspaley Pearls began to shift its focus to pearl farming, a process that involves cultivating pearls in oysters in controlled environments. This allowed the company to produce pearls more consistently and with greater efficiency, while also minimizing the risks associated with wild pearl diving.
The company's pearling operations are centered around the city of Darwin, which is located in the Northern Territory of Australia. From there, Paspaley Pearls operates a fleet of pearling vessels and employs a team of divers and technicians who work to cultivate and harvest the company's pearls. This region includes the Arafura Sea, the Timor Sea, and the Gulf of Carpentaria, and it is known for its pristine waters and abundant marine life.
In addition to its pearling operations in Australia, Paspaley Pearls also operates pearl farms in other parts of the world, including Indonesia and Myanmar. These operations allow the company to produce pearls of different sizes, colors, and quality levels, while also ensuring a reliable supply of pearls for its customers around the globe.
Paspaley Pearls has retail outlets in several cities around the world, including Australia, Hong Kong, Singapore, and Dubai. The company's flagship store is located in Sydney, Australia, and it offers a wide range of pearl jewelry and other luxury goods.
In addition to its own retail outlets, Paspaley Pearls also partners with leading jewellery retailers and designers around the world, providing them with its high-quality pearls to create exquisite pieces of jewellery. These partnerships have helped to establish Paspaley Pearls as one of the premier suppliers of pearls to the global luxury market.
Over the years, Paspaley Pearls has become known for its commitment to quality and sustainability. The company has invested heavily in research and development, and it has developed proprietary techniques for breeding oysters and producing pearls that are renowned for their luster, size, and color.
Paspaley Pearls is one of the largest pearling companies in the world, and it produces pearls for some of the most prestigious jewelry brands and retailers around the globe. The company is still owned and operated by the Paspaley family, which remains committed to preserving the legacy of Nicholas Paspaley and his vision for producing some of the world's finest pearls.
Paste / Rhinestone / Diamante
Paste (or rhinestone or diamante) is the name given to a coloured glass composition used for imitation gemstones, or to imitation gemstones made of glass.
Although the technique of glassmaking had been known for thousands of years, but it wasn't until a lead glass with similar optical properties to diamonds were invented by a German jeweller working in Paris (either "Stras" or 'Strasser") in the early 18th century that "paste" gemstones became popular.
There was no social stigma attached to wearing imitation stones, and they were worn in situations where highway robbery was a possibility. The 18th century settings were of very high quality, equivilent to real gemstone jewellery.
In the nineteeth century the quality of paste jewellery declined and it has remained the poor cousin to genuine gemstones ever since.
Pastille Burners
Staffordshire potteries pastille burners, also known as cottage burners, were produced in the 19th and 20th centuries in the Staffordshire region of England, typically in the form of a small cottage. They were used to burn pastilles, which were small, scented pellets made from essential oils and other fragrant materials. When lit, the pastilles would release a pleasant aroma, and the smoke would rise out of the chimneys of the cottage, giving the appearance that the cottage was "smoking".
The Staffordshire Potteries were known for producing a wide variety of pastille burners, with many different designs and styles. Some were simple, rustic cottages, while others were more elaborate and ornate, with intricate details and decorations. Many of the pastille burners were designed to look like real houses, with thatched roofs, chimneys, and other features that made them look like miniature replicas of actual cottages.
In the 19th and early 20th century, many households would have one or more in their parlors or living rooms. They were also often given as gifts, and were considered to be a symbol of good luck.
Pat Perrin
Pat (Patricia Charlotte) Perrin (1921 – 1988) was a New Zealand potter. She was born in Auckland, New Zealand on 11 July 1921 and after schooling Perrin began to learn pottery by taking night classes at Avondale College, and was taught by Robert Field. After less than three years Perrin was herself teaching at Avondale College.
Perrin exhibited with Auckland Society of Arts, the New Zealand Academy of Fine Arts and The Group in 1951.
She died in Auckland in 1988.
Her works are held in the collection of the Auckland Art Gallery Toi o T?maki and the Museum of New Zealand Te Papa Tongarewa.
Patch Box
A small, usually rectangular, sometimes oval box used mostly as a receptacle for paper beauty patches to disguise blemishes of the skin, usually smallpox scars. In the 18th century these boxes became a fashion item, and were made of silver, porcelain, cloisonne, enamel etc. and were extensively decorated.
Pate
The pate in a doll is a rounded piece of either cork or papier mache that covers the wig aperture of a doll, (the opening in the crown of the doll) and provides the base to which the wig can be attached.
Pate De Verre
A technique practiced in ancient Egypt from 1500 - 1000 BC, that was revived in France in the 1880s, pate de verre, which translates as "paste of glass", is a process in which glass is ground to a fine powder, mixed with adhesives, colouring agents and water to create a paste which is then mixed , placed into a mould and then reheated until molten.
The most prolific, and therefore best known practitioners include Gabriel Argy-Rouseau, Francois-Emile Decorchement and Almeric Walter.
Pate, Klytie
Born in Victoria in 1912, Klytie Pate (nee Sclater) studied drawing, painting and sculpture, and trained as a teacher in Melbourne.
Her aunt, the artist Christian Waller, influenced her interest in the art deco style and classical mythology. She married William Pate in 1937, and taught until 1945 when she resigned to become a full-time professional potter.
Pate exhibited regularly in the eastern capital cities from 1941. Her work is represented in the National Gallery of Australia, the Victorian state gallery and public and regional collections. Klytie Pate died in 2010.
Pâte-Sur-Pâte
Pâte-sur-pâte is a decorative technique that is commonly used in ceramics and glassmaking. The term "pâte-sur-pâte" is French and it translates to "paste on paste." This technique involves the application of layers of clay or glass paste to create a three-dimensional design.
In ceramics, the technique involves applying successive layers of a clay slip onto a piece of pottery. Each layer is allowed to dry before the next one is applied. The layers are then carved or incised to create a design in relief. This technique is often used to create delicate and intricate designs, such as figures or floral motifs.
In glassmaking, the technique involves applying layers of molten glass onto a blown glass form. The layers are then carved or etched to create a design in relief. This technique is often used to create intricate designs, such as floral motifs or animals.
Both techniques require a high level of skill and precision, as the layers must be applied and carved with great care to achieve the desired effect. The end result is a beautiful and unique piece of art that showcases the artist's talent and mastery of their craft.
Patek Philippe
Patek Philippe is a Swiss luxury watchmaker founded in 1839 by Antoni Patek and Adrien Philippe. The company has a rich history of crafting high-quality and innovative timepieces, and is considered one of the most prestigious and renowned watch brands in the world.
In the early years, Patek Philippe specialized in crafting pocket watches, and was known for their intricate and highly complicated movements. In 1868, they created the first Swiss wristwatch, which was a custom-made timepiece for Countess Koscowicz of Hungary.
Throughout the early 20th century, Patek Philippe continued to innovate and create some of the most complicated wristwatches of the time. They also produced many iconic designs, such as the Calatrava, the Nautilus, the Grand Complications, the Annual Calendar, and the Aquanaut.
During World War II, the company temporarily shifted their focus to creating military wristwatches for the Swiss Army. In the post-war years, they resumed their production of luxury timepieces, and continued to create highly complicated and innovative watches.
In 1989, Patek Philippe celebrated their 150th anniversary with the release of the Calibre 89, which was the world's most complicated mechanical watch at the time, featuring 33 complications.
Since the Great Depression in 1932, the company has been owned by the Stern family in Switzerland and remains the last family-owned independent watch manufacturer in Geneva. Patek Philippe continues to be a highly sought-after brand, known for their exquisite craftsmanship, intricate movements, and timeless designs.
Patera
A small decorative device, used as ornament in Neo-classical style furniture. Patera (or paterae) are usually round or oval, in the form of stylized rosettes. In the best pieces they are carved directly into the timber, otherwise they applied to the surface. Sometimes painted or inlaid motifs in the style are referred to as patera. Also known as a boss or a rosette.
Pates Pottery
Pates Pottery was a Sydney-based pottery company that operated from 1946 to 1980. The company was founded by Eric Pate, a talented ceramic artist who had studied pottery in England before returning to Australia to establish his own studio.
In the early days, Pates Pottery produced a wide range of ceramic items, including decorative pieces, dinnerware, and vases. The company's designs were known for their simple, elegant lines, and their use of bold colors and intricate patterns.
During the 1950s and 1960s, Pates Pottery became known for its mid-century modern designs, which were heavily influenced by the work of Scandinavian designers such as Hans Coper and Lucie Rie. These designs featured clean, geometric shapes and were often adorned with abstract patterns or bold stripes.
Pates Pottery was also known for its glazes, which were created using proprietary techniques that Eric Pate had developed over the years. These glazes were prized for their rich, vibrant colors and their ability to accentuate the texture and form of the pottery.
Over the years, Pates Pottery expanded its operations, opening additional studios and workshops in Sydney and other parts of Australia. The company also gained a following among collectors and enthusiasts of mid-century modern design, and its pieces were featured in exhibitions and galleries around the world.
In 1980, Pates Pottery ceased production, and its remaining stock was sold off.
Patination / Patina
In broad terms, patination refers to the exterior surface appearance of the timber, the effect of fading caused by exposure to sunlight and air over the course of a century or more, changing the piece to a soft, mellow colour.
As patina is very difficult to replicate, it is one of the most important guides to determining the age of furniture.
Patina is also the term applied to the bloom or film found on old bronzes due to oxidisation.
Patricia Urquiola
Patricia Urquiola is a Spanish architect and industrial designer who has gained international acclaim for her work in a variety of fields, including furniture, lighting, textiles, and architecture. She was born in Oviedo, Spain, in 1961, and studied architecture at the Universidad Politécnica de Madrid and the Politecnico di Milano. After graduating, she worked as an assistant professor at the Politecnico di Milano, and then as a designer for De Padova and Lissoni Associati. In 2001, she established her own design studio in Milan.
Urquiola's work is characterized by its elegant simplicity and its use of innovative materials and technologies. She is known for her ability to create objects that are both functional and aesthetically pleasing, and her work has been featured in exhibitions around the world. She has won numerous awards for her work, including the Compasso d'Oro, the most prestigious design award in Italy.
Some of Urquiola's most notable designs include the Crinoline chair for Moroso, the Leaf sofa for B&B Italia, and the Onda light for Flos. She has also designed a number of architectural projects, including the Hotel Il Sereno in St. Moritz, Switzerland, and the Serpentine Pavilion in London.
Urquiola is a leading figure in the world of design, and her work continues to be celebrated for its beauty, innovation, and functionality. She is an inspiration to designers around the world, and her work is sure to continue to shape the future of design for many years to come. Some of her most notable awards include the Compasso d'Oro (2001, 2006, 2010, 2013, 2016), Elle Decor International Design Award (2007, 2009, 2011, 2013, 2015) and the Red Dot Design Award (2005, 2007, 2010, 2012, 2014). Urquiola has been named one of the "World's 100 Most Influential People" by Time magazine, and she was awarded the Medalla de Oro al Mérito en las Bellas Artes (Gold Medal of Fine Arts) by the Spanish government in 2015.
Paul De Lamerie
Paul de Lamerie (1688-1751) was a highly skilled Huguenot silversmith, widely considered to be one of the greatest craftsmen of his time. He was born in the Netherlands in 1688, but his family fled to London in 1689 to escape persecution of Huguenots in France. His father was a watchmaker, and Paul began his training as an apprentice in his father's workshop.
At the age of 21, de Lamerie set up his own silversmithing workshop, where he produced some of the finest silverware of the 18th century. His work was highly sought after by the British aristocracy and European royalty. He was known for his exceptional technical skill, attention to detail, and ability to incorporate a range of decorative styles into his work, including Rococo, Baroque, and Neoclassical.
De Lamerie's creations included a wide range of objects, such as tea sets, candlesticks, salvers, tureens, and sauceboats, which were often decorated with intricate designs and chased or engraved patterns. He also produced large, ornate pieces, such as chandeliers and candelabra, which were highly prized for their beauty and technical skill.
In London, De Lamerie was a member of the Worshipful Company of Goldsmiths and was appointed as a silversmith to King George II in 1720. He was also a mentor to many apprentices, several of whom went on to become renowned silversmiths in their own right.
De Lamerie died in 1751, but his legacy lives on as one of the greatest silversmiths of his era, whose work is still celebrated for its exceptional beauty and technical skill.
Paul Jacoulet
Paul Jacoulet (1896-1960) was born in Paris in 1896 and moved to Japan with his parents when he was 10 years old. From an early age, Jacoulet showed promise with his intellectual and artistic abilities. He was fluent in Japanese, French, and English by the time he was 16 years old. He also studied painting and calligraphy with Japanese masters.
In 1918, Jacoulet began to create woodblock prints. He was one of the first Western artists to master the traditional Japanese woodblock printing technique, and his work was highly regarded by both Japanese and Western critics. Jacoulet's prints are characterized by their vibrant colors, bold compositions, and lyrical depictions of Japanese landscapes and culture. He was also a master of portraiture, and his prints often feature Japanese women and children in traditional dress.
Jacoulet was also a prolific writer and lecturer. He wrote and lectured extensively about Japanese art and culture, and was also a passionate advocate for peace and understanding between Japan and the West.
Jacoulet died in Tokyo in 1960 at the age of 63. He left a legacy of over 160 woodblock prints, as well as numerous paintings, watercolours, and drawings. His work is exhibited in major museums such as the Metropolitan Museum of Art in New York City and the British Museum in London. Jacoulet's unique perspective as a Westerner living in Japan allowed him to create art that bridges two cultures.
Paul Kafka
Paul Ernst Kafka (1907 – 1972) was one of the most significant furniture designers and makers of the post WW II period in Sydney. Born and trained in Austria at the Vienna University of Applied Arts Kafka and his wife emigrated to Australia in 1939. By the late 1940s Paul Kafka Exclusive Furniture Pty Ltd employed over 20 tradesmen producing bespoke and custom designed and built furniture for mainly Eastern suburbs clients. In the 1960s he undertook a number of major fitout projects for the Sheraton, Chevron and Travelodge Hotels. His signature is complex inlaid wood marquetry frequently in modernist and Art Deco influenced geometric patterns. Many of his most notable designs were created working in tandem with leading Australian postwar architects including Harry Seidler (with whom he shared Viennese origins), Hugo Stossel, Hugh Buhrich and Harry Epstein. It is Kafka's built in and free standing furniture that is a feature of in what is recognised as Australia's foundation modernist home the 'Rose Seidler' house in northern Sydney. Examples of Kafka furniture and design drawings are held in the collection of the Powerhouse Museum, Sydney.
Paul Kafka (1907 - 72)
Paul Kafka Exclusive Furniture Pty Ltd. of Sydney. Paul Kafka was one of the most significant furniture makers working in Sydney in the immediate post war period. Born in Vienna, Kafka worked in his father's furniture factory later studying furniture design at the Academy of Arts in Vienna. This training and early practice in Vienna in the 1920s and 30s is reflected in references to the Art Deco style which continued to inform his work during the 1950s
Paul Philippe
Paul Philippe (1870-1930) was a French sculptor who worked during the late 19th and early 20th centuries. He is best known for his Art Nouveau and Art Deco sculptures, which often featured stylized female figures.
Philippe was born in Thorn, Poland, in 1870. He studied at the École des Beaux-Arts in Paris, where he was a student of Antonin Larroux. After graduating, Philippe moved to Berlin, where he worked for a time as a sculptor for the Rosenthal und Maeder (R.U.M.) and Preiss-Kassler foundries.
In 1900, Philippe returned to Paris, where he established his own studio. His early work was influenced by the Art Nouveau movement, and he was a member of the Nabis group of artists. However, his style later evolved to incorporate elements of Art Deco.
Philippe's sculptures are characterized by their stylized forms and their use of colour. He often used bronze and chryselephantine (a combination of gold and ivory) to create his sculptures. His most famous work is "Awakening," a bronze sculpture of a young woman stretching as she awakens from a long night's sleep.
Philippe died in Paris in 1930. His work is now in the collections of major museums around the world, including the Metropolitan Museum of Art in New York City, the Musée d'Orsay in Paris, and the Victoria and Albert Museum in London.
Paul Storr
Paul Storr was the most prolific of the 19th century silversmiths, and was a master of the heavy neo-classical styles.
He went into business for himself after he completed his apprenticeship in 1796, and from 1807 was associated with the silversmithing firm of Rundell & Bridge, for whom he carried out many commissions.
He left Rundell & Bridge in 1819 and after a few years went into partnership with John Mortimer, trading as Storr & Mortimer which lasted until he retired in 1838 at the age of 68.
His workshop produced enormous quantities of silver and silver gilt in designs so heavy and robust that many objects have survived in excellent condition.
His patrons included both George II and the Prince Regent and his wares were highly sought after and remain so today.
Paulin, Pierre
Born in Paris in 1927, Paulin is widely regarded as one of the most important twentieth century furniture designers. From a young age he had an interest in arts and crafts and went on to study clay modelling and stone carving at the Ecole Camondo in Paris before commencing work at Thonet in 1954. This early exposure to art and sculpture no doubt influenced his later free-form furniture designs when he began working with Dutch furniture maker Artifort in 1958. He was given freedom of expression and through the 1960's and 70s Paulin and Artifort were at the forefront of contemporary design. The 'Mushroom' chair was hugely innovative when it was introduced in 1960 with a tubular steel frame covered with foam. In 1968 he received the commission to refurbish the Louvre and many prestigious awards and international commissions followed throughout his working life. Highlights include the seating design for Expo ‘70 in Osaka and redesigning the private apartments and presidential office of the Elysee Palace.
Pave Setting
Pave setting is a style of setting stones in jewellery where the small stones are placed close together in holes drilled in the metal, the burr of the metal around the stone being pressed over the edges to hold the stone in position.
Paw Feet
A paw foot is a base of a furniture leg that resembles the paw of an animal, such as a lion or bear. It is a decorative feature that is often seen in traditional furniture designs, particularly in styles such as Chippendale, Queen Anne, and Georgian. A paw foot typically consists of a carved or moulded ball or disk at the bottom of the leg, which is then carved or shaped to resemble the toes or claws of an animal. The foot may be smooth or textured, depending on the design, and may be finished in a variety of materials, such as wood, metal, or even marble.
Paw feet are often used on heavier pieces of furniture, such as chests, tables, and chairs, to provide additional stability and support. They are also used as a decorative element, adding a touch of elegance and sophistication to the overall design.
"Hairy paw feet" is a term used to describe a variation of the foot design that features a carved or sculpted animal paw, such as a lion or bear, with hair or fur details. The hair or fur details were often carved in a realistic manner and added to the overall decorative effect of the furniture. Hairy paw feet were commonly found on furniture items such as tables, chairs, and cabinets and were popular in the 18th century.
Peach Bloom
Peach bloom glaze is a type of ceramic glaze that was commonly used in Chinese pottery during the 18th and 19th centuries. It is a type of monochrome glaze that ranges in colour from pale pink to deep red, resembling the colour of a peach blossom.
The glaze is created using a combination of iron oxide and copper oxide, which are mixed together in specific proportions and applied to the ceramic surface. The glaze is then fired in a kiln at a high temperature, which causes the iron and copper oxides to interact and create the characteristic range of colours.
Peach bloom glaze is known for its delicate, translucent quality, which allows the underlying ceramic body to show through in places. It was used to decorate a range of ceramics, from small vases to large bowls and plates. The technique was particularly popular during the Qing Dynasty.
Peach Blow
Peach blow is a finish that was used on 19th century art glass, particularly in the United States. It is characterized by a gradation of colour that goes from a pale pink or white at the top of the piece to a deep, rich red or magenta at the base. The effect is achieved by layering or coating the glass with a combination of gold chloride and tin chloride, which is then heated in a furnace to produce the desired colour.
The name "peach blow" comes from the fact that the colour of the glass resembles that of a ripe peach. This finish was particularly popular during the Victorian era, and was used to create a variety of decorative glass objects, including vases, pitchers, and bowls.
Peach blow glass was highly valued by collectors and connoisseurs of the time, and remains a sought-after type of antique glass today. Some of the most famous makers of peach blow glass include Mount Washington Glass Company and the New England Glass Company, both of which were based in the United States.
Pearlware
Pearlware is a type of earthenware pottery that was developed in the late 18th century in England, made from a mixture of clay, flint, and other materials, and is distinguished by its smooth, creamy white glaze. The glaze has a pearlescent quality, which is how the pottery got its name.
Pearlware was developed as a more affordable alternative to porcelain, which was much more expensive and difficult to produce. It quickly became popular throughout England and Europe, and was exported to other parts of the world as well. It was particularly popular for making tableware, such as plates, bowls, and teapots, as well as decorative objects like figurines and vases.
One of the most distinctive features of pearlware is its blue decoration. Many pieces of pearlware were decorated with blue patterns or designs, often featuring pastoral scenes, floral motifs, or geometric patterns. The blue decoration was typically applied over the white glaze, which created a striking contrast and made the designs stand out.
Pearlware
Pearlware is a type of ceramic pottery that was first introduced by Josiah Wedgwood in 1779 and produced in England from the late 18th to the early 19th century. It is earthenware ceramic body with a slightly bluish white lead glaze, developed as a substitute for porcelain, which was more expensive and harder to produce.. Other historical names for this ware are Pearl White and China Glaze.
The distinguishing characteristic of English pearlware is its glaze, which has a slightly bluish tint and a pearly, iridescent quality. This effect is achieved by adding small amounts of cobalt oxide and tin oxide to the glaze. The cobalt oxide gives the glaze a blue tint, while the tin oxide causes the glaze to become more opaque and reflective.
English pearlware was used to produce a wide range of household items, such as plates, bowls, cups, and saucers. It was also used to create decorative objects, such as figurines and vases. The popularity of pearlware declined in the early 19th century, as newer types of ceramics, such as ironstone, became more widely available.
Peascod, Alan
Alan Peascod was born in England in 1943.
He studied at East Sydney Technical College (ceramics) under
Peter Rushforth; Sturt Workshops, Mittagong, under Les Blakebrough; The College of Applied Art, Cairo, Egypt; and with John Reeves and Ray Finch in England in 1968.
Since that time he has travelled in the Middle East, West Gennany, Spain and England studying, in particular, collections of Islamic art in those countries.
He has also extensively researched Islamic glazes and lustre techniques.
Since 1969, he has held numerous solo exhibitions in Brisbane, Canberra, Melbourne and Sydney.
In 1972 he participated in an exhibition at the Victoria and Albert Museum, London, and in 1974 in the Concorso Intemazionale delta Ceramica d'Arte at Faenza, Italy. His works were also included in the Australian exhibitions Recent Ceramics touring Europe 1980-2 and Contemporary Australian Ceramics touring New Zealand, Canada and the United States 1982-4.
A retrospective exhibition of his work organised by the Canberra School of Art Gallery toured metropolitan and regional galleries 1985-6.
He lectured in ceramics at the Canberra School of Art from 1975 until 1986 and at the Wollongong College of Advanced Education.
He was awarded a Doctorate in Creative Arts in 1995 for his research at Wollongong University.
He is represented in the Australian National Gallery, Canberra and all state galleries.
Alan Peascod died in 2007.
Peddle, George
The "Peddle" chair is unique to Tasmania, named after their maker, Geoge Peddle.
George Peddle came to Australia in 1884, aged 29 from the centre of chair-making in England, High Wycombe. He arrived in Hobart and found employment at Risby's Furniture Factory. After about four years he moved to Launcestion in northern Tasmania and set up a back room workshop in the Windmill Hill area. He moved his workshop to Launceston four years later and worked there until 1894.
His chairs were always made of blackwood, and in the style of the English Windsor chair with which he would have been familiar before he emigrated to Australia. As well as the conventional upright chairs, he also made armchairs and rocking chairs.
In 1895 he was joined by his brother in law, Harry Hearn, and they continued the craft in the North East town of Nabowla near Devonport.
Around 1900 he won a contract from the Tasmanian railways to supply chairs and Peddle chairs become a common sight on the railway stations around Tasmania.
George Peddle died in 1933.
Pedestal
The columns that support many dining tables and most small occasional tables. They are usually turned, though octagonal-shaped pedestals were fashionable during the 1830s and 1840s.
Pedestal
A column or series of columns, of timber, marble, alabaster or metal, surmounted by a flat top, that may be used to display a sculpture, ceramic or a plant.
Pedestal Desk
A desk with an enclosed, box-like pedestal on either side of the central kneehole section, usually containing three or more drawers or sometimes a cupboard with shelves. To enable movement through door and passage ways, they are usually made in three sections, with the writing top, containing two or three drawers, fitted separately to the two pedestals which it help to hold it secure. Pedestal desks are wider than kneehole desks and have no cupboard in the middle section where the occupant sits. Roll top desks are frequently pedestal desks with the addition of a superstructure containing pigeonholes and a slatted roll top.
Pedestal Desk
A pedestal desk is a type of desk that consists of a large work surface supported by two pedestals or cabinets, one on either side. The pedestals are usually identical and contain drawers and cabinets for storage. The desk's design allows it to be placed in the centre of a room, as the back of the desk is usually finished with the same veneer as the front.
Pedestal desks were popular in the 18th and 19th centuries, and were usually made from high-quality wood, such as cedar, mahogany, walnut or oak, and were decorated with intricate carvings and other decorative details. They were used by businessmen, politicians, and other professionals, and were considered a symbol of status and success.
Pedestal Dining Tables
Rectangular, oval or round dining tables, supported by a central pedestal column. Georgian pedestals usually had four splay legs, gracefully curved and ending with claw or bucket brass castors. The pedestal itself was slender and tapering, and the table top, usually made from one piece of timber, did not have an apron. If the edge of the top is reeded, the splay legs ought also be reeded. From the Regency period, the pedestals sometimes stood on a platform base, often with carved claw feet. After the 1820s the pedestals tended to become heavier, with bulbous rings and swellings eventually assuming the typical Victorian baluster shape. Longer tables, often with rounded ends, were supported on at least two pedestals. Those made to have extension leaves inserted, were equipped with brass clips or winding mechanism, and additional pedestals frequently provided further support.
Pedestal Sideboard
A sideboard consisting of two enclosed box-like pedestals, usually with cupboards or drawers, and a central flat serving top containing a cutlery drawer. This middle section is screwed to the pedestals to hold the piece in position. Sideboards usually have a back of some kind. Early 19th century backs were often simple brass supports, as in the traditional Sheraton sideboard. From about 1820, timber backs became more common, generally simple in form to begin with (with a triangular pediment) but becoming more ornate, often carved with Regency scrolls, foliage and other decorative devices. By the Victorian age, sideboard backs often consisted of large plate glass mirrors in a polished frame, usually carved in the manner of the Rococo revival
During the Regency period from about 1800 the pedestals were often slightly tapering in shape, and were somewhat higher than the middle serving board. Frequently the pedestals were surmounted by a pair of urn-shaped knife boxes. Subsequently, the pedestals assumed more conventional rectangular form and were of the same height as the middle section.
A wine cooler or sarcophagus was frequently placed on the floor between the two pedestals. The pedestals themselves often contained cellaret drawers, with divisions for holding wine bottles, and sometimes a compartment for a chamber pot very useful for those long dinner parties after the ladies had retired to the drawing room.
Pedigree Dolls
Pedigree dolls were very popular in Australia during the late forties and through the fifties. They came in many sizes and styles.
They were manufactured by Pedigree Soft Toys Ltd. of the United Kingdom, which had factories New Zealand, South Africa and Australia, and was a subsidiary of the biggest toy company in the world from the 1930s to the 1950s: Lines Brothers Ltd.
Pedigree's Sindy was the great success story of the 1960s toy industry, cleverly catching the mood of the new teenage culture. Sindy, first made in 1962 by the Pedigree Company, is the best-selling 'teenage' fashion doll ever produced in Great Britain.
Pedigree, in financial difficulties, sold the Sindy licence to toy giant, Hasbro in 1986, and her popularity with modern children has now been somewhat eclipsed by her rival 'Barbie'.
Pediment
The uppermost section of a tall usually double-heightened piece of cabinet furniture, surmounting the cornice. The pediment can take a variety of forms derived from the architecture of classical antiquity. A broken pediment is of triangular shape, however, the two raised sides do not meet at the apex but are 'broken' the gap between them often ornamented with an urn or finial. Swan-neck pediments are of similar form, although the uprights are gracefully arched, resembling a swan's neck. They are often found, for example, on longcase clocks.
Peg Tankard
A peg tankard is a type of beer mug or tankard that was popular in England during the 18th and 19th centuries. It is characterized by a series of pegs or notches that are carved into the inside of the mug at regular intervals, typically every half-pint or so.
The purpose of the pegs was to regulate the amount of beer that was consumed at one time. When the mug was filled to a particular peg, the drinker would be required to stop drinking and pass the mug to the next person, ensuring that everyone had an equal share of the beer. This made the peg tankard a popular choice for social drinking, particularly in pubs and taverns.
Peg tankards were usually made from stoneware or earthenware, and were often decorated with elaborate designs or inscriptions. They were also sometimes made from silver, pewter, or other metals. The size and shape of the tankards varied widely, but they were typically quite large, holding several pints of beer at a time.
Pelham Puppets
Pelham Puppets, originally named Wonky Toys Ltd., was founded in 1947 in Marlborough, England by Robert (Bob) Pelham. They originally made small wooden toys and marionettes, but acquired the rights to make Disney character puppets in 1953.
Pinocchio was one of the most popular characters. There were also many versions of Mickey Mouse made over the years, making examples comparatively common as well.
A fire in 1961 resulted in the factory being rebuilt and at the same time the product range was reorganised. Some old lines were dropped and new ranges introduced.
Bob Pelham died in 1980, and business was continued by his wife until 1985 when it was sold. After several more ownership changes, the company went into liquidation in 1993.
The company was revived by a former employee in 2008, and it now produces a number of the old designs as well as new creations.
Early puppets generally tend to be rarer and more desirable, but some of the later puppets are the rarest as fewer were made. Condition is critical as many were produced, collectors will only pay high prices for exceptionally rare characters or for those in the best condition, preferably with a box.
Pembroke Table
A side table with two flaps, supported on fly rails when raised. Eighteenth century Pembroke tables were usually oval in shape when opened and often decorated with marquetry inlay or painted decoration. Victorian versions tended to be more rectangular in shape and of plain polished wood.
Pen Work
Pen work is a type of decoration on Japanned (black lacquered) furniture and smaller objects that was popular in the late eighteenth and early nineteenth century. The decoration was painted on to the black lacquered surface in white and details and shading was added in black Indian ink, with Oriental scenes popular.
Pencils
Graphite was discovered and came into widespread use for writing following the discovery of a large deposit in Borrowdale, England in 1564. It made a darker line than lead, but was soft and brittle, and required a holder.
The graphite sticks were firstly wrapped in string, but later the graphite was inserted into hollowed wooden sticks the resultant pencil being similar to those in use today.
Britain soon lost its monopoly on production of wooden pencils and they were mass-produced in Germany from the 15th century. In the mid 16th century a number of German pencil manucturers were established whose trade names are still in use today, including Faber-Castell, Steadtler and Lyra.
In 1822, Sampson Mordan (1770 - 1843) with his partner, John Hawkins patented a "metal pencil with an internal mechanism for propelling the graphite 'lead' shaft forward during use", now known as the propelling pencil.
This meant that the casing could now be metal, most commonly gold or silver, which had appeal to the increasingly affluent middle and upper classes in Britain in the 19th century.
Various whimsical patterns were introduced for their propelling pencils including pig and boar-shaped pencils, and horse heads, dogs, cats, fish, frogs and owls.
In Britain between 1820 and 1873, more than 160 patents were filed by the company for various mechanical pencil designs. The first spring-loaded mechanical pencil was patented in 1877 and a twist-feed mechanism was developed in 1895.
Some mechanical pencils only hold the graphite in position against gravity, while others are able to feed the lead through the pencil, as it wears down.
There are various mechanisms used to feed the lead through the pencil, including ratchet-based pencils in which the lead is advanced by a button on the end or the side; screw-based pencils in which the lead is advanced by twisting a screw, which moves a slider down the barrel and twist-based pencils in which the lead is advanced by twisting the head of the pencil.
Mechanical pencils are still in demand today by architects, draughtsmen and artists.
Pendulum
The pendulum was discovered around 1602 by Galileo Galilei, and was adopted for time keeping by the Dutch mathematician and natural philosopher, Christiaan Huygens, who excelled in astronomy, physics, and horology.
The pendulum comprises a metal rod usually of brass or steel with a metal disk, known as a bob, at the end. The movement of the pendulum is driven by weights or a spring, and as a pendulum swings in a regular arc, it was found accuracy could be controlled to within a few seconds a week.
Timekeeping can be adjusted by changing the height of the bob on the rod, making the pendulum either swing slower or faster.
The disadvantage of the pendulum was that changes in temperature also changed the length of the pendulum, interfering with the accuracy of the clock, and so in the 18th century two types of mercurial pendulums were invented which countered the movement in the steel rod.
The pendulum was the world's most accurate timekeeping technology until the invention of the quartz clock, regulated by a quartz crystal, in 1927.
Per Lutken
Per Lütken (1916-1998) was a Danish glass designer who is best known for his work at the Holmegaard Glass Factory.
Lütken was born in Copenhagen, Denmark, in 1916. He studied at the Royal Danish Academy of Fine Arts, where he specialized in glass design. After graduating, Lütken worked as a freelance designer for a number of different companies. In 1942, he was hired by the Holmegaard Glass Factory, where he would work for the rest of his career.
At Holmegaard, Lütken was responsible for designing a wide range of glassware, including tableware, decorative objects, and lighting. His work was characterized by its simple, elegant lines and its use of natural materials. Lütken was also known for his innovative use of color, and his designs often featured bright, vibrant hues.
Lütken left his mark on Danish glassmaking history, designing over 3,000 pieces of glass for Holmegaard from 1942 until he died in 1998. Some of Lütken's most famous designs include the "Ideelle" series of glassware, which was designed in 1950; the "Skibsglas" series of glassware, which was designed in 1954; the "No. 5" series of glassware, which was designed in 1956; the "Selandia" series of glassware, which was designed in 1960 and the "Charlotte Amalie" series of glassware, which was designed in 1962.
Lütken's work was widely acclaimed, and he received numerous awards for his designs. He was a member of the Danish Society of Crafts and Design, and he was awarded the Prince Eugen Medal in 1983. Lütken's work is still highly regarded today, and his pieces are collected by museums and private collectors around the world.
Percy Trompf
Percival Albert (Percy) Trompf (1902-1964) was an Australian commercial artist best known for his travel posters, books, advertising hoardings and pamphlets promoting the nation's tourist industry and Australian and international corporations and companies. His colour lithography was recognised as distinctive during his career and since, Art Deco in style, and innovative in its use of flat colour.
Trompf was born on 30 May 1902 in Beaufort, Victoria. His family later moved to Ballarat, and he was educated at Sebastopol Primary School. He became one of the earliest students at the Ballarat School of Mines' Ballarat Technical Art School where he left with his certificate in 1917.
In 1923, Trompf moved to Melbourne and joined the commercial art firm of Giles & Richards. He remained with the firm for two years, before setting up his own studio in 1925. Trompf's early work was largely in the field of advertising, and he designed posters and hoardings for a variety of clients, including the Australian National Travel Association, the Victorian Railways, and the Queensland Government Tourist Bureau. He also designed chocolate boxes and wrappings for the confectioners A. W. Allen Pty Ltd.
In the 1930s, Trompf's work began to focus more on travel posters. His posters were characterised by their bold colours, simple designs, and evocative imagery. They were highly successful in promoting Australia to tourists both domestically and internationally. Trompf's posters for the Australian National Travel Association are particularly well-known, and they continue to be reproduced and admired today. In addition to his travel posters, Trompf also designed a number of books and pamphlets.
Trompf's work was highly acclaimed during his lifetime. He was awarded the Gold Medal at the International Poster Biennale in Paris in 1937, and he was made a Fellow of the Royal Australian Institute of Painters in 1954.
Percy Trompf died in 1964 at the age of 62. His work is held in the collections of the National Gallery of Australia, the National Library of Australia, and the State Library of Victoria and his posters are also highly prized by collectors.
Peridot
Peridot is a gemstone that is a form of the mineral olivine. It is a yellow-green to green gemstone that is typically transparent, although some specimens may be opaque. The colour is due to the presence of iron in the crystal structure of the stone.
It is found in several locations around the world, including Egypt, Myanmar, Pakistan, and the United States. It has been used in jewellery for thousands of years, and was highly valued by the ancient Egyptians, who believed it had protective powers.
Peridot is a relatively hard gemstone, with a rating of 6.5-7 on the Mohs scale of hardness. It is suitable for use in all types of jewellery, including rings, necklaces, bracelets, and earrings. The gemstone is often cut in faceted shapes to enhance its sparkle and colour, but it is also used in cabochon form.
Peter Alger
Peter Alger is a New Zealand potter who was born in New Brunswick, Canada, in 1952 and emigrated to New Zealand with his family in 1959. He began his pottery studies in 1968, when he became apprenticed to potter Warren Tippet in the Coromandel. He established his own pottery studio in Northland in 1970.
Alger's work is characterized by its simple, functional forms and its use of natural materials and glazes. He often uses stoneware clay, which he fires to high temperatures. His glazes are often inspired by the natural world, and they can be earthy, muted, or vibrant.
Alger has won numerous awards for his work, including the Norsewear Art Award in 1992, the Glenfalloch Award at the Cleveland Ceramics Awards in 1994, and the New Zealand Society of Potters Award in 1996. His work is included in the collections of the Auckland War Memorial Museum, the Suter Gallery in Nelson, and the Museum of New Zealand Te Papa Tongarewa.
Alger continues to work and exhibit his pottery in New Zealand and internationally. He is a member of the New Zealand Society of Potters and the Northland Potters Collective.
Alger's work is influenced by his love of nature and his appreciation of the simple beauty of everyday objects.
Peter Bateman and Anne Bateman
Peter Bateman (1740-1825) and Anne Bateman (1718-1791) were a father-daughter team of London silversmiths who were active during the 18th century. They were known for their high-quality work and their pieces are highly prized by collectors today.
Peter Bateman was born in London in 1740 and trained as a silversmith under his father, Jonathan Bateman. He became a member of the Worshipful Company of Goldsmiths in 1761 and began his own silversmithing business in 1763. Peter specialized in making flatware and hollowware, including tea sets, salvers, and wine coolers. He worked in partnership with his brother-in-law, William Bateman, and their business became known as "Peter and William Bateman."
Anne Bateman was born in 1718 and married Jonathan Bateman, who was Peter's older brother. After Jonathan's death, Anne took over the family business and became one of the few female silversmiths of her time. She was known for her work in the Rococo style, which featured elaborate scrolls, floral motifs, and asymmetrical shapes. Anne specialized in making small, decorative items such as salt cellars, sugar tongs, and nutmeg graters.
Peter and Anne Bateman's work was highly sought after by the wealthy and elite of 18th-century England. Their pieces were made of high-quality silver and were often engraved with intricate designs and family crests. They received commissions from royalty, including King George III, and their work was exhibited at the Society of Artists in London.
After Anne's death in 1791, Peter continued to work on his own until his retirement in 1805. He died in 1825 at the age of 85. The Bateman family business was continued by Peter's son, Jonathan Bateman II, and his nephew, William Bateman II, who were also highly respected silversmiths in their own right.
The work of Peter and Anne Bateman is highly and their pieces are known for their exceptional quality and craftsmanship, as well as their historical significance as examples of the finest English silverwork of the 18th century.
Peter Collis
Peter Collis is a New Zealand ceramics artist who has been working in the field for over 40 years. He is known for his exploration of shape and surface, and his work is often characterized by its use of crackle glazes, textured slips, and rich colours. Collis has exhibited extensively in New Zealand and internationally, and his work is included in the collections of many public and private institutions.
Collis was born in Auckland, New Zealand, in 1950. He began his artistic training at the University of Auckland, where he studied ceramics under the tutelage of John Walsh. After graduating, Collis worked as a studio potter in Auckland for several years. In 1978, he moved to Birkenhead, where he established his own studio.
His work has been influenced by a wide range of sources, including Japanese ceramics, American studio pottery, and contemporary art. He is particularly interested in the relationship between form and function, and he often creates vessels that are both visually striking and functional. Collis is also interested in the expressive potential of clay, and he often uses his work to explore emotional and philosophical themes.
Collis has exhibited his work in solo and group exhibitions throughout New Zealand and internationally. He has won numerous awards for his work, including the 1998 Te Waka Toi Award for Excellence in Ceramics. Collis's work is included in the collections of the Auckland Art Gallery Toi o Tamaki, the Museum of New Zealand Te Papa Tongarewa, and the Christchurch Art Gallery Te Puna o Waiwhetu.
Peter Collis is a past president of the New Zealand Society of Potters, and he has served as a judge for numerous ceramics competitions. He has taught ceramics at the University of Auckland and the Unitec Institute of Technology. Peter Collis continues to work in his studio in Birkenhead.
Peter Crisp
Born in 1959, Peter Crisp spent his formative years in the Yass Valley, located in the NSW Southern Tablelands of Australia. His passion for glass making led him to enroll in the Sydney College of the Arts in the early 1980s. At that time, glass making had become part of the college's visual arts degree, starting in 1978. Little did he know that his experimentation with the ancient Egyptian technique of slumped glass would pave the way for his highly sought-after designs, some of which would later be auctioned for substantial sums.
After completing four years at the college, Crisp made the decision to return to his family farm in Bowning. He recognized that if he wanted to establish a successful glass making business, he needed to eliminate the distractions posed by his city friends. Thus, he set about renovating an old cottage on the farm, transforming it into what is now known as Crisp Galleries. This involved removing walls, installing kilns, and creating a cement slab for his artistic endeavors.
Crisp's debut exhibition took place at the Mill Gallery in Braidwood, from where he went on to showcase his works in Sydney, Adelaide, and Melbourne. It was through his participation in trade shows held in New York, Philadelphia, Sydney, and Melbourne each year that Crisp managed to secure contracts with major department stores in the United States and the United Kingdom. By the 1990s, his family business was exporting an impressive 10,000 glass pieces with the assistance of six full-time employees.
Around 1997, Vogue Australia approached Crisp with a special commission to create the iconic martini glass that would become synonymous with Bombay Sapphire. His innovative design, a unique chalice infused with blue sapphires, was selected as one of three from around the world to feature in the gin brand's global marketing campaign.
Crisp's creations have found their way into the homes of notable figures such as Prince Charles, George W. Bush, and Tina Turner. His works have been sold in renowned department stores including Barneys New York and Harrods. Furthermore, his artistic prowess has earned him a place in the collections of institutions such as the National Gallery of Victoria and the Queensland Art Gallery.
Peter Hutson & Co.
Peter Hutson, an engineer by training, arrived in Wellington on the "Christian McAusland" in 1872. He established a brick, pipe and pottery manufacturing business, in Wellington in 1883. The factory closed in 1930, a victim of the Great Depression
Peter Lange
Peter Lange is a renowned ceramic artist born in New Zealand in 1944. He has had a career marked by an unrelenting curiosity and a willingness to explore new techniques and styles. After finishing his education, Lange embarked on a journey of self-discovery that took him around the world and gave him a unique perspective on life.
In 1973, he settled down in New Zealand and started professional potting. He later started a successful retail co-operative called "Albany Village Pottery" with 14 others and a retail/workshop co-operative called "The Potters' Arms" with two friends. During this time, Lange started exploring the "super-realistic" style of ceramic sculpture, which avoids the elemental approach to clay and instead prefers to deny the very "clayness" of the work.
In 1997, Lange became the director of the Auckland Studio Potters' Teaching Centre, and finally moved into an area of clay that he had avoided for years - wood-firing, salt-firing, and playing with the elemental aspects of the process. In 2000, Lange worked in Italy salt-firing and in 2002 built a 2 tonne, 6 metre long Brick Boat that floated in the harbour at Auckland.
His current work is full-time on brick sculptures, plus an occasional wood or salt firing, and an interest in performance kilns built from anything from ice to telephone books. Overall, Peter Lange's career as a ceramic artist has been one of constant experimentation and growth, pushing the boundaries of what is possible with clay.
Peter Minturn
Peter Minturn (c1937-2022) was a renowned New Zealand jeweller known for his exceptional craftsmanship and innovative designs. He was born in England and migrated to New Zealand in 1961 after being accepted for an employment by local jewellers G & G Heinrich. Four years later he set up his own business and was instrumental in establishing. established the Jewellery Manufacturers Federation. With over 50 years in the trade he had a significant impact on the jewellery industry in New Zealand and gained recognition both locally and internationally.
Minturn's work often featured materials such as New Zealand jade (also known as pounamu or greenstone), native wood, and precious metals like gold and silver. He was celebrated for his ability to blend traditional Maori and Pacific Island design motifs with contemporary aesthetics.
During his career he has organised exhibitions and conferences, worked with the national apprentice training competitions, taught many apprentices, and was the editor of the jewellery trade journal Crucible. He has also been commissioned to create pieces for the Royal family and has spoken at numerous functions on his trade.
Peter Minturn Creations was awarded the New Zealand Industrial Design Council’s Design Mark for its production jewellery, and in 1971 Mr Minturn was the first jeweller to be elected as a member of the New Zealand Society of Industrial Designers. In 2009 he was appointed as a Member of the New Zealand Order of Merit in that year’s New Year honours, the first New Zealander to receive an honour specific to jewellery manufacturing.
Peter Minturn passed away in 2022 but the business continues in family ownership.
Peter Stichbury
Peter Stichbury was born in Auckland in 1924. In 1946 he enrolled at Auckland Teachers College and in 1948 was introduced to the potters’ wheel during a craft course with Hilary Clark. His first pieces were fired in a salt kiln at Crum, Brick, Tile and Pottery Company in New Lynn.
From 1949 – 1951 he was an Art & Craft specialist for primary schools while he continued learning from R N Field at Avondale College evening classes. He also became aware of Bernard Leach’s A Potter’s Book. In 1957, he was the first recipient of a fellowship from the Association of New Zealand Art Societies, which is now Creative New Zealand, and went with his wife Diane to St Ives, Cornwall, England to study with Bernard Leach. From there, he went to Africa and was Michael Cardew’s first western student in Abuja, Nigeria at his Pottery Training Centre where a new national industry was being established.
They returned to New Zealand in 1959 and in 1960 Peter became a full-time lecturer at Ardmore Teachers College. It was at this time that he began using iron sand from Karekare Beach to make what would become iconic designs on his platters.
By the end of the 1960s he had become a full-time potter making functional ware and his pottery was given to Queen Elizabeth II during her 1974 royal tour to New Zealand. He worked as a full time potter between 1978 and 1981
Peter Stichbury was president of the Auckland Studio Potters, the New Zealand Society of Potters and was accorded honorary life membership of both societies. He was a tutor at the Auckland Studio Potters for many years and in 2002 he was made a Member of the New Zealand of Merit. He died in 2015.
Peter Travis
Peter Travis was born in 1929 in Manly, New South Wales, and developed a passion for craft during his childhood. He studied sculpture, ceramics, and industrial design at East Sydney Technical College and began his professional career as an industrial designer at Phillips, where he designed televisions and radios.
In 1960, he joined Speedo and designed swimwear that could be worn for swimming, which became an iconic Australian design. Travis left Speedo in 1962 to focus on his art practice and became a contemporary Australian potter who created hand-built organic sculptural works. His works were exhibited nationally and internationally and are represented in many major Australian and international collections, including the National Gallery of Australia. Travis taught and lectured on color, form, and design at various colleges and universities.
In 2008, he was made a Member of the Order of Australia for his contribution to the visual arts, crafts, design, and art education. Travis passed away on 28 November 2016, at the age of 87.
Peter Viesnik
Peter Viesnik is a New Zealand glass artist who is known for his exuberant and free-flowing work, often inspired by scenes in nature. He was born in London, in 1943, and moved to New Zealand in 1974. He began glass-blowing in 1979, and in 1980 he co-founded The Hot Glass Company in Devonport, Auckland, with Peter Raos. The company was one of the first glass studios in New Zealand, and Viesnik and Raos were instrumental in developing the art form in the country.
Viesnik has worked in a variety of techniques, including glassblowing, fusing, and casting. His work is often characterized by its use of bright colors and organic forms. He is particularly known for his paperweights, which often depict scenes of underwater plants and animals. Viesnik's work has been exhibited in solo and group exhibitions throughout New Zealand, Australia, the United States, and Europe. He has also been awarded numerous prizes for his work, including the Qantas Art Award in 1987.
Viesnik is a highly respected member of the New Zealand glass community. He has served as the president of the New Zealand Society of Artists in Glass, and he has taught glassblowing at several art schools and colleges. He is also a regular workshop leader and lecturer.
Viesnik continues to work in his studio in Grey Lynn, Auckland. His work is in the collections of many museums and galleries around the world, including the Auckland Museum, the Museum of New Zealand Te Papa Tongarewa, and the Corning Museum of Glass.
Petersen & Co
Danish immigrant Jens Andreas Petersen established Petersen & Co. in 1879 in Christchurch. Petersen was a skilled silversmith and jeweller who brought his expertise and craftsmanship to New Zealand. Initially, the company focused on producing high-quality silverware, including cutlery, tea sets, and decorative objects. Over the years, Petersen & Co. expanded its offerings to include fine jewellery and precious objects. Their jewellery pieces incorporated a combination of traditional craftsmanship and contemporary designs, making them highly sought after by discerning customers.
As the company grew, it continued to be a family-run business, with successive generations of the Petersen family involved in managing and maintaining the company's legacy and is still in business in Christchurch.
Petit Point
Petit point embroidery is a type of needlework that is characterized by small, delicate stitches worked onto a fine canvas or mesh fabric. The stitches used in petit point embroidery are typically very small and precise, and are worked in diagonal rows to create a smooth, even surface.
Petit point embroidery is often used to create intricate designs and patterns, such as floral motifs, landscapes, and portraits. The embroidery can be done in a variety of colours and can be quite detailed and realistic.
The technique of petit point embroidery has been used for centuries in various forms of decorative art, including tapestries, cushions, and clothing. It was particularly popular in the 17th and 18th centuries in Europe, where it was used to create elaborate wall hangings and furniture coverings.
Petit point embroidery is still practiced by many artisans and is used to create a wide range of decorative items, including jewellery, handbags, and home decor. The technique requires patience and skill, as the small stitches can be time-consuming to work and require a steady hand.
Petit, Jacob
Jacob Mordecai, who later became known as Jacob Petit, was born in Paris in 1796 and after studying art, was employed by the porcelain factory at Sèvres as a painter in 1822.
With his brother Mardochée he bought a porcelain factory in Fontainebleau in 1830, which he named using his own first name and his wife's last name of Petit, creating the name by which he became known. He later opened a workshop in Paris. By 1839 Jacob Petit employed about 200 craftsmen and was enjoying great success.
He manufactured decorative ornamental items such as statuettes, inkwells, vases, perfume bottles and clocks, and for decoration he favoured light colours such as pale pink, light green and mauve, together with black and gold for contrast.
Much of his output were copies of pieces by well known makers such as Sevres and Meissen. Many items were unmarked; those that were marked had the initials "JP" painted to the base in cobalt blue.
He died in Paris in 1868.
Pewter
Pewter is an alloy of tin hardened with small amounts of other metals such as copper, lead, zinc, antimony and sometimes silver. The craft of pewtering started in antiquity - the earliest known item, a flask dating from c1450 BC, was found in Egypt.
Pewter is believed to have been introduced to Britain by the Romans, who exploited the main source of tin in Europe at the time, which was in Cornwall. The craft fell into decline after the Romans withdrew from Britain but it is thought that the Cistercian monks reintroduced it after the Norman Conquest in AD 1066.
Known as "the poor man's silver", production spread throughout the country with a wide range of mainly domestic goods being made.
In the year 1348 Articles were granted to the Worshipful Company of Pewterers in London, which enabled them to control the quality of pewter. Two grades of pewter were specified, and then later a further grade was added, and these three grades were adhered to until the 20th century.
The 15th and 16th centuries are described as the Golden Age for pewter manufacture, a time when even grand houses used pewter as well as silver for domestic use and a time which preceded the introduction of mass-produced ceramic wares, which ultimately replaced pewter, especially plates and drinking vessels.
Even then however, the average householder was too poor to replace his wooden utensils with pewter until around the middle of the 18th century. For almost a hundred years thereafter it became the material for every day utensils and commodities.
The appeal of pewter comes mainly from its good proportions and functional design. Items from the 17th and 18th centuries are obviously much rarer than those of the 19th century, which form the basis of most collections, and when collecting pewter became popular. The century culminated in the formation of The Society of Pewter Collectors in 1918, which is still operating today, under the name of the Pewter Society.
Although ceramic tableware had largely replaced pewter by this time, tankards, mugs, beakers, candlesticks, measures and numerous small personal items were still being made, and were popular in the country. . In churches it was used to make alms dishes, plates and sacramental vessels.
In the early 20th century, the popularity of pewter was revived with the introduction of the Art Nouveau styles of Liberty's Tudric range.
There are no hallmarks on pewter, although some pewter items have a touch mark, applied by a punch and which usually include the names or initials of the maker. Touch marks have no particular value apart from interest and a guide to the maker. A touch mark bears no relation to the quality of the alloy, and does not carry the same authority as the hallmarks used on gold and silver.
When a date appears as part of the touch mark it represents the year of registration of the maker with the London Guild and not the year of manufacture, so it can't be used to date the article. However, if the manufacturer is known the piece can be dated to a certain period, somewhere between the date of registration and death of the maker.
Sometimes the makers added touch marks resembling silver hallmarks, usually four in number. These faux hall marks were not recognised by The Worshipful Company of Pewterers or supported in law.
Phantom Character
"The Phantom," is a masked crime fighter known as the Phantom. The character was created by Lee Falk, an American writer, and the comic strip made its debut on February 17, 1936. He has since become one of the most enduring and popular comic book characters.
In the The Phantom comics, he is depicted as a mysterious figure who operates from the fictional African country of Bangalla. He wears a black mask and purple costume, and his true identity is passed down from generation to generation. The role of the Phantom is inherited, with each successive Phantom taking on the mantle and responsibilities of the previous one. This concept of the "Ghost Who Walks" being an immortal and timeless figure has been central to the enduring appeal of the character.
The early stories of the Phantom primarily revolved around his adventures in fighting crime, battling pirates, smugglers, and other criminals. He was known for his exceptional physical abilities, intelligence, and his signature twin-fisted fighting style. Over time, the character developed a rich supporting cast, including his loyal wolf companion Devil and love interest Diana Palmer, who later becomes his wife.
Phantom comics gained widespread popularity in newspapers across the world, reaching millions of readers. The character's adventures were serialized in newspaper comic strips, which were later collected into comic books. The Phantom comics were translated into numerous languages, expanding their international reach.
The success of the Phantom comics led to various adaptations in different media. In the 1940s, a live-action movie serial titled "The Phantom" was released. In the following years, the character appeared in animated television series, radio dramas, and even a feature film in 1996. The Phantom has become an iconic figure in popular culture, with his trademark skull ring and purple costume being instantly recognizable.
The comic strip continued under the stewardship of various artists and writers after Lee Falk's passing in 1999. It has maintained a dedicated fan base, with new stories and reprints of classic adventures being published to this day. The enduring popularity of the Phantom comics can be attributed to its compelling blend of action, mystery, and adventure, as well as the timeless nature of the character and his noble pursuit of justice.
Phantom comics have a rich history that spans nearly a century. The masked crime fighter has entertained generations of readers with his thrilling adventures, distinctive costume, and enduring legacy. With its international appeal and widespread popularity, the Phantom remains an iconic figure in the world of comic books.
Phar Lap
Phar Lap, often referred to as "The Red Terror," was a legendary racehorse that captivated the world during the 1930s. Born on October 4, 1926, in Timaru, New Zealand, Phar Lap would go on to become one of the most beloved and successful racehorses in Australian and international racing history.
Phar Lap's racing career took off under the ownership of American businessman David J. Davis and trainer Harry Telford. He made his debut in 1929, but it was in the following years that he truly shone. In 1930, at the age of three, Phar Lap achieved remarkable success, winning a series of prestigious races in Australia. His victories included the Victoria Derby, the Melbourne Stakes, and the prestigious Melbourne Cup, Australia's most famous horse race.
Phar Lap's dominance continued into 1931, winning the Agua Caliente Handicap in Mexico, a race that established him as an international racing superstar. He faced tough competition and unfavorable odds but won the race in a remarkable display of speed and endurance.
Tragically, Phar Lap's career was cut short on April 5, 1932, when he fell ill and died under mysterious circumstances in California, United States. His death shocked the racing world, and investigations were conducted to determine the cause. It was eventually discovered that Phar Lap had ingested a large amount of arsenic, possibly as a deliberate act of poisoning. The motive behind his poisoning remains a subject of speculation and controversy to this day.
Despite his untimely death, Phar Lap's legacy has lived on. He was not only celebrated for his exceptional racing abilities but also for his endearing personality and connection with the public. Phar Lap became a symbol of hope and inspiration during the difficult years of the Great Depression, providing a sense of pride and unity to the people of Australia.
In recognition of his outstanding contributions to Australian racing, Phar Lap was posthumously inducted into the Australian Racing Hall of Fame and the New Zealand Racing Hall of Fame. His heart, which was unusually large and believed to have contributed to his incredible stamina, is preserved at the National Museum of Australia in Canberra.
For collectors of memorabilia, Phar Lap's story has been immortalized in various forms, including books, films, and exhibitions. His remarkable racing career and tragic demise continue to fascinate and inspire horse racing enthusiasts worldwide.
Philippa James
Philippa James (1893-1967) was an Australian ceramicist and sculptor who was born in Melbourne, Victoria. She was part of a prominent artistic family, with her father being a noted architect and her mother a painter.
James studied at the Melbourne National Gallery School from 1911 to 1915, where she focused on sculpture. After graduation, she continued to work as a sculptor, creating works in bronze, plaster, and terra cotta. Her sculptures often featured classical and mythological themes, such as figures from Greek and Roman mythology.
In the 1920s, she turned her attention to ceramics, a medium in which she would become increasingly proficient. She became known for her sculptural ceramics, which often featured figures and animals with a strong sense of movement and vitality. She was particularly skilled at creating intricate and detailed textures on her ceramics, using a variety of glazing and firing techniques.
Throughout her career, James exhibited her work in galleries and museums throughout Australia and internationally. She was a member of the Victorian Artists Society and the Melbourne Society of Women Painters and Sculptors, and was awarded several prizes and honors for her work.
Philippe Starck
Philippe Starck is a French industrial designer, architect, and furniture and product designer. He is known for his playful, innovative, and often humorous designs, which have been described as "futuristic" and "surreal." Starck was born in Paris in 1949. He studied at the École Nissim de Camondo, a private school of industrial design in Paris. After graduating, he worked as a designer for a number of companies, including Pierre Cardin and Pierre Paulin.
In 1968, Starck founded his own design firm, Starck International. The firm quickly gained a reputation for its innovative and eye-catching designs. Starck has designed a wide range of products, including furniture, lighting, home appliances, and even cars. Starck's designs are often characterized by their use of simple, geometric forms and their playful use of color. He is also known for his use of unconventional materials, such as plastic and rubber.
Starck's work has been exhibited in museums and galleries around the world. He has also received numerous awards for his work, including the Compasso d'Oro, the highest award in Italian industrial design. Starck is a controversial figure in the design world. His work has been praised for its originality and creativity, but it has also been criticized for being too gimmicky and superficial. However, there is no doubt that Starck is one of the most influential designers of his generation.
Starck is a complex and contradictory figure. He is both a celebrated designer and a controversial figure. However, there is no doubt that he is one of the most influential designers of his generation.
Phoenix Works
Phoenix Works was a pottery manufacturer founded in 1879 by Thomas Forester of Thomas Forester & Sons, and it was based in Longton, Staffordshire, separate from his other business Thomas Forester & Sons. Forester was a skilled potter who had previously worked for other pottery companies in the area. He started his own business with the aim of producing high-quality majolica ware.
Majolica is a type of pottery that is decorated with colourful glazes. It was very popular in the Victorian era, and Forester's majolica ware was quickly in high demand. The company's products were sold all over the world, and they were known for their intricate designs and vibrant colours.
In 1879, Forester built a new pottery factory in Longton, which he called the Phoenix Works. The new factory was much larger than the company's previous premises, and it allowed Forester to increase his production capacity. The company continued to grow and prosper throughout the late 19th and early 20th centuries.
In addition to majolica ware, Phoenix Pottery also produced a wide range of other ceramic products, including earthenware, china, and stoneware. The company's products were known for their high quality and craftsmanship. Phoenix Pottery was also one of the first pottery companies in England to produce Art Deco ceramics.
In the mid-20th century, the pottery industry in Staffordshire began to decline. This was due to a number of factors, including foreign competition and the rising cost of labour. Phoenix Pottery was one of the many pottery companies in the area that was forced to close. The company closed its doors in 1959 after 80 years of production.
Despite its relatively short lifespan, Phoenix Pottery produced some of the most beautiful and sought-after ceramics of the Victorian and Edwardian eras.
Phonograph
The phonograph, also known as the gramophone or record player, is a device that is used to play back recorded sound. It was invented by Thomas Edison in 1877 and represented a breakthrough in the recording and reproduction of sound.
Edison's original phonograph used a stylus attached to a diaphragm to record sound waves onto a rotating cylinder covered with tinfoil. The playback process involved the stylus tracing the indentations on the cylinder, which caused the diaphragm to vibrate and reproduce the recorded sound.
The early phonographs were not very practical for home use due to the fragility of the recording material and the fact that the cylinders could only be played a few times before wearing out. In 1887, Emile Berliner invented the flat disc record, which was made of more durable materials and could be easily replicated through a process of pressing.
The development of the disc record made the phonograph a more practical and affordable device for home use, and by the early 20th century, it had become a popular form of entertainment. Record companies began producing a wide variety of music and other types of recordings, including spoken word performances and sound effects.
The phonograph continued to evolve throughout the 20th century, with advancements in technology leading to improvements in sound quality and the introduction of new features, such as automatic turntables and stereo sound.
While the advent of digital technology has largely replaced the use of traditional phonographs, the device remains a symbol of a bygone era.
Phrenology
Phrenology heads, also known as phrenological busts or crania, are plaster or ceramic models of the human head that were used to teach and study phrenology, a pseudoscientific theory developed in the 18th and 19th centuries.
The practice of phrenology was based on the belief that the shape and size of the human skull were related to the individual's mental abilities and personality traits. It involved feeling the bumps and contours of the skull to identify and analyse the different areas of the brain that were thought to correspond to specific personality traits.
Phrenology heads were used to demonstrate the various areas of the brain that were believed to control different aspects of behaviour and personality. The heads typically featured marked areas indicating different faculties such as "love," "cautiousness," "combativeness," and "veneration," among others. The bumps and depressions on the head were thought to correspond to the size and strength of each faculty.
Phrenology heads were widely used in Europe and North America in the 19th century, and were often used by phrenologists as a tool for diagnosis and treatment. However, the practice of phrenology was eventually discredited as a pseudoscience, and the use of phrenology heads declined as the theory fell out of favour.
While phrenology is no longer considered a valid science, phrenology heads are historical artifacts and considered as curiosities, and are collected by enthusiasts of medical and scientific history.
Phyfe, Duncan
Duncan Phyfe (1768 - 1854) is the best-known New York cabinet maker of the early and mid-19th century.
He made use of the forms and ornament of classical Greece and Rome and gave his name to the generic term for American furniture in the neoclassical style.
Duncan Phyfe style furniture was made into the mid 19th century, with a revival in the late 19th/early 20th century
Piano
The forte piano (literally 'loudsoft') as it was first called, was invented in the early 18th century, but did not become popular until after about 1780, when it displaced the harpsichord as the main keyboard instrument.
Early pianos were rectangular in form, supported by a trestle base, though they were later given detachable screw legs. In the 1830s parlour pianos began to adopt the contemporary upright form, although at first the soundboard cases were very high and the fronts often decorated with pleated silk panels or fretwork.
The earliest known Australian piano, made by John Benham in about 1835, is of this type, and on public exhibition at the Mint Museum in Sydney. From around 1835 upright pianos assumed their modern form. The horizontal 'grand' pianos of course continued to be made, in form really not differing greatly, except in size, to the earlier harpsichords.
Until the middle of the 19th century, piano frames were made of wood which may shrink or warp, resulting in loss of tension on the strings and thus causing the pianos to go easily out of tune. Experiments in cast-iron frames took place in the 1820s but it was not until 1851 that the first completely iron-framed piano by the English maker, Broadwood, was shown at the Great Exhibition. Steinway followed in 1855, from which time the metal frame became gradually more standard. This is an important point for those purchasers who wish to play their pianos, rather than fill up space as decorative pieces of furniture.
Victorian pianos were elaborate affairs, often veneered in burr walnut, with richly carved front legs and usually fitted with cast brass candle sconces.
Piano / Music Stool
A seat or bench for use especially by pianists. There are two types The first type, which are mainly Victorian, and of English origin, have a circular upholstered adjustable screw seat, able to be wound up or down. They are decorative in their way, but very restricting to the performer.
The second type, popular after around 1890, were commonly made in Australia, and is of a simpler bench design, sometimes with arms, sometimes not, and the seat may or may not be upholstered. Frequently the seat has a lift up lid and a box for holding music.
Duet stools (seating two), in the bench type are rare, and in the screw type even rarer.
Piano Dolls
A piano doll is a small bisque figure of a baby with moulded hair and intaglio eyes. They were intended for display on an upright piano. Most piano babies were produced by the German doll manufacturer, Gebruder Heubach between 1910 and 1920, although in the 1950's reproductions were made in Japan..
Piano Hinges
A continuous hinge that occupies the full length of both surfaces.
Picquot Ware
Picquot Ware, table ware made of a magnesium-aluminium alloy was invented by John D. Souter, an engineer and designer, who was employed by Burrage & Boyd in Northampton, England.
The company had been founded in 1932 by two engineers, Harold Burrage and Leslie Boyd, and initially made vacuum cleaners. John D. Souter, an engineer and designer, joined Burrage & Boyd in 1938 and designed the K3 kettle, which was the first piece of Picquot Ware. The magnesium-aluminium alloy called magnalium, gave it a silver-like appearance. Picquot Ware went into production in 1947, and the initial range included a teapot, coffee pot, jug, and sugar bowl. The pieces were popular with consumers, and the company soon expands its range to include other items, such as plates, bowls, and trays.
Leading British pottery company Wedgwood saw Picquot Ware as a way to expand into the mid-century modern market and acquired the Picquot Ware brand in 1962. Wedgwood continued to produce Picquot Ware, but it made some changes to the design and materials. The new Picquot Ware is made of earthenware, rather than magnalium, and has a more traditional appearance.
In 1980 Wedgwood discontinued Picquot Ware due to declining sales. The company cited competition from cheaper, imported tableware as a factor in the decision.
Picquot Ware remains popular with collectors. Original Picquot Ware pieces made by Burrage & Boyd are more valuable than Wedgwood Picquot Ware pieces.
Picture Clock
A picture clock is a type of clock in which the movement is concealed behind the painting with a small aperture for the dial that appears as the clock on a tower lighthouse or windmill. Usually finished with a gilded frame, they were made by Black Forest clock makers in the mid 19th century and often incorporate automata or musical works.
Piecrust Edge
An edge finish, usually found on small round pedestal side table, on a tripod base, where the table top has a raised lip of alternate concave and convex section resembling, well, a pie crust. On 18th century tables, the piecrust edge should be carved from the solid top rather than be applied separately to the table.
Pier Cabinets
A small elegant cabinet, sometimes half round in shape, often with a marble top, intended for use in entrance halls and more particularly drawing rooms, where they stood in the masonry piers between the windows. Similar to a console table and usually surmounted by a pier glass.
Pier Glass
A long, narrow mirror in a carved frame, frequently gilded, intended to hang above a pier table or console table. A separate mirror, behind the table, frequently extended to the floor.
Pier Table
A pier table is a type of narrow console table that is designed to be placed against a wall, typically between two windows or between two columns. It is also known as a console table, although furniture historians differentiate the two types, not always consistently.
Pier tables originated in continental Europe in the 1500s and 1600s, and became popular in England in the last quarter of the 1600s. They were typically made of wood and had a simple, elegant design. Pier tables were often placed in entryways, hallways, and parlors, where they could be used to display decorative objects, such as vases, candlesticks, and figurines.
Pier tables became known in North America in the mid-1700s, and were a popular item into the mid to late 1800s. Later pier tables were designed to stand in any niche in a room.
Pierced Decoration
Ornamental woodwork with part of the background cut through and removed to produce an open-work pattern.
Piero De Martin
Piero de Martini was an Italian mid-century modern furniture designer. He was born in Milan in 1939 and studied architecture at the Politecnico di Milano. After graduating, he worked as an architect for a few years before turning to furniture design in the early 1960s.
His furniture designs are characterized by their clean lines, simple forms, and use of natural materials. He often used wood, leather, and metal in his designs, and he was known for his attention to detail and craftsmanship.
Some of de Martini's most famous designs include the "La Barca" dining table, the "Viola d'Amore" armchair, and the "Naviglio" coffee table. These designs are still considered classics of mid-century modern furniture, and they are highly sought-after by collectors and interior designers.
De Martini worked with a number of leading Italian furniture manufacturers, including Cassina, Poltrona Frau, and Arteluce. He also exhibited his work at major international design fairs, such as the Milan Triennale.
De Martini died in Milan in 2019.
Piero Lissoni
Piero Lissoni is an Italian architect and designer who is known for his clean, modern, and minimalist aesthetic. He was born in Brianza, Italy, in 1956 and studied architecture at the Polytechnic University of Milan. After graduating in 1985, he founded his own design studio, Studio Lissoni.
Lissoni has worked with a wide range of clients, including Alessi, Boffi, Cassina, Flos, Fritz Hansen, Kartell, Living Divani, and Poltrona Frau. He has designed furniture, lighting, home accessories, and interiors for these companies. His work is characterized by its simplicity, functionality, and use of high-quality materials.
Some of Lissoni's most famous designs include the Met sofa for Cassina, the PL200 chair for Fritz Hansen, and the Wall sofa for Living Divani. He has also designed a number of award-winning showrooms, including the flagship stores for Boffi in Milan and New York.
Lissoni is a prolific designer who has produced a wide range of work over the past three decades. His designs are characterized by their timeless appeal and their ability to blend seamlessly into any environment. He is one of the most influential designers working today, and his work continues to inspire new generations of designers.
Lissoni has received numerous awards for his work. He has been named Designer of the Year by Wallpaper* magazine and Elle Decor magazine. He has also won the Compasso d'Oro award, the most prestigious design award in Italy.
Lissoni continues to inspire new generations of designers.
Pierre Balmain
Pierre Balmain was a French fashion designer who founded the leading post-war fashion house Balmain. Known for sophistication and elegance, he described the art of dressmaking as "the architecture of movement".
Balmain was born in Saint-Jean-de-Maurienne, France, in 1914. He studied architecture at the École nationale supérieure des Beaux-Arts in Paris, but he soon realized that his true passion was fashion. In 1934, he began working as an apprentice for the couturier Robert Piquet. In 1938, he moved to London to work for Edward Molyneux.
After the outbreak of World War II, Balmain returned to France and served in the French air force. After the war, he opened his own couture house in Paris in 1945. His first collection was an immediate success, and he quickly became one of the most sought-after designers in the world.
Balmain's designs were known for their elegant lines, luxurious fabrics, and feminine silhouettes. He was particularly fond of using bias-cut fabrics, which allowed for a great deal of movement. His designs were also known for their attention to detail, with intricate embroidery and beadwork.
Balmain's clients included some of the most famous women in the world, such as the Duchess of Windsor, the Queen of Belgium, and Marlene Dietrich. He also designed costumes for many Hollywood movies, including "Gigi" and "The Roman Spring of Mrs. Stone".
Balmain remained active in fashion until his death in 1982. He was a true master of his craft, and his designs continue to inspire designers today.
Pierre Cardin
Pierre Cardin was an Italian-born French fashion designer who was known for his avant-garde style and Space Age designs. He was born Pietro Costante Cardin in San Biagio di Callalta, Italy, on July 7, 1922. His family moved to France when he was young, and he grew up in the town of Saint-Étienne in central France.
At the age of 14, Pierre Cardin began an apprenticeship with a local tailor, where he learned the fundamentals of fashion and garment design. In 1945, he moved to Paris, where he worked with various fashion houses, including Paquin and Schiaparelli, gaining experience in the fashion industry. Pierre Cardin worked for several different fashion houses in Paris before founding his own label in 1950. Initially, he focused on designing costumes for the theatre and film, gaining recognition for his avant-garde and futuristic designs. He earned a reputation for his innovative designs, which often featured geometric shapes and motifs. In 1954, he introduced the "bubble dress," a short-skirted, bubble-shaped dress made by bias-cutting over a stiffened base. The bubble dress was a sensation, and it helped to establish Pierre Cardin as one of the leading fashion designers of the 1950s.
Pierre Cardin was also a pioneer in the design of men's fashion. He was one of the first designers to create tailored suits for men that were both stylish and comfortable. He also designed a number of iconic men's accessories, such as the Cardin collar and the Cardin cufflink. In addition to his fashion designs, Pierre Cardin was also involved in several other ventures. He opened restaurants, hotels, and even a space theatre. He also licensed his name to a wide range of products, including perfumes, cosmetics, and home furnishings.
Pierre Cardin received numerous awards and honors throughout his career, including the prestigious Neiman Marcus Fashion Award. French Academy of Fine Arts: In 1992, he was elected as a member of the French Academy of Fine Arts, which was a significant recognition of his contributions to the arts.
Pierre Cardin was a controversial figure throughout his career. Some critics accused him of being too commercial and of sacrificing creativity for profit. However, Pierre Cardin remained unapologetic for his business practices. He believed that fashion should be accessible to everyone, and he worked hard to make his designs available to a wide range of consumers.
Pierre Cardin died on December 29, 2020, at the age of 98. He left behind a legacy as one of the most influential fashion designers of the 20th century.
Pierre Chareau
Pierre Chareau (1883-1950) was a French designer, architect and interior designer. He was known for his modernist designs and for his use of new materials and techniques. He designed and built several notable buildings, including the Maison de Verre, a glass and steel house in Paris which is considered one of the most important examples of French modernist architecture. He also designed and produced furniture, lighting and other decorative objects, many of which are considered masterpieces of the Art Deco movement. His work was known for its refined elegance and functionality, and he was also known for his use of new materials such as steel and glass in his buildings and designs. He was a key figure of the French modernist movement, and his work continues to be highly influential in contemporary design.
Pierre D'avesn
Pierre d'Avesn was a French glassmaker who was active from the 1920s to the 1980s. He is best known for his Art Deco glassware, which is characterized by its sleek, geometric designs and vibrant colors.
D'Avesn was born in 1901 in Paris. He began his apprenticeship at the age of 14 at the renowned glassmaking firm of René Lalique. While at Lalique, d'Avesn worked on some of the company's most famous pieces, including the Serpent vase and the Tourbillons vase. In 1926, d'Avesn left Lalique to start his own design studio. His work was soon being produced by some of the leading French glassmakers of the day, including Cristallerie de Saint-Rémy, Daum Frères, and Verlys.
D'Avesn's glassware is known for its elegant lines, vibrant colors, and intricate detailing. Some of his most famous designs include the Cyclamen vase, the Lotus vase, and the Scarab vase.
D'Avesn continued to work as a glassmaker until his death in 1990. His work is considered to be one of the finest examples of Art Deco glassware.
Pierre Jeanneret
Pierre Jeanneret (1896-1967) was a renowned Swiss architect and furniture designer who played a significant role in shaping the mid-century modern design movement. Born on March 22, 1896, in Geneva, Switzerland. Jeanneret was the cousin of famed architect Le Corbusier (Charles-Édouard Jeanneret) and worked for most of his life alongside Le Corbusier. Pierre Jeanneret died in Geneva in 1967.
He studied architecture at the École des Beaux-Arts in Geneva and at the École Polytechnique Fédérale de Lausanne. In 1922, he joined his cousin Le Corbusier in Paris, where they formed a partnership that lasted until 1940. Together, they designed some of the most iconic buildings of the 20th century, including the Villa Savoye, the Cité Radieuse, and the Unité d'Habitation.
Jeanneret was also a talented furniture designer. He created a number of iconic pieces, including the LC4 chaise longue, the LC2 armchair, and the LC10 folding table. His furniture designs were characterized by their simple lines, functional forms, and use of modern materials such as steel, glass, and leather. One of his most notable furniture creations is the "Chandigarh Chair," which was designed specifically for the administrative buildings and public spaces of Chandigarh, India—a city that Le Corbusier was commissioned to design in the 1950s. The Chandigarh Chair features a solid teak frame, a woven cane seat, and a simple, utilitarian aesthetic.
In addition to his work as an architect and furniture designer, Jeanneret was also a painter, sculptor, and town planner. He was a key figure in the development of modern architecture and design, and his work continues to influence architects and designers around the world.
After Le Corbusier's death in 1965, Jeanneret's career began to wane, and he gradually retreated from the design scene. He spent his final years in Switzerland, where he passed away on December 4, 1967, leaving behind a significant legacy as an architect and furniture designer.
Pierre Laurel
Pierre Laurel (1892-1962) was a French sculptor who is best known for his Art Deco sculptures of animals and children. He was born in Rezé, France, on August 29, 1892. He studied at the École des Beaux-Arts in Paris, where he was a student of Jean Antoine Injalbert. After graduating, he worked as an assistant to the sculptor François Pompon. Laurel's early work was influenced by the Art Nouveau movement, but he later adopted a more simplified and geometric style that was typical of Art Deco. His sculptures are characterized by their graceful lines and their use of stylized forms. He often used bronze, marble, and wood as his materials.
Laurel's sculptures were exhibited in major exhibitions in Paris, including the Salon d'Automne and the Salon des Tuileries. He received several awards for his work, including the Prix Blumenthal in 1922.
Laurel's work can be seen in the collections of many museums and galleries, including the Musée d'Art Moderne de la Ville de Paris, the Musée des Arts Décoratifs, and the Metropolitan Museum of Art in New York City. He died in Paris on September 8, 1962.
Laurel's sculptures are a reminder of the Art Deco era, when artists were inspired by the beauty of nature and the machine.
Pierre Le Faguays
Pierre Le Faguays was a French Art Deco sculptor who was born in 1892 in Nantes, France. He studied at the Geneva University of Art and Design (formerly École Supérieure des Beaux-Arts, Genève) under James Vibert. He was married to sculptor Andrée Guebre (also known as Raymonde Guerbe), they never had children. His wife had modeled for many of his works.
Le Faguays's work is characterized by its stylized forms and smooth surfaces. He often used elongated figures and flowing lines, and his work is often compared to that of Art Nouveau sculptors such as Charles Rennie Mackintosh and Hector Guimard.
Le Faguays's work was exhibited in many major exhibitions, including the Salon des Artistes Français, the Salon d'Automne, and the Exposition Internationale in Paris in 1937. Some of his most famous works include "Dancer with Thyrsus" (1925), "Nymph and Faun" (1926), "Le départ en croisade" (1927), "Femme à la colombe" (1930), "Tireur à l'arc" (1931). He was awarded the French Medal of Honor in 1927.
Le Faguays died in 1962 in Paris. He is considered one of the most important Art Deco sculptors of his generation.
Pierre Vandel
Pierre Vandel was born on February 26, 1924, in Paris. He attended the prestigious École des Beaux-Arts in Paris, where he honed his skills and developed a keen understanding of design principles. In the 1950s and 1960s, Vandel emerged as a prominent figure in the world of furniture design. In 1969, Vandel founded his own studio and soon developed a partnership with Pierre Cardin. Cardin supported him to create his own brand, Pierre Vandel - Paris, and then introduced him to French high society, who embrace his creations. His `Vertèbre` chair from 1972 is an iconic 20th century piece. He was heavily influenced by the mid-century modern movement, which emphasized clean lines, organic shapes, and the use of innovative materials. Vandel's designs often incorporated a blend of traditional craftsmanship and modern techniques, resulting in pieces that were not only functional but also aesthetically appealing.
One of Vandel's signature design elements was his use of lucite and glass. He was particularly adept at creating furniture pieces that featured these materials, often combining them with metal or wood to create visually striking and unique items. His use of lucite and glass gave his designs a sense of transparency and lightness, which was a hallmark of the mid-century modern style.
Pierre Vandel's legacy as a mid-century furniture designer endures today, and his innovative approach to blending traditional craftsmanship with modern materials continues to influence contemporary design trends. His work remains an integral part of the mid-century modern design movement and serves as a testament to his lasting impact on the world of furniture design.
Pierre-Jules Mene
Pierre-Jules Mêne was a prominent French sculptor of the 19th century, known for his exquisite animal sculptures and equestrian bronzes. He was born on March 25, 1810, in Paris, France, and died on May 20, 1879, in the same city.
Mêne displayed a talent for sculpting from a young age and began his artistic training under the tutelage of François-Joseph Bosio, a renowned sculptor of the time. He further honed his skills at the École des Beaux-Arts in Paris, studying under the sculptor Antoine-Louis Barye. Early in his career, Mêne primarily worked in his father's foundry, which specialized in the production of decorative objects. However, he soon shifted his focus to creating animal sculptures, particularly horses, which became his signature subject matter.
Mêne's sculptures captured the essence and vitality of animals with remarkable realism and detail. He observed and studied animals closely, often sketching them in motion and studying their anatomy to achieve accuracy in his work. His ability to convey the dynamic and expressive qualities of animals in bronze made him highly regarded in the art world. His equestrian sculptures, in particular, gained significant acclaim. He expertly portrayed the power, grace, and beauty of horses, capturing their movement and spirit. His sculptures were highly sought after by collectors, aristocracy, and art enthusiasts across Europe and America.
The artist participated in various international exhibitions and received several awards for his work. Mêne's sculptures were showcased at the Great Exhibition in London in 1851, where he won a medal, and at the Exposition Universelle in Paris in 1855, where he was awarded a first-class medal. Mêne's sculptures became so popular that they were often reproduced by other foundries, sometimes without proper attribution to the artist himself. Despite this, Mêne's original works remain highly valued and sought after by collectors today. Pierre-Jules Mêne's influence extended beyond his own creations.
Mene's works can be found in prestigious museums and private collections worldwide. Mêne's ability to capture the essence of animals with such precision and artistic skill solidifies his place as one of the most accomplished sculptors of his time.
Pietra Dura / Florentine Mosaic
Pietre dura, also known in English as "Florentine mosaic" is a decorative art that originated in Renaissance Italy and involves the creation of intricate, multi-layered inlaid designs using a variety of different coloured stones. The name "pietre dura" is Italian for "hard stones," and refers to the use of hard, durable materials such as marble, agate, jasper, and other semiprecious stones in the creation of the designs.
The origin of pietre dura can be traced back to ancient Rome, where the technique was used to create intricate inlaid designs for mosaic floors, walls, and other architectural elements. During the Renaissance, the technique was revitalized in Italy and became particularly associated with the city of Florence. The court of the Grand Duke of Tuscany, Cosimo I de' Medici, was a major patron of pietre dura and employed many of the leading artists and craftsmen of the time to create a wide range of objects, from small items like jewelry boxes and vases to large panels and furniture.
In the 19th century, pietre dura was used to create a wide range of decorative objects, from furniture and decorative panels to small items like jewelry boxes, vases, and picture frames. During this time, the technique was particularly popular in Europe, where it was used to create elaborate pieces of furniture and other decorative objects for the wealthy and aristocratic classes.
In addition to traditional pietre dura objects like cabinets, tables, and vases, the 19th century saw the development of new forms of pietre dura, such as book covers, cigar boxes, and other small items. This was largely due to the advent of new, more affordable production techniques and materials, which allowed for the creation of pietre dura objects on a larger scale and at a lower cost.
Pigott, Gwyn Hanssen
Gwyn Hanssen Pigott was born in 1935 in Ballarat, Victoria.
She studied Fine Arts at the University of Melbourne, spent three years in apprenticeship with Ivan McMeekin at Sturt Pottery, Mittagong and then worked in England with Ray Finch, Bernard Leach, Michael Cardew and Alan Caiger Smith for two years.
She established her own potteries, in London in 1960, in France in 1965 and in Tasmania in 1975.
She has held solo exhibitions in London, Adelaide and Sydney.
Her work is held in the collections of the Art Gallery of New South Wales, Art Gallery of Western Australia, Museum of Applied Arts and Sciences, Sydney, Queensland Art Gallery, Tasmanian Museum and Art Gallery, Victoria and Albert Museum, London and Sevres Museum, France.
Pilasters
In furniture a pilaster is a flattened column-like detail
applied to furniture. It is similar to a pilaster in architecture, but it is
typically smaller and less ornate. Pilasters are often used to decorate the
fronts of bookcases, cabinets, and other pieces of furniture. Pilasters can be
made of wood, metal, or other materials. They can be fluted, carved, or plain.
Pilasters are often used to add a touch of elegance and sophistication to
furniture.
Pilkington's Lancastrian Pottery and Tiles
Pilkington's Lancastrian Pottery and Tiles was established in Clifton, Salford in 1891. An accidental discovery of clay during coal mining engineering prompted the Pilkington family to employ William Burton as manager. Burton was a chemist from Wedgwood and designed the factory.
Initially, the company produced mainly earthenware products, but in 1904 it began producing high-quality art pottery under the direction of the designer and artist Gordon Forsyth. Forsyth's designs were heavily influenced by the Arts and Crafts movement and featured bold, colorful glazes and intricate relief designs.
Pilkington's Lancastrian Pottery gained a reputation for producing some of the finest art pottery in England, and its pieces were highly sought after by collectors and art enthusiasts. The company continued to produce art pottery throughout the 1910s and 1920s, and its products were exhibited at numerous exhibitions and shows in England and abroad.
In addition to its art pottery, Pilkington's Lancastrian Pottery also produced a wide range of tiles, which were used in many prominent buildings throughout England. The company's tiles were renowned for their durability and high-quality glazes, and they were used in many public buildings, including the Liverpool Cathedral and the Palace of Westminster.
Despite its success, Pilkington's Lancastrian Pottery struggled in the years following World War I, and it eventually ceased production in 1938.
View further examples of Pilkington's Lancastrian Pottery and Tiles
Pillows - Oriental
When looking at the images on this page, you may think there is a mistake with the heading "pillows", but illustrated below are hard Chinese and Japanese pillows, the complete opposite of what we expect in a pillow today.
This style of pillow was in use from about the 6th century to the end of the 19th century, although the pillows on this page are from the later period. They were designed to keep the neck and head in vertical alignment with the spine, as with present day pillows, but without the head comfort of the soft pillows we use today.
The most common shape was a brick with an inverted top, but other whimsical shapes included a recumbent child lying on his stomachs, where the curved back was the head rest, cats crouching also using the back as the head rest, and mythical animals.
Most pillows are porcelain; less common are wood, hardstone, lacquer, and jade.
Pince-Nez
Pince nez are a type of eyeglasses that has no arms or temple pieces to hold them in place, but instead are clipped to the nose with a spring mechanism. The name "pince nez" is derived from the French words "pincer" (to pinch) and "nez" (nose).
The pince nez style of glasses were popular in the late 19th and early 20th centuries, and were commonly worn by both men and women. They were often made of metal, and came in a variety of shapes and sizes, including round, oval, and rectangular. Some had bridges that rested on the nose, while others had clip-on attachments that held them in place.
They were favoured by many historical figures, including Theodore Roosevelt, Mahatma Gandhi, and Sigmund Freud. They were also popular in literature and film, with characters such as Sherlock Holmes and Colonel Mustard from the board game Clue being depicted wearing them.
Pince nez glasses are now mostly worn as a fashion accessory or as a historical costume piece. They are not as practical for everyday use as modern eyeglasses, but they continue to be appreciated for their unique style and historical significance.
Pinchbeck
Pinchbeck, an alloy of copper (about 90%) and zinc (10%), is also known as 'poor man's gold'. This alloy is named after the watchmaker Christopher Pinchbeck who invented it in the 18th century. The invention of pinchbeck allowed ordinary people to buy 'gold effect' jewellery. Those who do not look carefully may be fooled into thinking this is gold. While resembling gold when newly made, pinchbeck darkens with age and does not bear any gold hallmarks.
Pinder Bourne & Co. / Bournes Potteries (england)
Pinder Bourne & Co. (later known as Bournes Potteries) was a ceramic manufacturing company that was based in Longton, Staffordshire, England. The company was founded by Thomas Pinder and John Bourne in the mid-19th century and produced a wide range of ceramic products, including tableware, decorative ceramics, and figurines.
During the 19th century, Pinder Bourne & Co. was known for producing high-quality ceramics that were sold both domestically and internationally. They were particularly known for producing earthenware, and were one of the leading producers of transfer-printed tableware in the Longton area of Staffordshire. Their products ranged from simple everyday tableware to more elaborate and decorative pieces, like figurines and vases.
In 1878 the company was renamed Bournes Potteries, reflecting the dominant role of John Bourne, the company continued to produced high-quality earthenware and other ceramics, and their products were highly sought after for their quality and intricate designs. Bournes Potteries also produced a wide variety of decorative ceramics, including figures, vases, and ornamental pieces, which were popular among collectors.
The company went through many changes over time: they merged, they were bought by other companies, and changed management. However, they continued to produce ceramics until the early 20th century, when the business eventually closed down.
View further examples of Pinder Bourne & Co. / Bournes Potteries (england)
Pineapple
The pineapple, named because of its resemblance to a pine cone, was an exotic and scarce fruit in the 18th century. It became a popular decorative motif on furniture, silver ceramics, glass and clocks during this time.
Pinxton Porcelain
Pinxton porcelain was produced in Pinxton, Derbyshire, England from 1796 to 1813. The factory was established by John Coke, who had lived in Dresden, Saxony, with the help of William Billingsley, who had worked as a painter at Derby.
Coke had discovered a fine, white clay on his estate at Brookhill Park, and he was determined to use it to produce porcelain. He recruited Billingsley, who was one of the most skilled porcelain painters in England. Billingsley developed a new formula for bone china, which was stronger and more translucent than traditional porcelain.
Pinxton porcelain quickly became known for its high quality and its elegant designs. The factory produced a wide range of wares, including tea sets, dinner sets, and ornamental pieces. Many of the pieces were decorated with floral patterns, landscapes, and scenes from classical mythology.
The Pinxton factory was plagued by financial problems throughout its existence and in 1813, the factory was forced to close its doors.
Pippin Drysdale
Pippin Drysdale is a highly acclaimed Australian ceramic artist known for her innovative and visually stunning works that draw inspiration from the natural environment of Western Australia. She was born in 1943 in Fremantle, Western Australia, and grew up in the wheat belt region of the state.
She studied ceramics at the Royal Melbourne Institute of Technology and the University of Western Australia before establishing her own studio in the early 1980s. Her work has been exhibited extensively in Australia and internationally and is represented in major collections including the National Gallery of Australia, the Victoria and Albert Museum in London, and the Museum of Fine Arts in Boston.
Drysdale's work is characterized by her use of vibrant colors, intricate textures, and striking forms that evoke the natural landscapes of Western Australia, particularly its vast deserts and rugged coastlines. She works primarily with porcelain and stoneware, creating vessels and sculptures that range in scale from small, delicate pieces to large, dramatic installations.
She has received numerous awards for her work, including the Order of Australia in 2017 for her services to ceramic art, and in 2021 she was awarded the prestigious Master of the Australian Decorative and Fine Arts Society. She continues to work from her studio in Fremantle, Western Australia, and is widely regarded as one of Australia's leading contemporary ceramic artists.
Pique Work
A decorative technique used on jewellery and small decorative objects in which designs are created by inlaying small gold or silver studs and stips into tortoiseshell. The art reached its highest point in 17th- and 18th-century France, particularly for the decoration of small tortoiseshell articles such as combs, patch boxes, and snuffboxes.
Pistol Grip
Usually found on knives, and in use from about 1730, the pistol grip handle tapers out from the blade toward the end of the implement, and then curls in the shape of the truncated handle of an early pistol.
The grip is seen occasionally on forks, and also used to describe the handles on an urn where the handle rises up from the body of the urn towards the top, but turns down before meeting the neck, leaving a gap between the neck and the handle
Planished
Planishing is a metalworking technique that involves finishing the surface by finely shaping and smoothing metal sheet, in jewellery usually gold or silver, by using rollers or striking it with a planishing hammer, a hammer that has a broad smooth and polished head.
Plant Stand
Similar to a planter, but with a flat top on which to place the plant in its container.
Planter
A decorative cylindrical pot or box shaped container, for household plants, usually on legs, and sometimes with a cover, to conceal the trough when not being used as a planter. Victorian examples can be quite ornate with fancy veneers, gilt metal mounts and cabriole legs. Edwardian and later examples tend to be more austere,
Plate and Half Plate Cameras
A plate camera is a type of camera that uses photographic plates to capture images. Plate cameras were the first type of camera to be widely used, and they remained popular until the early 20th century, when film cameras began to take over.
Plate cameras are typically very large and heavy, as they need to accommodate the large photographic plates. They also have a very long exposure time, meaning that the subject must remain still for several seconds while the image is being captured.
A half plate camera is a type of plate camera that uses photographic plates that are 4¾ × 6½ inches (120 × 165 mm) in size. This makes them smaller and lighter than full-plate cameras, which use 6½ × 8½ inch (165 × 216 mm) plates.
Half plate cameras were very popular in the late 19th and early 20th centuries, as they were a good compromise between the image quality of full-plate cameras and the portability of smaller cameras. They were often used by professional photographers, as well as by amateur photographers who were serious about their photography.
Platform Base
Flat-surfaced bases supporting the pedestals of dining tables and some other smaller occasional tables, including console and pier tables. Introduced during the Regency period, they continued in popularity throughout the 19th century. On tables, platform bases are usually of triform, or three-cornered shape, supported by bun, turned or carved claw feet. They may be either of veneered box-like construction, or formed from the solid timber.
Plichta
Plichta wares were produced by the Bovey Tracey Pottery in Devon, England. Wemyss Ware, a renowned Scottish pottery trademark, originated in Kirkcaldy, Fife, in 1882 by Robert Heron, the pottery owner, and Karel Nekola, a skilled decorator from Bohemia. In the 1930s, the rights to produce Wemyss Ware were acquired by Bovey Tracey Pottery in Devon, England, who employed Joseph Nekola, Karel's son. At The Bovey Tracey Potteries, some items bearing the Plichta stamp were created by Wemyss Ware decorators, causing later confusion in identifying the pottery. Distinguishing between Wemyss pottery from Fife and that crafted by Bovey experts often relies on subtle variations in color.
Plinth
The square or rectangular base of a piece of cabinet furniture, often ornamented with moulding. The plinth may be separate, as in some wardrobes or presses, and act as the support for the carcase. In a false plinth, the moulded boards may be attached directly to the piece. Furniture with a plinth base usually does not have separate feet. The term derives from architecture where it denotes the base of a column or statue.
Plique-A-Jour
Plique a jour, which translates from the French as “glimpse of daylight” is a method of enamelling in which the backing is removed or cut away so the light shines through, with a similar effect to a stained glass window. The enamel is held in place by border.
Although the technique of plique-a-jour has been known and in use since the 6th century, it became popular again in the late 19th century, in Russia and Scandinavia. Plique-a-jour was popular in the Art Nouveau period, especially for jewellery.
Because of the length of time required to produce an item, and the high failure rate, production was limited, and the technique is little used today.
Plumbago Drawings
Plumbago drawings are finely executed graphite drawings from the 17th and 18th centuries.
These drawings were executed with the utmost dexterity and with marvellous minuteness, the fine lines expressing the intricacies of a lace ruffle or the curls of a wig being perfectly reproduced.
David Loggan (1635-1700) was one of a group of 17th and 18th century artists whose works are is remarkable for their exquisite portraits, and was a pupil of a master of the art of plumbago, Simon Van de Pass (1595-1647).
Many of these drawings may have been prepared as the source for plates for engravings. However this is not always the case, as there is one representing Charles II, set in a beautiful gold snuff box, which was given by the King to the Duchess of Portsmouth, and a similar set portrait of Cromwell. Plumbago drawings very rarely appear on the market.
Plycraft Co.
Plycraft Co. was a mid-century furniture design and manufacturing company based in Lawrence, Massachusetts, United States. It was founded in the late 1940s by Paul Goldman and Irving Harper. Plycraft became famous for its innovative furniture designs that combined modern aesthetics with traditional craftsmanship techniques.
One of Plycraft's most iconic designs was the "Eames-style" lounge chair, which became a hallmark of mid-century modern design. The chair featured a molded plywood frame with leather upholstery and a distinctive curved shape that provided both comfort and style.
Plycraft also produced other popular furniture designs, such as the "Mr. Chair" and "Mrs. Chair" lounge chairs designed by George Mulhauser, as well as a range of dining chairs, tables, and other pieces. The company's furniture was known for its sleek lines, attention to detail, and use of high-quality materials.
Throughout the 1950s and 1960s, Plycraft was at the forefront of the mid-century modern furniture movement, producing innovative designs that were both functional and stylish. The company's furniture was popular with both designers and the public, and remains highly sought after by collectors and enthusiasts today.
Pocher
Pocher is an Italian company that is well-known for its production of high-quality scale model kits, especially those of automobiles. The company was founded in Turin, Italy, in 1951 by Arnaldo Pocher and Corrado Muratore. Initially, the company produced train signals, platforms and points using innovative production techniques and then moved into production of finely detailed freight and passenger carriages in white metal and later locomotives and power cars.
In the mid 1960's the company further extended its range by producing detailed 1:8 scale model kits of early 20th century motor vehicles including Fiat, Alfa Romeo and Rolls Royce which contained hundreds of parts in metal, wood, steel, copper, leather rubber, aluminium and plastic. The kits were based on original plans from the manufacturer.
Both founders sold out in the 1970s although Corrado Muratore continued as general manager, but the company encountered financial difficulties in the early 2000s and Pocher was purchased by the Hornby group, and then in 2017 by the Danish company Vestergaard.
In October 2020, Hornby repurchased ownership of the brand and announced plans to launch more new and varied models
Pocket Chronometer
A pocket watch chronometer is a type of chronometer that is designed to be carried in a pocket rather than worn on the wrist. Pocket chronometers were popular in the 18th and 19th centuries and were used by sailors, explorers, and other professionals who required highly accurate timekeeping while on the move.
Pocket chronometers are typically larger and more robust than wristwatch chronometers, as they were designed to withstand the rigors of travel and daily use. They are often made of high-quality materials such as gold or silver and feature large, easy-to-read dials and hands.
Pocket chronometers are typically wound manually, either by turning a key or by winding a knob, and they often have a power reserve of several days or more. They are usually equipped with a detent escapement, which is a highly accurate mechanism that allows the balance wheel to oscillate more precisely than other types of escapements.
While pocket chronometers are less commonly used today, but are highly regarded for their historical significance and technical excellence. Some antique pocket chronometers are still in use today, and they continue to demonstrate the remarkable precision and accuracy that made them so important in their time.
Pocket Watches
Pocket watches were the primary timekeeping device for centuries, with origins dating back to the 16th century. In the early days, pocket watches were large and cumbersome, and only the wealthy elite could afford them. However, over time, advances in technology made them smaller and more accessible to the masses.
The earliest pocket watches were made with a simple mechanism consisting of a mainspring, an escapement, and a balance wheel. The mainspring provided power to the watch, while the escapement regulated the movement of the watch hands, and the balance wheel ensured accuracy. These watches were usually worn around the neck or carried in a pocket, and they were often adorned with elaborate designs and engravings.
In the 18th century, the pocket watch became more popular, and many watchmakers began to experiment with new designs and mechanisms. One of the most significant developments was the introduction of the lever escapement, which greatly improved the accuracy of the watch. Another important innovation was the use of jewels to reduce friction in the movement, leading to increased durability and reliability.
In the 19th century, pocket watches became smaller and more affordable, and they became an essential accessory for the middle class. During this time, watchmakers also began to experiment with new materials, such as gold and silver, and they created watches with intricate designs and patterns. Many of these watches were also equipped with additional features, such as a calendar, a stopwatch, or a second hand.
The 20th century brought about even more significant changes to the pocket watch. The introduction of quartz technology in the 1970s led to the development of the quartz pocket watch, which used an electronic oscillator instead of a mechanical mechanism. This innovation greatly improved accuracy, and it made pocket watches even more accessible to the masses.
Nowadays pocket watches are mostly used as a fashion accessory or a collector's item. They are often made with intricate designs and high-quality materials, and they are prized for their elegance and beauty. However, with the rise of smartphones and digital watches, the practicality of the pocket watch has diminished. Despite this, the pocket watch remains an iconic symbol of a bygone era, and it continues to be cherished by collectors and enthusiasts around the world.
Pokerwork
Pokerwork refers to a method of decorating wood or leather by burning a design into it, using a technique known as pyrography.. Even if the wooden object has very little burnt design, with most of the design having been painted, it is still called pokerwork. Thus, a vase may have a very small area at the top with a burnt design, and though the rest of the vase may be painted, it is still classified as pokerwork.
Pokerwork as a technique is not restricted to wood, although wooden objects predominate. The technique is straightforward: a piece of metal is heated at its tip and pressed onto or drawn across the wooden surface. Repeated application produces a pattern. Pokerwork may have irregular burn marks as it was very much a 'cottage industry'. Asian pokerwork copies that are available on the folk art market, have more regular burn marks.
Pole Screen
A type of firescreen, consisting usually of a square, rectangular, oval or shield-shaped piece of tapestry or embroidery, attached to an adjustable brass or wooden stem on a tripod base. They were designed to protect the face from the fire. There were also smaller versions made, designed to stand on a table.
Another type of polescreen, usually known as a banner screen does not have a frame, but a tapestry hanging from a horizontal pole attached to the upright.
Pollard Oak
Pollard oak, used in furniture manufacture in the 18th and 19th centuries, is harvested from an oak tree that has been regularly pollarded, that is the top has been regularly lopped to stimulate fresh growth. The new shoots results in a burr displaying in the timber.
The process of producing pollard oak from an oak tree was laborious and time had to be allowed for th tree to grow, so the timber was scarce and expensive.
Poltrona Frau
Furniture manufacturers Poltrona Frau was founded in 1912 in Turin by the Sicilian craftsman and designer Renzo Frau.
Poltrona Frau, now trading for over 100 years, built its reputation on the use of the highest quality materials, outstanding design and craftsmanship, and ongoing research and innovation in style and technique.
Poltrona Frau
Poltrona Frau is an Italian furniture company founded in Turin in 1912 by Renzo Frau. The company started out as a small workshop that specialized in the production of upholstered furniture. In the early 1920s, Poltrona Frau began to collaborate with some of the leading designers of the day, including Gio Ponti, Carlo Mollino, and Franco Albini. These collaborations helped to establish Poltrona Frau as a leading manufacturer of high-end furniture.
In the mid-century, Poltrona Frau was at the forefront of the design movement. The company produced some of the most iconic pieces of mid-century furniture, including the Superleggera chair by Gio Ponti, the 1000 armchair by Carlo Mollino, and the Dolly sofa by Franco Albini. These pieces are still highly sought-after today, and they are considered to be classics of modern design.
In the years since, Poltrona Frau has continued to produce high-quality furniture. The company has collaborated with some of the world's leading designers, including Gio Ponti, Carlo Mollino, Franco Albini, Jean-Marie Massaud, Antonio Citterio, Marco Zanuso and Patricia Urquiola. Poltrona Frau's furniture is known for its luxurious materials, its timeless design, and its impeccable craftsmanship.
Poltrona Frau remains one of the most respected furniture brands in the world. The company's products are found in some of the most prestigious homes and offices around the globe. Poltrona Frau is a testament to the enduring appeal of Italian design.
Polychrome
Made or finished in many colours. For furniture, it is used to indicated a painted finish.
Polyphon
The Polyphon music box was invented in 1870 by Gustave Brachhausen and Paul Riessner in Leipzig, Germany. However, full-scale production didn't begin until around 1897 and continued into the early 20th century. Unlike traditional music boxes that play melodies from pinned cylinders, Polyphon music boxes utilized metal discs with punched holes. As the disc rotated, the holes would pluck metal teeth of a comb, creating the music. This allowed for a wider range of sounds and more complex melodies compared to traditional music boxes.
Polyphon music boxes were prized for their high quality and beautiful sound. They were often decorated with elaborate carvings and inlaid with precious materials. They became popular status symbols in wealthy households around the world.
In the early 1900s, the introduction of phonographs and player pianos with paper rolls starts to erode the Polyphon market share, which was further disrupted by the participation of Germany in World War I. Production ceased in the 1930s.
Pomander
The pomander was the forerunner to the vinaigrette of the Victorian era, and its use can be traced back to the Middle Ages. A pomander was a small ball made up of perfumes such as musk, and was worn or carried in a container also called a pomander.
The containers were worn around the waist or suspended from a chain or around the neck. They were of one or two compartments with a pierced silver or gold grill to allow the fragrance of the costly solid perfume or aromatic inside to be dispersed.
The substances carried inside pomanders were valued for their medicinal and protective powers against plague and other diseases. They also assisted in masking unpleasant odours.
Pomellato
Pomellato, a luxury Italian fine fashion jewellery brand founded by Pino Rabolini in Milan in 1967, revolutionized the industry with its innovative approach. Rabolini sought to create fashionable and versatile jewellery that could be worn anytime, introducing the concept of prêt-à-porter jewellery. Their early designs featured colored gemstones like amethyst, citrine, and tourmaline set in yellow gold, exuding a warm and vibrant aesthetic. Pomellato also pioneered the use of cabochon-cut gemstones, giving the jewellery a smooth, domed finish.
In the 1970s, Pomellato's advertising campaigns, shot by renowned photographers such as Helmut Newton and Gian Paolo Barbieri, established the brand's association with glamour and sophistication. In the 1990s, the company shifted focus to sustainability, using recycled gold and diamonds in their creations and embracing Fairmined gold mined ethically.
In 2013, the brand became a part of the luxury group Kering. Pomellato is a global luxury jewellery powerhouse known for bold colors, playful shapes, and impeccable craftsmanship. Their iconic designs, including the Nudo ring, Mare ring, and Dodo pendant, have adorned celebrities and fashion icons worldwide. Vintage Pomellato pieces, sought after by collectors, are often more unique and rare than contemporary designs, making them valuable investments.
Pontil Mark
A pontil mark, also known as a pontil scar, is a distinctive mark or scar found on the base of certain types of glass. It is a remnant of the glassblowing process and is particularly associated with handcrafted items made prior to the widespread use of automated manufacturing.
The pontil mark is created during the final stages of production. After the glassblower has shaped and formed the glass object, it is removed from the blowing iron. At this point, the glass object is often attached to a solid rod called a pontil rod or punty for further shaping, finishing, or attaching additional components. The attachment point is typically at the base of the object.
Once the glass item is complete, it is detached from the pontil rod, leaving behind a mark or scar on the base. This mark can take various forms, such as a rough or irregular surface, a concave or slightly recessed area, or a small circular scar. The presence of a pontil mark indicates that the item was handcrafted rather than mass-produced.
Collectors and historians often use pontil marks as clues to determine the age, authenticity, and production methods of glass or ceramic pieces. Different types of pontil marks may suggest different techniques used in the production process. For example, an open pontil mark is one where the scar is left as an exposed, roughened area, while a closed pontil mark occurs when the scar is smoothed or covered in some way. It's important to note that not all handcrafted glass items have pontil marks, as some artisans developed alternative methods for finishing their work. In Edwardian times the pontil mark was oftern ground off leaving a concave circle in the centre of the base of the object.
The use of pontil marks diminished with the advent of industrialization and automated manufacturing processes in the 19th and 20th centuries.
Poole Pottery
The history of Poole Pottery began with "Carter's Industrial Tile Manufactory," which provided the foundation for the later Poole Pottery. In the 1920s, Jesse Carter joined forces with designers Harold Stabler and Phoebe Stabler, and potters John Adams and Truda Adams (formerly Truda Carter), forming "Carter Stabler Adams." They produced Art Deco pottery and were known for their ceramic tiling used in London Underground stations.
Eventually, "Carter Stabler Adams" became "Poole Pottery." During and after World War II, the pottery produced popular lines such as Twintone and Traditional. Truda Carter, the chief designer in the 1920s, created many traditional designs that were interpreted and hand-painted by skilled artisans.
In the 1950s, Robert Jefferson joined Poole Pottery, and alongside other artisans like Leslie Elsden, Guy Sydenham, and Tony Morris, they created two iconic lines: Delphis and Aegean. Delphis featured vibrant psychedelic colors and designs inspired by renowned artists. Aegean, on the other hand, utilized the sgraffito technique to create recognizable silhouette patterns.
Poole Pottery also produced the Twintone range, which consisted of two-colored tableware and decorative pieces. However, production had to cease during World War II, and it was relaunched in the late 1940s. Twintone remained in production until 1981.
In 2003, administrators were appointed, and the company faced financial difficulties. It went into administration in December 2006, owing significant debts. However, it emerged from administration in February 2007 under the control of Lifestyle Group Ltd, which also owns Royal Stafford Tableware.
Today, Poole Pottery operates from the Middleport Pottery in Burslem, Stoke on Trent, sharing the space with Burleigh Pottery. The move followed the closure of the original Poole factory.
Throughout its history, Poole Pottery has been known for its unique designs, craftsmanship, and the contributions of talented artists and designers. Despite facing challenges, the pottery continues to create distinctive ceramics appreciated by collectors and enthusiasts worldwide.
Poplar Wood
Poplar wood is classified as a hardwood but it differs from many other hardwoods in its lighter weight and softer texture. The fine grain of poplar wood results in a smooth surface that takes paint and stain exceptionally well, allowing for versatile finishing options.
Poplar is a popular choice for furniture frames, drawers, interior components, and upholstered furniture. Its light weight and smooth surface make it ideal for these applications. Additionally, poplar finds its way into various items like musical instruments, toys, chopsticks, and even cheese boxes due to its neutral taste and odor.
Porphyry
In geology, porphyry is a type of igneous rock with a distinctive texture. It has large, visible crystals (called phenocrysts) embedded in a fine-grained groundmass. In the ancient world, porphyry was a highly prized material used for sculptures, sarcophagi, and other decorative objects. Porphyry wasn't widely used in furniture throughout the 19th century, but was used as a luxury and prestigious material.
Due to its high cost and difficulty in working with, porphyry was primarily used for smaller accent pieces or decorative elements on furniture. This could include tabletops, inlays, veneers, or ornamental details on legs or columns. It was also used for furniture pieces commissioned for royalty, wealthy patrons, or important public buildings. For example, some European palaces feature furniture with porphyry elements.
Porringer
A small bowl or cup with or without a lid and a single or pair of flat handles, set horizontally, and traditionally was a bowl from which children were fed. The term is derived from the French 'potager', a vessel for pottage or stew. Porringers were made throughout the 17th and 18th centuries, in silver, pewter and delftware, and revived in the late 19th century. In America the term is used to describe a shallow, one-handled dish used for blood-letting.
Port Arthur Pottery
Port Arthur Pottery was founded in 1830 in Port Arthur, Tasmania. The pottery was operated by convicts from the early 1840s until at least 1870. The penal colony at Port Arthur closed in 1877.
The pottery produced by the company was known for its durability and distinctive blue and white designs. Its wares were displayed in exhibitions, at times supplied the government's wants in Port Arthur and Hobart and were sold to the Hobart public.
The pottery's products were primarily practical wares, such as storage jars, milk pans, and butter churns. These pieces were made from the locally sourced clay and were fired in wood-fired kilns.
In addition to their practical pieces, Port Arthur Pottery also produced decorative ceramics, such as plates, vases, and figurines. These pieces were often decorated with intricate designs and patterns, including depictions of local flora and fauna.
Despite the popularity of Port Arthur pottery during the mid 19th century, the pottery faced financial difficulties in the late 1800s and eventually closed in the early 1900s.
Portland Vase
The Portland Vase, was a stunning cameo glass vase from ancient Rome, that captivated the artistic world from its rediscovery in the 16th century onwards. Josiah Wedgwood, the pioneering English potter, saw its potential and in the late 1780s embarked on a quest to faithfully reproduce it in his famous jasperware, a dense ceramic with vibrant coloured backgrounds and raised white reliefs, which perfectly suited the vase's contrasting cameo effect. Skilled craftsmen meticulously created moulds of the original vase, capturing its intricate frieze depicting the myth of Peleus and Thetis. While most copies followed the classic "Barberini black" with white relief, Wedgwood also experimented with other colour combinations, like blue jasper and black basalt.
Wedgwood copies weren't cheap or mass-produced; they were prestigious art objects, owned by royalty, wealthy collectors, and public institutions. While the exact number produced remains unclear, estimations suggest hundreds of copies were created throughout the 19th century.
Portmeirion Pottery
Portmeirion Pottery was founded in 1960 by Susan Williams-Ellis, daughter of Sir Clough Williams-Ellis, who created the Italian-style Portmeirion Village in North Wales. Susan had been working with a small pottery-decorating company in Stoke-on-Trent called A. E. Gray Ltd, also known as Gray's Pottery, to produce designs to sell at the gift shop in Portmeirion Village.
In 1960, Susan and her husband, Euan Cooper-Willis, took over A. E. Gray Ltd and renamed it Portmeirion Potteries Ltd. They also purchased a second pottery company, Kirkhams Ltd, that had the capacity to manufacture pottery, and not only decorate it. These two businesses were combined and Portmeirion Potteries Ltd was born.
Susan Williams-Ellis was a talented designer and her early Portmeirion designs were both innovative and stylish. Some of her most popular designs included Malachite (1960), Moss Agate (1961), Talisman (1962), and Totem (1963).
In 1972, Susan Williams-Ellis launched her iconic Botanic Garden range, which was based on prints from Thomas Green's nineteenth-century Universal Herbal. Botanic Garden was an immediate success and remains one of Portmeirion Pottery's most popular ranges to this day.
Over the years, Portmeirion Pottery has produced a wide range of other popular designs, including Sophie Conran's Portmeirion Home range, which was launched in 2004. Portmeirion Pottery is now a global brand, and its products are sold in over 100 countries around the world.
Portmeirion Pottery is still headquartered in Stoke-on-Trent, but it has a strong connection to its Welsh roots. The company's flagship store is located in Portmeirion Village, and its pottery is often featured in the village's marketing materials.
Postcards
The birth of the postcard can be traced back to the mid-19th century when individuals began sending simple illustrated cards through the mail. The first official postcard, known as a "correspondence card," was introduced in Austria in 1869. These early postcards featured a blank space for a message on one side and an image on the other, but lacked the divided back we associate with modern postcards.
The late 19th and early 20th centuries marked the Golden Age of Postcards, characterized by a surge in popularity and artistic creativity. Advances in printing technology, such as chromolithography, made mass production of colourful and elaborate postcards feasible. This era witnessed the rise of "souvenir cards," featuring images of tourist destinations, landmarks, and cultural scenes.
In 1907, a pivotal change occurred with the introduction of the divided back postcard, allowing for both the address and message to be written on the back, while the front continued to showcase the image. This innovation transformed postcards into a more personal and expressive form of communication, leading to increased popularity and diverse uses.
During World War I and World War II, postcards served as a means of communication between soldiers and their loved ones. Governments also utilized postcards for propaganda, disseminating messages that aimed to boost morale and support wartime efforts. The postcard became a powerful tool in shaping public opinion during these tumultuous periods.
With the advent of more instantaneous communication methods, such as telephone and email, the use of postcards declined in the mid-20th century. However, postcards never faded away entirely. In recent years, there has been a resurgence of interest in postcards as tangible and collectible artifacts. Additionally, artists and designers continue to create innovative and unique postcards, catering to a niche market that values the tactile and personal nature of this form of communication.
Posters
The history of posters begins in the 15th century with woodcut broadsides, which were crude, text-heavy announcements selling everything from religious indulgences to political decrees. But the modern poster as we know it, emerged in the late 19th century, propelled by the Industrial Revolution and the blossoming field of lithography. This new technology allowed for mass production of vibrant, colourful images, perfect for capturing the attention of urban crowds.
Paris of the 1920s became the artistic hub for these posters. Jules Chéret, the "father of the modern poster," seduced onlookers with his graceful Art Nouveau figures promoting theatres and nightclubs. Alphonse Mucha, conjured up otherworldly beauty with his flowing gowns and dreamy landscapes for products like Sarah Bernhardt's theatrical productions.
The poster's purpose expanded in the early 20th century. Consumer brands like Coca-Cola and Guinness employed bold typography and iconic imagery to etch themselves into public consciousness. Political movements, too, seized upon the poster's persuasive power. Soviet propaganda posters with their heroic workers and steely gazes rallied support for the communist cause, while British wartime posters like "Keep Calm and Carry On" urged stoicism in the face of Nazi aggression.
Throughout the decades, the poster evolved with the times. The sleek minimalism of Art Deco graced cigarette advertisements, while Pop Art's bold colors and ironic imagery parodied consumer culture. The anti-war and civil rights movements of the 1960s and 70s found powerful expression in posters featuring clenched fists and raised voices. And with the digital revolution, posters transcended physical walls, finding new life on websites and social media, their reach amplified yet again.
The poster's legacy endures today, as it continues to be a canvas for artistic expression, adorning gallery walls and inspiring contemporary designers. It remains a potent tool for activism, with climate change and social justice.
Pot Pourri
A pot pourri was a container with a perforated cover or lid, to hold sweet-smelling herbs or petals, that was intended to produce a pleasant scent. Made mostly in porcelain and occasionally in silver, they were popular in the 19th century. The most prolific maker was Royal Worcester, the factory producing elaborate urns with hand painted decoration by their best artists. Minton, Moorcoft and Wegwood made smaller quantities. In the late 20th century Stuart Devlin designed and produced several examples.
Potschappel Porcelain
The history of Potschappel pottery, Germany, dates back to the early 19th century. In 1822, Johann Gottlieb Thieme, a porcelain painter, established a porcelain painting workshop in Potschappel, a suburb of Dresden. In 1872, his son, Carl Johann Gottlieb Thieme, converted the workshop into a porcelain factory, which he named Sächsische Porzellanfabrik zu Potschappel (Dresden) von Carl Thieme.
The factory quickly gained a reputation for its high-quality porcelain figurines, tableware, and other decorative objects. Thieme's porcelain was known for its delicate craftsmanship, elegant designs, and vibrant colors. The factory also produced a wide range of items in the Rococo style, which was popular at the time.
In the late 19th century, the Potschappel factory became one of the leading porcelain manufacturers in Germany. Its products were exported all over the world, and the factory employed hundreds of workers.
Carl Thieme died in 1888. The business was taken over in 1896 by his talented son in law, Karl August Kuntsch, a modeler who started a tradition of flower decorations traditional for Dresden style porcelain items. He died in 1920. His widow and two sons (Carl August and Emil Alfred) took over running the company.
However, the factory was forced to close during World War I. It reopened in 1921, but it never fully recovered from the war. The factory was nationalized by the East German government in 1948 and operated as a Volkseigener Betrieb (VEB) until 1990.
After the reunification of Germany in 1990, the factory was privatized and renamed Staatliche Porzellan-Manufaktur Meissen GmbH Potschappel. The factory continued to produce high-quality porcelain, but it struggled to compete with imports from China and other countries. In 2008, the factory was forced to close again.
In 2010, a group of investors reopened the factory under the name Staatliche Porzellan-Manufaktur Dresden GmbH. The factory now produces a limited range of porcelain products, including figurines, tableware, and giftware.
Potschappel pottery is prized by collectors for its beauty, craftsmanship, and historical significance. Many museums around the world have collections of Potschappel porcelain.
Poudreuse
A poudreuse is a type of dressing table with a mirrored lid that lifts up to reveal a vanity area. The term "poudreuse" originates from the French word "poudrer," meaning "to powder." Poudreuses were popular in the 18th and 19th centuries, when women would use them to apply makeup and powder their faces.
A poudreuse is typically small and compact, with a round or oval top. They often have cabriole legs and a decorative skirt. The mirrored lid is usually framed with carved or gilded ornaments. The vanity area inside the lid is typically fitted with drawers and compartments for storing makeup, powders, and other beauty supplies. It can be made from a variety of materials, including wood, marble, and gilt bronze. They are often decorated with elaborate carvings or inlays.
Poul Hundevad
Poul Hundevad was a Danish mid-century furniture designer in Denmark in 1917. He grew up in the town of Vejle and his interest in furniture design emerged at an early age, and he pursued his passion by studying cabinetmaking at the Vejle Technical School.
After completing his education, Hundevad embarked on a career as a furniture designer and established his own workshop in the late 1940s. His designs were heavily influenced by the mid-century modern movement, which emphasized simplicity, functionality, and a harmonious blend of form and function. .
One of Hundevad's most notable contributions to furniture design was his development of storage solutions, particularly his iconic teak sideboards. These sideboards featured clean lines, geometric shapes, and a combination of open and closed storage spaces. They were highly sought after for their elegant aesthetics and practicality, becoming a hallmark of mid-century Danish design.
Hundevad's furniture designs gained both domestic and internation recognition and he participated in various exhibitions, including the Milan Triennale, where his work was praised for its innovative design and superb craftsmanship. His pieces were also exported to countries such as the United States, further solidifying his reputation as a prominent figure in the mid-century modern furniture movement.
Throughout his career, Hundevad remained committed to traditional woodworking techniques and the use of natural materials. He believed in creating furniture that would not only be visually appealing but also durable and functional.
Poul Hundevad continued to work and produce furniture well into the 1980s. and he passed away in 2011, leaving behind a legacy of elegant and timeless furniture designs.
Poul Kjaerholm
Poul Kjaerholm (1929-1980) was a Danish furniture designer known for his significant contributions to the mid-century modern design movement. Born on January 8, 1929, in Oster Vra, Denmark, Kjaerholm's work exemplified a fusion of functionalism, minimalism, and exceptional craftsmanship.
Kjaerholm initially trained as a carpenter before studying furniture design at the Copenhagen School of Arts and Crafts from 1949 to 1952. After graduating, he worked as an apprentice for the Danish furniture manufacturer, E. Kold Christensen. In 1955, he began teaching at the Royal Danish Academy of Fine Arts..
During the 1950s and 1960s, Kjaerholm gained recognition for his furniture designs, which were characterized by their clean lines, simple forms, and use of industrial materials such as steel, leather, and glass. He drew inspiration from the modernist principles of Bauhaus and embraced the Scandinavian design ethos of functionalism.
One of Kjaerholm's most iconic designs is the PK22 lounge chair, which he created in 1956. The chair features a slender steel frame and a comfortable seat made of leather or canvas. It became a classic of mid-century modern design, celebrated for its elegant simplicity and timeless appeal. Another of his notable creations was the PK80 daybed, designed in 1957. The daybed showcases his expertise in combining form and function, with its minimalistic frame and luxurious upholstery, providing both comfort and aesthetic appeal.
Kjaerholm's furniture designs were often characterized by their meticulous attention to detail, innovative use of materials, and a harmonious balance between form and function. He believed in using materials in their purest form, often leaving them exposed to reveal their natural beauty.
Throughout his career, Kjaerholm collaborated with renowned Danish manufacturers such as Fritz Hansen and E. Kold Christensen, who produced many of his iconic designs.
Poul Kjaerholm's career was cut short when he passed away unexpectedly on April 18, 1980, at the age of 51.
Poul Volther
Poul Volther (1923-2001) was a Danish furniture designer who is best known for his simple, functional, and elegant designs. He was a master of craftsmanship and had a deep understanding of the materials he worked with, such as wood, leather, and fabric.
He was born in Copenhagen, Denmark, in 1923. He began his career as a cabinetmaker, and then went on to study furniture design at the Copenhagen School of Arts and Crafts. After graduating, he worked for a number of Danish furniture companies, including FDB Møbler, where he was appointed artistic director in 1950. During his time at FDB Møbler, Volther designed some of his most iconic pieces, such as the J110 chair and the Corona chair. The J110 chair is a simple, yet elegant chair made of solid oak. It is known for its comfortable seat and backrest, and its durable construction. The Corona chair is a more complex design, featuring a curved back and a seat that is suspended from a frame. It is made of teak and has a luxurious feel.
In addition to his work for FDB Møbler, Volther also designed furniture for a number of other Danish companies, such as Erik Jørgensen, Frem Røjle, and Møbelfabrikken Odder. He also designed furniture for the United Nations headquarters in New York City and the Royal Danish Embassy in London.
Volther was also a teacher and mentor to many young Danish designers. He taught at the Copenhagen School of Arts and Crafts for many years, and he was also a visiting professor at a number of American universities, including the Rhode Island School of Design and the Cranbrook Academy of Art.
Volther died in Copenhagen in 2001. His furniture designs are still popular today, and they are prized for their quality, their craftsmanship, and their timeless design. His work is represented in many major museum collections, including the Victoria and Albert Museum in London and the Museum of Modern Art in New York City.
Pounce
Pounce is a finely ground powder made from a mixture of salt, sand, talc, pumice and soapstone. It was used in the era before the invention of blotting paper and was sprinkled over wet ink to speed up the drying process. It was commonly stored in a pounce pot, a container similar to a salt shaker, but with a concave top to allow the unused pounce to be returned to the container. The containers were made wood, silver or ceramic, and were sometimes a component of an inkstand.
Pounce Pot
Pounce is a fine powder made from pine resin or cutlefih bone, that was sprinkled over wet ink to hasten the drying process and was in use from the Middle Ages to the end of the 18th century, prior to the invention of blotting paper. The pounce was usually kept in a pounce pot, a small container in wood, silver or ceramics, kept on a desk, similar to a salt shaker.
Powder Flasks / Powder Horns
In the days of muzzle-loading firearms, before pre-made cartridges, a powder horn or flask was an essential piece of equipment. It was a small container, typically made of wood, leather, or horn, designed to safely and conveniently carry gunpowder. These flasks had various shapes and sizes, from slender horns to pear-shaped wooden vessels with spouts for dispensing the powder. Some were even richly decorated, becoming works of art in their own right. The powder horn or flask provided storage for black powder, keeping it dry and accessible for reloading after every shot.
Powder-Blue
Powder-blue, also known as "Jingdezhen blue" or "suffuse blue," is a captivating decorative technique used in Chinese ceramics from the 15th to the 19th centuries. Its name aptly reflects the application method, where finely ground cobalt oxide is dusted onto the ceramic surface, creating a soft, ethereal blue hue. The uneven dusting results in soft gradations of blue, with darker spots around contours and lighter areas on flat surfaces. The blue often appears translucent, allowing the underlying clay colour to subtly influence the final shade.
Powder-blue was primarily used on porcelain, particularly in high-end pieces produced in Jingdezhen, the famed porcelain capital of China, but its popularity declined in the latter part of the 19th century.
Prada
Prada is a luxury fashion brand based in Milan, Italy. The company was founded in 1913 by Mario Prada, initially as a leather goods shop. In the early days, Prada mainly produced luggage, handbags, and leather accessories for aristocrats and the elite.
On the death of Mario Prada, the business was passed to Mario’s daughter, Luisa Prada who ran the company almost 20 years,
In the 1970s, Miuccia Prada, the granddaughter of the founder, took over the company and began to expand the product range. She began by designing luxury handbags and luggage for the brand after meeting and collaborating with Patrizio Bertelli and launched a well-received luxury footwear line in 1979. It was also around this time that Prada’s stores became known for their tidy aesthetics and signature green hue, later dubbed “Prada Green”. Prada soon opened stores in London, Madrid, Tokyo, and Paris.
In the 1980s, Prada and Bertelli introduced a women's wear followed by a men's collection in 1993.
Today, Prada's product range includes a wide variety of luxury goods, including clothing, footwear, handbags, accessories, and fragrances. The company is known for its minimalist, sophisticated aesthetic and its use of high-quality materials such as leather, silk, and cashmere.
In addition to its flagship Prada brand, the company also owns other luxury fashion labels such as Miu Miu and Church's.
Prameta
The Prameta company was founded in 1945 as a maker and distributor of hinges, operating in the British Zone in Germany. From from c.1947 through 1958 they produced a series of clockwork wind-up autos under the 'Kölner Automodelle' brand. The series included four different models: a Mercedes, Opel, Jaguar, and Buick. The toys were made of die cast metal, built solid, and exceedingly well engineered. Prameta also produced a limited number of display cut-away versions of their models. These were identical in size, shape, and function to the complete toy. Amost half of the entire exterior body was removed which allowed collectors to see the complex internal mechanism of the toy. The company ceased toy car production in 1958 but is still in business distributing hinges.
Pratt Ware (f. & R. Pratt & Co.)
F. & R. Pratt & Co. Ltd., an earthenware manufacturer at the Fenton Potteries, High St, Fenton was founded in circa 1818 by brothers Felix Edward Pratt and Richard Pratt. In the 19th century, the Pratt name was associated with the fine, usually multi-coloured, transfer printed engravings used to decorate the lids of earthenware pots used for food, pharmaceutical products and toiletries. The business also produced domestic earthenware including relief moulded earthenware (especially jugs) and tableware with underglaze, multi-coloured decoration (‘Prattware’).
Whilst Felix Pratt was the commercial driving force behind the business, the artist was a Jesse Austin who joined Pratt in the early-1840. He was an accomplished watercolour artist and engraver and over nearly 40 years, the business produced over 550 poly chrome prints used to decorate the now well known pot lids.
Collecting the Pratt polychrome pot lids became very fashionable in the 1920s and hundreds of thousands were manufactured, but of those that remain the majority are in poor or indifferent condition. Undamaged pot lids with crisp, clear prints are now rarely seen and are expensive – and this has encouraged copyists and repairers into the market.
The company went through a number of ownership changes from 1916, until 1967 when it was purchased by Wedgwood who in the process acquired the right to the Pratt name and patterns.
Pratt Ware and Pot Lids
Pratt Ware refers to English pottery produced in the 19th century by the F. & R. Pratt & Co. factory, located in Fenton, Staffordshire. The company was founded by Felix Pratt and his son Richard in the early 19th century and gained recognition for its high-quality pottery. Pratt Ware is known for its distinctive style, which often featured transfer-printed designs in bright colours, depicting scenes from literature, mythology, landscapes, or historical events. These designs were often applied to practical items such as plates, jugs, bowls, and tiles. However, one of the most sought-after and collectible aspects of Pratt Ware is the pot lids. Pot lids were small ceramic discs that were initially created to seal and preserve the contents of jars containing ointments, pomades, and other substances. Over time, pot lids became more decorative and started featuring intricate transfer-printed designs. These designs typically depicted various subjects like famous people, sporting events, animals, and humorous scenes.
The collecting of 19th-century English Pratt Ware and pot lids began in the late 19th and early 20th centuries, when individuals recognized the historical and artistic value of these ceramics. As the popularity of collecting antiques grew, enthusiasts started to seek out and acquire examples of Pratt Ware and pot lids. The distinctive designs, craftsmanship, and historical significance of these pieces contributed to their appeal among collectors. These items are appreciated for their historical importance, artistic value, and the insight they provide into the social and cultural aspects of the 19th century.
Praxinoscope
A praxinoscope is a type of animation device that was invented in 1877 by Charles-Émile Reynaud. It is a successor to the zoetrope, and it improved on the zoetrope by using a mirror to create a clearer image.
The praxinoscope consists of a cylinder with a strip of pictures placed around the inside. The cylinder is spun, and the pictures are reflected in a mirror on the inside of the cylinder. This creates the illusion of motion, as the viewer sees a rapid succession of images. The praxinoscope was a popular toy in the late 19th century, and it was also used by artists and scientists to create animated films. It is considered to be one of the earliest forms of animation, and it paved the way for the development of motion pictures.
Prayer Chair or Prie-Dieu
A prie-dieu is a low chair with a low seat and very tall back. In the 19th century the chairs usually had a padded seat, and were usually padded at the top, designed to be knelt on to pray. The chairs date from Victorian times, though they generally have a vaguely Jacobean appearance, with barley-sugar twists and the back is either caned or covered in tapestry. The form derives from an earlier piece of ecclesiastical furniture.
Pre-European
As applied to New Zealand Maori artifacts, the artifact dates to before Captain Cook (1760s and earlier)
Prenzel, Robert
Robert Prenzel was born in Elling in Prussia in 1866 He began his career as a wood carver at the age of 14 years under Ge Bauer, from the Munich School of Art.
He worked there for four years six days a week and ten hours a day. There he studied the art of design, group placing and massing effects for light and shade. Following this, he spent four years touring Europe carving his way through many countries. He contacted the Society of Carvers in each city and produced articles mainly for church decoration such as pulpits, screens and altars.
In 1888 Robert Prenzel visited Melbourne to view the Centennial International. Exhibition and remained here to establish himself as a cabinet maker and wood carver. Prenzel commenced his work in Australia with carvings in his highly elaborate and individual version of the German Renaissance and Rococo Revival styles - working on such major projects as the carving of the ceiling and walls of the west wing of St Patrick's Cathedral, Melbourne.
Prenzel also travelled to the Western District of Victoria on several occasions, and would carve elaborate staircases from Blackwood. One such staircase is at 'Purrumbeet' a well known historic home near Camperdown. Perhaps the turning point of Prenzel's career in Australia was the commissioning of the Mathias suite, in 1906 Mrs Mathias of Montreal visited her sister and brother-in-law, Mr and Mrs Stuart Black, at their property 'Glenormiston' at Terang. The Mathias suite is lavishly decorated with floral and faunal Australian motifs. It is thought that Mrs Mathias may have requested such decoration as a memento of her visit to Australia, but when adding to the suite in 1908, it would seem that the choice of motifs came from Prenzel himself.
His carving of Australian flora was exact in many instances, and sufficiently accurate botanically for the species depicted to be easily identified. Prenzel did at times however, adapt his designs in the interest of artistic balance. Prenzel became very interested in the subjects of his Australian carvings and at his home in Black Rock in 1903 his garden had a comprehensive collection of native plants which he would use to assist him in his work.
He died in Melbourne in 1941.
Pressed Glass
Pressed glass is a type of glassware that is produced by pressing molten glass into a mould. This manufacturing process involves using a mould to shape and form the glass while it is still in a semi-liquid or molten state. The glass is pressed into the mould to take on its design and texture.
The use of moulds allows for the mass production of glass items with consistent designs. Pressed glass became popular in the 19th century as a more economical alternative to hand-blown glass, as it allowed for faster and more efficient production. This method was widely used for creating various glass objects, including dishes, bowls, vases, and decorative items.
Pressed glass can have intricate patterns and designs, and it has been used for both utilitarian and decorative purposes. While it may not have the same artisanal quality as hand-blown glass, pressed glass has its own charm and has been a significant part of glassware history.
Preston Premier Potteries
"PPP", "Remued" and "Pamela" were trade names or marks used by Premier Pottery, established in Preston, a suburb of Melbourne by two Potters, David Dee and Reg Hawkins in 1929.
The company was set up to produce art pottery, unlike other [potteries of the time whose main business was in producing building materials such as bricks and roof tiles, and who produced decorative items as a sideline.
At first the pottery was marketed with the "PPP" marking and the trade name "Remued" was introduced around 1933, and used alongside the "PPP" brand.
The mark "Pamela" was introduced about the same time in an effort to convince customers that the wares marked with the "Pamela" name were created by a studio potter rather than in a factory, but this mark was in use for less than year.
Some 'Remued" and "Pamela" pieces are also marked "Hand Made".
From around 1934 the company was using the "Remued" name exclusively, and this coincided with the death of one of the founders, David Dee, and an introduction of additional capital by the future wife of Reg Hawkins, Noni Deumer, whose surname spelt backwards is "Remued".
Production at the factory continued under Alan Hawkins, with the head potter, Allan James becoming a part owner in the early 1950s.
The business continued through until the end of 1955 when the firm closed.
"Remued" wares are recognisable by their drip-glazes, use of gum leaves and gumnuts for decoration, twig-like handles on jugs, vases and bowls, and applied decoration featuring grapevines, koalas and other animals.
For a comprehensive history of Premier Pottery go to www.remued.com
Preston, Reg
Reg Preston was born in 1917, Australia.
He studied sculpture at Westminster School of Art, London but is self-taught as a ceramicist.
His first solo exhibition was in Melbourne in 1958.
He was a founder of the Potters' Cottage, Warrandyte, Victoria in 1958, where he has taught part-time.
During the 1960s Preston and his wife produced a line of pottery under the name “Ceres".
He switched to stoneware in the mid 1960s and continued working well into the 1980s.
His work can be found in the Art Gallery of Western Australia and the National Gallery of Victoria as well as regional galleries.
Reg Preston died in 2000.
Pricket
A pricket is a term used to describe a spike, often made of metal attached to a base, that is used to hold a candle securely in place. The base of a candle is inserted onto the pointed ste, holding it upright and preventing it from tilting or falling. Prickets were commonly used in medieval and Renaissance times as a practical and decorative element in candle holders. They provided stability to the candle while also serving as an ornamental feature. Over time, candle holder designs have evolved, and prickets are now found in historical, religious or antique candle holders, adding a touch of traditional craftsmanship to these pieces.
Pricket Stick
A pricket is a term used to describe a spike, often made of metal attached to a base, that is used to hold a candle securely in place. The base of a candle is inserted onto the pointed ste, holding it upright and preventing it from tilting or falling. Prickets were commonly used in medieval and Renaissance times as a practical and decorative element in candle holders. They provided stability to the candle while also serving as an ornamental feature. Over time, candle holder designs have evolved, and prickets are now found in historical, religious or antique candle holders, adding a touch of traditional craftsmanship to these pieces.
Prince of Wales Feathers
The triple plumed crest of the Prince of Wales, from the 114th century, showing three ostrich feathers surmounting a crown. The motif was adopted in the 18th and early 19th century in various stylised forms by wood carvers and furniture designers.
Prisoner of War Work
The nature of prisoner of war (POW) work and the items they made varied greatly throughout history and according to different conflicts. Apart from being utilised as forced labour, in some camps, prisoners were able to procure basic materials and tools to manufacture clothes, furniture, toys, and other everyday items which in some cases were sold to the civilian population. Materials used included timber, bone and straw. (See also trench art.)
Pro Hart
Kevin Charles Hart, better known as Pro Hart, is a highly acclaimed artist and one of Australia's most renowned. He was born on a sheep property called "Larioona" in Broken Hill, New South Wales, in 1928. Despite being entirely self-taught, he quickly made a name for himself in the art world. In 1960, he held his first solo exhibition at the famous Bonython Galleries in North Adelaide, after being discovered by Kim Bonython. The exhibition was a huge success, with every piece selling out, solidifying his reputation as a gifted artist.
Pro Hart was affectionately nicknamed "Pro" because of his passion for invention and constant experimentation. In 1973, he illustrated "Poems of Henry Lawson," and the following year he illustrated "Poems of Banjo Patterson" for the Paul Hamlyn Group. The combined sales of these books exceeded 100,000 copies. In 1976, his illustrated biography, "The Art of Pro Hart," was published, and the same year he received the prestigious M.B.E. for his outstanding service to art and culture. Pro hart died in 2006.
Pro Hart's art continues to be highly sought after by collectors and investors alike, cementing his status as one of Australia's most beloved and successful artists of recent times.
Proportions
Essentially, the size of the various parts of a piece of furniture in relation to the whole. Ideally, the proportions should be pleasing to the eye appearing neither top-heavy nor unbalanced and convenient for ordinary use.
Prouds the Jewellers
Prouds the Jewellers is an Australian jewellery business founded by William James Proud on Pitt Street, Sydney in 1903. Proud had a vision of a jewellery store that sold quality jewellery, watches and giftware that was affordable to all Australians. The company still carries that message to this day.
Prouds quickly became one of the most successful jewellery stores in Australia. In 1911, Proud formed a limited liability company, Proud's Ltd, jewellers and opticians. The company continued to grow and by the 1920s, it had over 70 stores across Australia.
In 1971, LJ Hooker real estate Corporation acquired Prouds' 72 stores. The company was subsequently sold to Goldmark Jewellers in 1973. In 1996, New Zealand company Pascoes the Jewellers, established in 1906, purchased the then 93-year-old Australian jeweller, saving it from administration.
Pacoes retained the branding, and today Prouds is one of the largest and most trusted jewellery chains in Australia. The company has over 240 stores across the country and employs over 1,000 people.
Provenance
A term used to describe the provable history of an antique or work of art, and thus an additional aid to verifying its authenticity. Provenance can have an inflating effect on the price of an item, particularly if the provenance relates to the early settlement of Australia, a famous person, or royalty. Less significant are previous sales of the item through an auction house or dealer.
Pucci, Emilio
With his extremely brightly coloured geometric or wavy patterns, the designs of Italian nobleman, fashion designer and politician, Emilio Pucci (1914-1992) became iconic during the 1960s.
His instantly recognisable clothes are also immensely fashionable and wearable today and go through periods of popularity every few years.
As with many popular designs, there were copies, both contemporary and modern. Genuine pieces should include a ‘Emilio’ signature, denoting it is an authentic Pucci piece.
Pugin
Augustus Welby Northmore Pugin, (1812-52) was an architect and designer and leader of the Gothic Revival movement which was so important an influence on Victorian taste. His father had an architectural drawing school, and artists from that school, including Pugin, then 15 years old, were employed to make drawings of the furniture to be taken to Windsor palace. Later in the year he was employed to design and make working drawings of furniture for the palace. He also designed silver for the royal goldsmiths Rundell Bridge & Rundell. By the 1830s he was insisting on historical accuracy, and published a number of influential books on the Gothic style. He was responsible for furniture in the Houses of Parliament (1836-7) the design of the tower that houses Big Ben. He became a Catholic in 1833, and he and his son Edward Welby Pugin (1834-75) designed and built several churches. In his short life, he married three times. After his death Pugin's two sons, Edward Welby Pugin and Peter Paul Pugin, continued operating their father's architectural firm under the name Pugin & Pugin.
Pukeberg Glassworks
Pukeberg Glassworks is one of the oldest and most renowned glassworks in Sweden. It was founded in 1626 by the Dutch immigrant Henrik Kock in the village of Pukeberg, Smaland. Kock was granted permission to open a glassworks by King Gustav II Adolf of Sweden, and the first glass was produced in 1628.
In the early years, Pukeberg Glassworks produced mainly window glass and utilitarian objects such as bottles and jars. However, by the mid-18th century, the glassworks had begun to produce more decorative and artistic glass. This was due in part to the influence of the French glassmaker Jean-Baptiste Quesnel, who was employed at Pukeberg from 1742 to 1750.
Quesnel introduced new techniques to Pukeberg, such as the production of engraved and etched glass. He also designed a new type of glass called "Pukebergsglas", which was characterized by its high quality and clarity. Pukebergsglas quickly became popular throughout Sweden and Europe, and the glassworks became one of the most successful in the country.
In the 19th century, Pukeberg Glassworks continued to produce high-quality decorative and utilitarian glass. The glassworks also began to produce a new type of glass called "smalta", which is a type of enameled glass. Smalta glass was used to decorate a variety of objects, such as vases, bowls, and plates.
In the early 20th century, Pukeberg Glassworks began to produce more modern designs, such as the work of the Swedish designer Edvin Öhrström. Öhrström's designs were characterized by their simplicity and elegance, and they helped to make Pukeberg Glassworks one of the leading producers of modern glass in Sweden.
Pukeberg Glassworks remains one of the most respected glassworks in Sweden. The glassworks produces a wide range of glass products, from traditional Swedish designs to modern and innovative pieces. Pukeberg Glassworks is also a popular tourist destination, and visitors can learn about the history of glassmaking and see the glassblowers at work.
Putto / Putti / Amorino / Amorini
A putto (plural: putti) or amerino (plural: amerini) is a cherub or cupid frequently appearing in both mythological and religious paintings and sculpture, especially of the Renaissance and Baroque periods and later used as a decorative element in the design of furniture, ceramics, statuary etc. They are usually depicted as chubby males, or of indeterminate gender, often with wings. Their depiction may represent an association with love, heaven, peace or prosperity.
Puzzle Jug
A puzzle jug is characterized by its unique design, featuring various holes, tubes, and hidden passages that make it challenging to drink from without understanding the jug's secret. Puzzle jugs were popular in the late 19th century, particularly in England and jugs were often used as novelty items at social gatherings.
The jug typically has multiple openings, some of which lead to dead ends or hidden chambers, while others allow liquid to flow. To successfully drink from the jug without spilling, one must understand the intricacies of its design and figure out the correct way to tilt and pour. Their appeal diminished over time, and they are now considered historical artifacts and collectors' items.
Pyrex
Pyrex is a type of heat resistant glass first produced in the United States by the Corning Glassworks, New York in 1915. Initially used in the production of vessels for use in the chemical and medical fields, its use soon spread to production of items for use in the home kitchen. Pyrex wares were subsequently produced and sold under licence in the United Kingdom and other countries.
Pyx or Pyxis
A small round metal receptacle used to carry the Eucharist to the sick.