THE JOHN SCOTT COLLECTION
JA MES POWELL & SONS
WHITEFRIARS GLASS 1860–1960
TH E F I N E A R T S O C I E T Y
THE FINE ART SOCIETY
Dealers since 1876
in association with Michael Whiteway
148 New Bond Street · London W1S 2JT
+44 (0)20 7629 5116 · rm@faslondon.com
www.faslondon.com
11 June – 3 July 2014
THE JOHN
S CO TT CO L L E C T I O N
JA MES POWELL & SONS
WHITEFRIARS GLASS
1860–1960
volume FOUR
THE FINE ART SOCIETY · LONDON
MMXIV
MY GLASS
My collecting life started with the £2,650 my dear Uncle Eric lent me for my first
home, 84 Hammersmith Bridge Road. It was 1961. You need very little to live as a
bachelor: a bed, table and chairs. After that, I recollect wanting some glass, perhaps
to celebrate the start. So I bought some old rummers. Of course they were not old
and not really rummers! In the end I had a dozen that were all slightly different,
which was attractive as they were presumably hand made. I progressed to collecting
two stems which I felt were eighteenth century, not so – they were probably factory
made in the 1930s or 1950s!
Next I joined the Glass Circle and was terrified of our President Robert
Charleston. One simply had to collect eighteenth century and not nineteenth century.
I found in a posh shop that I could slide a finger under the base to determine if the
pontil was rough. Not that this was infallible in any event. I enjoyed the huge variety
of cotton and air twist stems, and folded feet – colour twists were always more
expensive.
At one stage I had nearly two hundred cotton and air twist stems and soon felt
the urge for change. I became attracted to the plain, undecorated English balusters.
These are mostly made of lead glass, which exudes a glorious sheen. They date from
1690 to 1710. I love particularly that they are robustly plain and essentially English.
Most serious collectors aim to get rarer quality objects in their field. Not me – my
taste is quixotic!
My next love has been a great friend for nigh on fifty years – Gallé and all, or most,
of the French Art Nouveau artists. Not English, but I have grown to appreciate the
very range of artists. England was not famous for its Art Nouveau in glass, however,
one of the finest examples of this is cat.61, the special Harry Powell centrepiece
commissioned for Count Minerbi. Powell’s slender and swirling creepers on his soft
green glasses, designed for his family company Powells of Whitefriars, are a delight.
Most of my collection is now Whitefriars Glass (named after the area between Fleet
Street and the Thames). Powells became the leading glassmaker in Britain and we
should all be most proud of the huge range of their products and the fabulous quality.
Happily, Lesley Jackson edited an excellent volume with fine illustrations and full
details of design and manufacture, right up to the most unhappy collapse of the
company in 1980.
My collection is by no means comprehensive, it is merely a snapshot of what I like
and could afford at the time. Finding a bargain, or ‘sleeper’, is also fun! Phillip Webb
was a famous name, of many other more important things than ‘glass’, for instance
his furniture for William Morris’s Red House. His glass was attractively plain but
worth much more! A name adds a pleasing ‘cachet’ to an object. Colonel Thomas G.
Jackson does not have the ring of Christopher Dresser! Jackson designed a lot for
Powells, particularly champagne glasses, of which I have a fair number.
I have always admired artist’s use of history as inspiration. Harry Powell was
highly inspired by historic glass, ‘borrowing’ from Roman glass flat cutting in the
round, ovals, hexagons, etc. The effect is magic, sparkling and bright (I am against
William Morris who derided the ‘cutting’ of glass). I have become entranced at the
sight of a bowl with perhaps twelve rows of flat cut ‘ovals’. To do this one must hold
the glass directly on the grinding wheel! One slip and it’s ruined. I do not believe
people appreciate this magical operation. I feel an enormous urge to explain and
honour the men who achieved these miraculous feats of wizardry for the delight of all.
A sad word on the demise of a great firm: after the war Powells lost their way.
They were directed by William Wilson and Geoffrey Baxter, the former would
take commemorative goblets home, of the same shape as the eighteenth-century
examples, and wheel engrave the commemorative Royal Weddings and other Regal
events, of which there are a number here (cats 75–81). Post war, svelte, tall, and
sexy Scandinavian clear glass was all the rage but Whitefriars trod a different path.
However now their eccentric ‘Drunken Bricklayers’ sell for £10,000 – it has become
the new ‘historical glass’! C’est la vie.
I love intricate engraving. Almost above all I desire to extol and applaud the glass
workers. The ‘Roman’ flat cutting and engraving is a wonder of the world. The designs
of tableware by Harry Powell and others leave me short of vocabulary to express
the regal, but plain, dignity that the firm consistently produced. I have found much
of Powell Glass is for the dining table and thus the drinking glasses are of amazing
lightness and beauty. The eye is ever delighted.
In my quest for fine engraving on Powell glass, I wish particularly to express my
eternal thanks to Chris Morley and Brian Cargin. They travel widely and happily –
our tastes often coincide. Powell glass or Christopher Dresser, almost everything in
this field is their speciality. May I stress the joy of camaraderie that you can get as a
collector. Art and antique dealers are a jolly lot and they love to talk. They seek to sell
and you to buy. The right pairing should benefit both parties!
As I am now selling my whole collection, I claim the right to allow a few
autobiographical points to enrich the slightly dry historical references. Firstly, one
needs to find and make good friends with the best dealers, and encourage them by
buying through them. I confess I make a fool of myself by sometimes paying too
much – most objects I have bought at the full market price. Luckily I have sometimes
bought wisely, with my dealer friends advice. ‘Never a dealer and collector be,’ thus
I chide my dealer friends, when trying to extract from them a vase in their private
collection. There is the spirit of both in all of us. So I raise my glass now to the health
and success of my dealer friends.
Glass collecting has the great bonus of not being date marked. Knowledge,
wisdom and experience are particularly valuable here … so good hunting.
JOHN SCOTT
May 2014
4 JAMES POWELL & SONS
the john scott collection 5
Philip Webb 1831–1915
1
Claret glass, c.1860
Flint glass, with eight applied, Sea Green prunts
Height 4¾ in · 12 cm
Exhibited: Paris, Exposition des Arts Décoratifs de Grande Bretagne et
d’Irlande, 1914 (414), same design exhibited
Literature: Rudoe & Coutts, ‘The Table Glass Designs
of Phillip Webb and T. G. Jackson for James Powell & Sons,
Whitefriars Glassworks’, Decorative Art Society Journal, vol.16,
1992, pp.28–29; ed. Jackson, Whitefriars Glass, The Art of James
Powell & Sons, Shepton Beauchamp, 1996, p.97, pl.1 (iii), same
design illustrated
The design for this glass is in the V&A Museum [E.330–
1944] bequeathed by May Morris, William Morris’s
daughter, in 1939. According to Rudoe and Coutts the
design was part of a range of table glass designed by Webb
and made by Powell’s for the newly founded Morris,
Marshall, Faulkner & Company. The City Museum and
Art Gallery, Birmingham, has a similar glass with clear
glass prunts, bequeathed by May Morris. Webb’s own
pass-book (1852–78) lists three entries for these claret
glasses ‘with green spots’ between October and November
1862.
Philip Webb 1831–1915
2
Wine glass, c.1859 (designed)
Flint glass, with bulging bowl and quatrefoil twisted stem
Height 5½ in · 14 cm
Literature: Studio, vol. 43, 1927, p.322; Rudoe & Coutts, ‘The
Table Glass Designs of Phillip Webb and T. G. Jackson for James
Powell & Sons, Whitefriars Glassworks’, Decorative Art Society
Journal,vol.16, 1992, p.27, fig.4; ed. Jackson, Whitefriars Glass, The
Art of James Powell & Sons, Shepton Beauchamp, 1996, pl.1 (ii),
p.97
Part of the suite of table glass, with bulging bowls and
twisted stems, originally designed by Philip Webb for
Morris’s Red House, 1859. The bowl shape appears to have
varied slightly over time and this glass is a combination
of Webb’s designs in the V&A Museum [E.328–1944 and
E.326–1944] illustrated by Rudoe and Coutts.
Philip Webb 1831–1915
3
Footed goblet, c.1860 (designed)
Flint glass, with bulging bowl and applied spiral decoration,
pattern no. 2388
Height 4¾ in · 12 cm
Two available
Literature: Rudoe & Coutts, ‘The Table Glass Designs
of Phillip Webb and T. G. Jackson for James Powell & Sons,
Whitefriars Glassworks’, Decorative Art Society Journal,vol.16, 1992,
p.27, fig.4; ed. Jackson, Whitefriars Glass, The Art of James Powell &
Sons, Shepton Beauchamp, 1996, pl.1 (ii), p.97
Philip Webb 1831–1915
4
Tumbler, c.1860 (designed)
Sea Green glass, with bulging bowl and applied spiral decoration,
pattern no. 2387
Height 3¾ in · 8.3 cm
Literature: Rudoe & Coutts, ‘The Table Glass Designs
of Phillip Webb and T. G. Jackson for James Powell & Sons,
Whitefriars Glassworks’, Decorative Art Society Journal,vol.16, 1992,
p.26, fig.3c; ed. Jackson, Whitefriars Glass, The Art of James Powell &
Sons, Shepton Beauchamp, 1996, pl.1 (i), p.97
This tumbler is one of a number of designs by Webb for
William Morris’s Red House, and is included in a drawing
now in the V&A [E.340–1944].
6 JAMES POWELL & SONS
the john scott collection 7
Philip Webb 1831–1915
5
Table glass, c.1860 (designed)
Flint glass, with bulging bowl on quatrefoil twisted stem, pattern
no. 2386
Height 5 in · 12.7 cm
Exhibited: Manchester, Arts & Crafts Exhibition, 1895,
the same design
Literature: Rudoe & Coutts, ‘The Table Glass Designs
of Phillip Webb and T. G. Jackson for James Powell & Sons,
Whitefriars Glassworks’, Decorative Art Society Journal, vol.16,
1992, p.32, fig.11d; ed. Jackson, Whitefriars Glass, The Art of James
Powell & Sons, Shepton Beauchamp, 1996, pl.4 (iii), p.97
Attributed to Philip Webb 1831–1915
6 A pair of wine glasses, 1860s (designed)
Flint glass, with bulging bowl, two-strand twisted stem
Height 6¾ in · 17 cm
Literature: For related glass see Rudoe & Coutts, ‘The Table
Glass Designs of Phillip Webb and T. G. Jackson for James
Powell & Sons, Whitefriars Glassworks’, Decorative Art Society
Journal,vol.16, 1992, p.33, fig.12a; ed. Jackson, Whitefriars Glass,
The Art of James Powell & Sons, Shepton Beauchamp, 1996, p.104
Jackson suggests this stem design may be by Harry Powell,
c.1880s, but Rudoe & Coutts identify a glass of this
design given by May Morris to the V&A Museum in 1939
[C.81–1939] as attributed to Webb
Attributed to Philip Webb 1831–1915
7
Sherry glass, 1860s (designed)
Flint glass, with bulging bowl and twisted stem
Height 4¾ in · 12 cm
Literature: Rudoe & Coutts, ‘The Table Glass Designs
of Phillip Webb and T. G. Jackson for James Powell & Sons,
Whitefriars Glassworks’, Decorative Art Society Journal, vol.16,
1992, p.33, fig.12a; ed. Jackson, Whitefriars Glass, The Art of James
Powell & Sons, Shepton Beauchamp, 1996, p.104 (see note for
cat.6)
8 JAMES POWELL & SONS
Attributed to Philip Webb 1831–1915
8
Custard cup, 1860s (designed)
Flint glass, with bulging bowl, twisted stem and applied handle
Height 3¾ in · 9.5 cm
Literature: For related glass see Rudoe & Coutts, ‘The Table
Glass Designs of Phillip Webb and T. G. Jackson for James
Powell & Sons, Whitefriars Glassworks’, Decorative Art Society
Journal, vol.16, 1992, p.33, fig.12a; ed. Jackson, Whitefriars Glass,
The Art of James Powell & Sons, Shepton Beauchamp, 1996, p.104
(see note for cat.6)
Attributed to Philip Webb 1831–1915
9
Goblet, 1860s (designed)
Flint glass, wrythen bowl and twisted stem
Height 5 in · 12.7 cm
Literature: Rudoe & Coutts, ‘The Table Glass Designs
of Phillip Webb and T. G. Jackson for James Powell & Sons,
Whitefriars Glassworks’, Decorative Art Society Journal, vol.16,
1992, p.33, fig.12a; ed. Jackson, Whitefriars Glass, The Art of James
Powell & Sons, Shepton Beauchamp, 1996, p.104 (see note for
cat.6)
Attributed to Philip Webb 1831–1915
10
Pair of champagne glasses, c.1890
Flint glass, two-strand twisted stem
Height 5 in · 12.7 cm
Literature: Rudoe & Coutts, ‘The Table Glass Designs
of Phillip Webb and T. G. Jackson for James Powell & Sons,
Whitefriars Glassworks’, Decorative Art Society Journal, vol.16,
1992, p.33 ; ed. Jackson, Whitefriars Glass, The Art of James Powell
& Sons, Shepton Beauchamp, 1996, pl.33 (iii), p.104, same shape
illustrated
Rudoe and Coutts illustrate a variation of this glass with
the same stem and a single bulge bowl from the May
Morris bequest to the V&A Museum in 1939 [C.81–1939]
which the museum have attributed to Webb.
the john scott collection 9
Thomas G. Jackson 1835–1924
11
A set of five champagne glasses, 1870
Flint glass, pattern no. 2002
Height 4¾ in · 12 cm each
Two of the five illustrated
Literature: Rudoe & Coutts, ‘The Table Glass Designs
of Phillip Webb and T. G. Jackson for James Powell & Sons,
Whitefriars Glassworks’, Decorative Art Society Journal,vol.16, 1992,
pp.36–37; ed. Jackson, Whitefriars Glass, The Art of James Powell &
Sons, Shepton Beauchamp, 1996, pl.5, p.97
A drawing by T. G. Jackson for this design with a longer
stem, dated 1870, appeared in Apollo 1930 and a photograph of the same pieces was illustrated by Harry
Powell in Architectural Review, 1899. However, according
to Rudoe and Coutts, known examples in the British
Museum and Zurich, have the shorter stems seen here
and, like this pair, are closer to the glass illustrated in a
photograph in the Powell archive (Museum of London,
c.1880–1900) that is annotated ‘designed by Thomas
Jackson for William Morris.’
Thomas G. Jackson 1835–1924
12
A near pair of wine glasses, 1870
Amber glass, with single bulge to bowl
Height 5¾ in · 14.5 cm
Literature: ed. Jackson, Whitefriars Glass, The Art of James
Powell & Sons, Shepton Beauchamp, 1996, pl.5 (iv), p.97, same
shape illustrated
Amber glass was introduced between 1877 and 1879 and
produced until 1914.
Thomas G. Jackson 1835–1924
13
Wine glass, 1870
Flint glass, pattern no.2094
Height 5¼ in · 13.5 cm
Literature: ed. Jackson, Whitefriars Glass, The Art of James
Powell & Sons, Shepton Beauchamp, 1996, pl.6 (vi), p.98, same
shape illustrated; Rudoe & Coutts, ‘The Table Glass Designs
of Phillip Webb and T. G. Jackson for James Powell & Sons,
Whitefriars Glassworks’, Decorative Art Society Journal, vol.16,
1992, p.33
Like the champagne glasses (cat. 11, opposite) this glass
also appears in a photograph of Jackson’s glass that is annotated ‘designed by Thomas Jackson for William Morris’,
in the Powell archive (Museum of London, c.1880–1900).
Attributed to Thomas G. Jackson 1835–1924
14
Champagne flute, c.1870
Flint glass, with ribbed and spiralled bowl
Height 6¼ in · 16 cm
the john scott collection 11
Attributed to Joseph Leicester 1825–1903
15
Goblet, c.1870
Glass, with fine white threading melted-in, with baluster stem
Height 8 in · 20 cm
Joseph Leicester was the company’s chief glass blower and
is thought to have been responsible for the earliest pieces
of Whitefriars glass made in the Venetian style. An example of Leicester’s glass is in the V&A Museum [015–1870]
dated 1869.
‘This goblet has heavy Venetian inspiration allied with
wondrous English form.’ JS
Attributed to Joseph Leicester 1825–1903
16
Champagne Bowl, c.1870
Flint glass, with fine melted threads in parallel lines spiralling
around bowl, the stem cut and engraved with stripes and floral
motifs
Height 41/8 in · 10.5 cm
Thomas G. Jackson 1835–1924
17
Wine glass, 1870s (designed)
Straw opal glass, pattern no.2094
Height 5 in · 12.7 cm
Literature: Rudoe & Coutts, ‘The Table Glass Designs
of Phillip Webb and T. G. Jackson for James Powell & Sons,
Whitefriars Glassworks’, Decorative Art Society Journal,vol.16, 1992,
p.33; ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons,
Shepton Beauchamp, 1996, pl.6 (v), p.98, same shape illustrated
This glass must have been made after 1877 when straw opal
was introduced; the Studio (p.247, vol.18) noted that ‘the
so-called “soda glass” has very artistic properties.’
‘I bought this glass from Jeanette Hayhurst in 1994.’ JS
12 JAMES POWELL & SONS
the john scott collection 13
Attributed to Harry Powell 1853–1922
18
Amphora on stand, c.1880
Straw opal glass, with wrought iron stand
Height 14½ x 9¾ in · 37 x 25 cm
Literature: ed. Jackson, Whitefriars Glass, The Art of James
Powell & Sons, Shepton Beauchamp, 1996, p.155, fig.249, see also
p.101, pl.21 (iii) for a related example
Jackson illustrates a number of photographs from James
Powell & Sons 1880s photograph album, now in the
Corning Museum of Glass, including a variety of vessels
of different glass types in wrought iron stands (see p.8).
According to Clegg in his introduction to the exhibition
Glass Act IV, the stands were probably made in-house by
Powell’s blacksmith, Edminstone, who worked at the factory from 1875, or his assistant Edmund Francis.
14 JAMES POWELL & SONS
Attributed to Harry Powell 1853–1922
JAMES POWELL & SONS
19
Water glass, c.1880
Dark green glass, with dented body, based on Roman vessels
found in Naples and Cologne
Height 4 in · 10 cm
Literature: ed. Jackson, Whitefriars Glass, The Art of James
Powell & Sons, Shepton Beauchamp, 1996, p.104, pl.32 and p.40,
fig.102
the john scott collection 15
Attributed to Harry Powell 1853–1922
20
Venetian inspired vase, c.1880
Straw opal glass, with thrown rim and knop stem, pattern no. 828
Height 9½ in · 24 cm
Literature: ed. Jackson, Whitefriars Glass, The Art of James
Powell & Sons, Shepton Beauchamp, 1996, p.101, pl.19(ii), same
design illustrated
‘This is a very accomplished glass I bought from Chris Morley
and Brian Cargin in 1986.’ JS
Harry Powell 1853–1922
21
Champagne glass, c.1880
Dark green glass, with ribbed bowl, flattened twisted stem and
ribbed foot
Height 5½ in · 14 cm
Literature: ed. Jackson, Whitefriars Glass, The Art of James Powell
& Sons, Shepton Beauchamp, 1996, pl.33 (iv), p.104
Attributed to Harry Powell 1853–1922
22
Champagne glass, c.1880
Flint glass, spiral ribbed bowl on hollow blown stem, with
applied prunts with gold inclusions
Height 5¼ in · 13.5 cm
‘This is Venetian, but demonstrates how they attracted
competitors. It is a favourite for engagement parties.’ JS
16 JAMES POWELL & SONS
the john scott collection 17
Attributed to Harry Powell 1853–1922
23
Goblet, c.1880
Straw opal glass, spiral ribbed bowl and hollow baluster stem
with moulded decoration on ribbed foot
Height 7 in · 18 cm
‘A glorious vessel’ JS
18 JAMES POWELL & SONS
Attributed to Harry Powell 1853–1922
Attributed to Harry Powell 1853–1922
24 ‘Poppy head’ wine glass, c.1890
25
Flint glass, ribbed and dented
Height 5½ in · 14 cm
Straw opal glass, with tall stem and ‘thrown’ wavy rim
Height 12 in · 30 cm
Straw opal glass, with stem and ‘thrown’ rim
Height 8 in · 20 cm
Literature: ed. Jackson, Whitefriars Glass, The Art of James
Powell & Sons, Shepton Beauchamp, 1996, p.103, pl.34 (iv-vi)
‘Fabulous vase’ JS
‘Exquisite vase.’ JS
Wavy rim stem vase, c.1890
Attributed to Harry Powell 1853–1922
26
Fan-shaped vase, c.1890
the john scott collection 19
Attributed to Harry Powell 1853–1922
27
Tall-stemmed vase, c.1890
Dark green glass, with tall stem and ‘thrown’ wavy rim
Height 10 in · 25.5 cm
‘This vase is very fine – an example of wondrous dexterity.’ JS
Philip Webb 1831–1915
28
Sherry glass, c.1900
Sea Green glass, factory pattern no. 2386
Height 4 in · 10 cm
Exhibited: Paris, Exposition des Arts Decoratifs de Grande
Bretagne et d’Irlande, 1914
Literature: ed. Jackson, Whitefriars Glass, The Art of James
Powell & Sons, Shepton Beauchamp, 1996, p.97, pl.4 (vi), a later
variation of Webb’s 1860 design for a table glass
Attributed to Harry Powell 1853–1922
29
Trumpet wine glass, c.1890
Sea Green glass
Height 7¾ in · 18.5 cm
Exhibited: St Louis, International Exhibition, 1904, the same
design exhibited
Literature: ed. Jackson, Whitefriars Glass, The Art of James
Powell & Sons, Shepton Beauchamp, 1996, pl.34 (i-iii), p.105, the
same shape
the john scott collection 21
Attributed to Harry Powell 1853–1922
30 Pair of wine glasses, c.1890
Sea Green glass, the bowls with a single bulge
Height 6 in · 15 cm
Literature: ‘Table Glass Designed and Executed by James
Powell & Sons’, Studio Yearbook, 1906, same design illustrated
Attributed to Harry Powell 1853–1922
31
Flute vase, c.1890
Straw opal glass, pattern no. 859
Height 8½ in · 21.5 cm
Literature: W. Shaw Sparrow, Hints on House Furnishing,
London, 1909, illustrated opp. p.259; ed. Jackson, Whitefriars
Glass, The Art of James Powell & Sons, Shepton Beauchamp, 1996,
p100, pl.18 (i)
Attributed to Harry Powell 1853–1922
32
Pair of wine glasses, c.1890
Flint glass, the bowls with a single bulge, engraved decoration
around rim
Height 6¼ in · 16 cm
Literature: ‘Table Glass Designed and Executed by James
Powell & Sons’, Studio Yearbook, 1906, for a plain example of the
same design
Attributed to Harry Powell 1853–1922
33
Venetian–inspired vase, c.1890
Straw opal glass, with wavy rim, pattern no. 893
12 x 7¼ in · 30 x 18.5 cm
‘I bought this vase from Chris Morley and Brian Cargin in 1987.’
JS
22 JAMES POWELL & SONS
the john scott collection 23
Harry Powell 1853–1922
34
Sherry glass, c.1890
Sea Green glass, ribbed and spiral with four dents to bowl
Height 4¾ in · 12 cm
Attributed to Harry Powell 1853–1922
35
Wine glass, c.1890
Flint glass, ribbed and dented tulip-shaped bowl
Height 4½ in · 11.5 cm
‘I bought this from Jeanette Hayhurst in 1994.’ JS
Attributed to Harry Powell 1853–1922
36
Sherry glass, c.1890
Flint glass, spiral ribbed with dented bowl
Height 41/8 in · 10.5 cm
‘Beautiful simplicity’ JS
Harry Powell 1853–1922
37 ‘Byzantine’ water glass, c.1894
Flint glass, with shallow Roman-style cutting, factory pattern
no.2425
Height 5¾ in · 14.5 cm
Literature: ed. Jackson, Whitefriars Glass, The Art of James
Powell & Sons, Shepton Beauchamp, 1996, p.105, pl.28 (vi) and
pp.42–44
Harry Powell studied Roman glass in depth and used
many of the ancient techniques, shapes, designs and
colours for inspiration as well as manufacturing replicas.
Powell’s cut glass in the Roman style was unlike anything
else being produced in Europe at the time and was based
on examples he studied in the V&A and British Museums,
London, and which he saw on his trips to Cologne and
Zurich. In 1906, at the Society of Arts, he used these
precedents to challenge the view widely held by those with
‘artistic taste’, including John Ruskin, that cut glass was ‘a
thing accursed’, and show that it was possible to use cutting as a form of decoration that did not compromise the
shape of the vessel or the materials natural beauty.
24 JAMES POWELL & SONS
Harry Powell 1853–1922
39 ‘Byzantine’ wine glass, c.1894
Flint glass, with shallow Roman-style cutting
Height 4¾ in · 12 cm
Literature: ed. Jackson, Whitefriars Glass, The Art of James
Powell & Sons, Shepton Beauchamp, 1996, p.103, pl.28 (i–vi) and
pp.42–44
Harry Powell 1853–1922
40 Vase, 1903–10
Flint glass, with shallow Roman-style cutting, later silver mounts,
factory pattern no. 1146
Height 5½ in · 14 cm
Literature: ed. Jackson, Whitefriars Glass, The Art of James
Powell & Sons, Shepton Beauchamp, 1996, p.103, pl.29 (v),
and p.43, fig.113, drawing from the Whitefriars Pattern Book
1903–1910
Harry Powell 1853–1922
38 ‘Byzantine’ finger bowl and saucer, c.1894
Flint glass, with shallow Roman-style cutting,
Bowl 2¼ x 4 in · 6 x 10 cm, saucer diameter xxx
Literature: ed. Jackson, Whitefriars Glass, The Art of James
Powell & Sons, Shepton Beauchamp, 1996, p.103, pl.28 (vii) and
pp.42–44, figs. 111–112
26 JAMES POWELL & SONS
The shape of the bowl is based on a Roman cut glass bowl
from Leuna, Saxony, bequeathed by Felix Slade (1790–
1868) to the British Museum. Rudoe (in Jackson, 1996)
notes that the bowl was copied at Whitefriars in January
1894 and suggests that the entire range was adapted
from this design. Jackson also points out the misnomer ‘Byzantine’ was probably due to a mis-cataloguing
of Slade’s collection in 1871, when the Leuna bowl was
described as Byzantine rather than Roman.
the john scott collection 27
Attributed to Harry Powell 1853–1922
41
Fan-shaped Vase, c.1896
Straw opal glass , with wavy rim and twisted tapering stem,
inspired by Venetian glass shapes
Height 10 in · 25.5 cm
Literature: Variations of this design were illustrated by Harry
Powell in his article ‘Table Glass’, The Architectural Review, 1899,
see ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons,
Shepton Beauchamp, 1996, pp.24–25
‘Bought from Chris Morley and Brian Cargin in 1986.’ JS
Attributed to Harry Powell 1853–1922
42 Wine glass, c.1898
Flint glass, from the standard plain table glass range, factory
pattern no. 2445
Height 5½ in · 14 cm
Literature:ed. Jackson, Whitefriars Glass, The Art of James Powell
& Sons, Shepton Beauchamp, 1996, p.98, pl.7
Attributed to Harry Powell 1853–1922
43
Wine glass, c.1900
Alsatian blue soda glass, with white melted in drawn threads
Height 5¼ in · 13.5 cm
‘This glass has extensive feathering of magic dexterity. I bought it
from Jeanette Hayhurst in 1996. Design and work of exceptional
mastery.’ JS
28 JAMES POWELL & SONS
the john scott collection 29
Harry Powell 1853–1922
Harry Powell 1853–1922
44 Goblet, 1899
45
Blue glass, tulip-shaped bowl with pulled, melted-in
threads on a Sea Green, twisted stem
Height 9½ in · 24 cm
Sea Green glass, with twisted stem, the bowl decorated with
gold foil in body and amethyst trailed decoration on exterior
Height 9 in · 23 cm
Exhibited: London, Arts & Crafts Exhibition, 1899, a
similar design exhibited
Exhibited: London, Arts & Crafts Exhibition, 1899, the
same design exhibited
Literature: Studio, January 1900, vol.18, p.252, similar
design illustrated; ed. Jackson, Whitefriars Glass, The Art of
James Powell & Sons, Shepton Beauchamp, 1996, fig.151,
p.59 and fig.34, p.17
Literature: Studio, January 1900, vol. 18, p.252;
Decorative Kunst, 1899–1900, p.334; Architectural Review,
vol.7, 1900, p.267; ed. Jackson, Whitefriars Glass, The Art of
James Powell & Sons, Shepton Beauchamp, 1996, p.105, pl.36
Goblet, 1899
‘These pieces were inspired by Austrian Secessionist vessels
and were Harry Powell’s assay into the new field of Art
Nouveau.’ JS
30 JAMES POWELL & SONS
Attributed to Harry Powell 1853–1922
Attributed to Thomas G. Jackson 1835–1924
46 Decanter, 1899
47
Flint glass, with Sea Green applied tears, collar and two handles;
silver mounted cork stopper, hallmark for James Powell & Sons,
London, 1906
Height 12 in · 30 cm
Flint glass, with wavy rim to bowl and blown spiral-ribbed
baluster stem, ribbed foot
Height 7 in · 18 cm
Venetian-style tazza, c.1899
the john scott collection 33
Attributed to Harry Powell 1853–1922
Attributed to Harry Powell 1853–1922
48 ‘Tear’ wine glass, 1899
49 ‘Tear’ wine glass, 1899
Flint glass, with eight Sea Green vertical tears applied.
Height 8¼ in · 21 cm
Flint glass, with four Sea Green vertical tears applied
Height 8 in · 20 cm
Exhibited: London, Arts & Crafts Exhibition, 1899, same
design exhibited
Exhibited: London, Arts & Crafts Exhibition, 1899, same
design exhibited
Literature: eds. Evans, Ross & Werner, Whitefriars Glass,
James Powell & Sons of London, Museum of London, 1995, fig.83,
p.83, similar design; ed. Jackson, Whitefriars Glass, The Art of James
Literature: eds. Evans, Ross & Werner, Whitefriars Glass, James
Powell & Sons of London, Museum of London, 1995, fig.83, p.83,
for related designs; ed. Jackson, Whitefriars Glass, The Art of James
Powell & Sons, Shepton Beauchamp, 1996, p.106, pl.38 (i-ii)
Powell & Sons, Shepton Beauchamp, 1996, p.33, fig.91
‘I bought this ‘Tear’ goblet from Chris and Brian Cargin in
2002.’ JS
Attributed to Harry Powell
1853–1922
50 Decanter, c.1900
Sea Green diamond-ribbed glass, with small
lugs to shoulders, rigaree collar and a silver
mount, chains and stopper, hallmark for James
Powell & Sons and an illegible date mark
Height 10 in · 25.5 cm
‘A delicious, delicate feast for the eye with an
“Oriental” touch.’ JS
The Museum of London book notes that ‘the original [design] had six sea-green tears on clear glass; in 1901, this was reduced to four tears; afterwards a variety of combinations and
colours were used.’
‘I bought this goblet from Pete Gooday in 1992.’ JS
34 JAMES POWELL & SONS
the john scott collection 35
Attributed to Harry Powell 1853–1922
(after Philip Webb)
51
Champagne bowl, c.1900
Flint glass, with four applied, green, raspberry prunts to bowl
and a green, twisted stem
Height 6¾ in · 17 cm
Literature: Rudoe & Coutts, ‘The Table Glass Designs
of Phillip Webb and T. G. Jackson for James Powell & Sons,
Whitefriars Glassworks’, Decorative Art Society Journal, vol.16,
1992, p.33.
36 JAMES POWELL & SONS
Rudoe and Coutts refer to Barbara Morris’s note that this
design and that of cat 54 are related to the Philip Webb
glasses but are later in date and more influenced by Art
Nouveau.
Attributed to Harry Powell 1853–1922
(after Philip Webb)
‘This is a very, very elegant glass. Powells desperately needed
more daringly slender shapes of this ilk to extol Art Nouveau
and the new spirit of twentieth-century Britain.’ JS
Flint glass, with four applied, green, raspberry prunts to bowl
and a green, twisted stem
Height 6¾ in · 17 cm
52
Tulip shaped wine glass, c.1900
Exhibited: London, Arts & Crafts Exhibition, 1906
Literature: ed. Jackson, Whitefriars Glass, The Art of James
Powell & Sons, Shepton Beauchamp, 1996, p.32, fig.86
the john scott collection 37
Attributed to Harry Powell 1853–1922
53
Vase, c.1900
Flint glass, with dented body
Height 6 in · 15 cm
Attributed to Harry Powell 1853–1922
54 Vase, c.1900
Flint glass, spiral ribbed and dented · Height 6 in · 15 cm
Harry Powell 1853–1922
55
Vase, 1901
Sea green glass, with applied vertical blue tears and rigaree foot,
pattern no. 1099 · Height 6½ in · 16.5 cm
Literature: ed. Jackson, Whitefriars Glass, The Art of James Powell
& Sons, Shepton Beauchamp, 1996, p106, pl.40 (v); Hadjamach,
20th Century British Glass, Woodbridge 2009, p.35, pl.64; H.G.
Dowling, A Survey of British Industrial Arts, Benfleet 1935, pl.22
This design is based on a vase in the Portinari altarpiece by
Hugo van der Goes, c.1475, in the Uffizi Gallery.
38 JAMES POWELL & SONS
Harry Powell 1853–1922
56
Cobweb and Dewdrop goblet, 1901
Flint glass, engraved with cobweb and dewdrop pattern, air twist
stem with gold foil, factory pattern number 1095
Height 9 in · 23 cm
Exhibited: St Louis, International Exhibition, 1904, same
design exhibited
Literature: ed. Jackson, Whitefriars Glass, The Art of James
Powell & Sons, Shepton Beauchamp, 1996, pl.35(i), p.105, same
design illustrated
‘This is a very striking goblet with gold spiral inclusions and
engraved design of spider’s web. I bought it from Jeanette
Hayhurst in 1995.’ JS
40 JAMES POWELL & SONS
Harry Powell 1853–1922
57
Scent bottle, c.1901
Harry Powell 1853–1922
58
Decanter, 1901–2
Ruby red glass, dented body with silver collar and stopper,
hallmark for William Hutton & Sons, 1901
Height 9¼ in · 23.5 cm
Sea Green glass, with white melted-in and pulled up threads,
spiral threading on neck, silver-coloured metal and cork stopper
Height 12 in · 30 cm
Exhibited: London, Arts & Crafts Exhibition, 1916 (C5), same
shape exhibited
Literature: ed. Jackson, Whitefriars Glass, The Art of James
Powell & Sons, Shepton Beauchamp, 1996, pl.43 (iii), p.107, same
design illustrated
‘This is a charmingly delicate decanter.’ JS
Attributed to Harry Powell 1853–1922
59
Goblet, 1905–1910 (designed)
Flint glass, with gold embedded, double knop stem, pattern no.
1170; diamond engraved Given to Sir Jeremiah Colman Bt DL JP on
his 80th Birthday / 24th April 1939
Height 9 in · 22 cm
Literature: ed. Jackson, Whitefriars Glass, The Art of James
Powell & Sons, Shepton Beauchamp, 1996, p.113, pl.76
42 JAMES POWELL & SONS
Attributed to Harry Powell 1853–1922
60 Goblet, 1905–1911 (designed)
Blue glass, double knop stem with embedded gold
Height 7½ in · 19 cm
Literature: ed. Jackson, Whitefriars Glass, The Art of James
Powell & Sons, Shepton Beauchamp, 1996, p.113, pl.76, same
design illustrated in flint glass
‘I bought this Azurian glass because it is so beautiful, with
hollow gilt knops. It came from Jeanette Hayhurst, Kensington
Church Street.’ JS
the john scott collection 43
Harry Powell 1853–1922
61
Silver-mounted glass centrepiece, 1906
Glass, with blown trailed and pulled decoration mounted in
silver with and enamel heraldic shields, on a wooden stand,
hallmark to base, JP&Sons and date mark 1906.
15 x 10 in · 38 x 26 cm
Literature: Gere & Whiteway, Nineteenth Century Design,
Pugin to Mackintosh, London, 1993, p.223, pl.281; eds. Evans,
Ross & Werner, Whitefriars Glass, James Powell & Sons of London,
Museum of London, 1995, p.89, catalogued as Rose Bowl; See
also, ed. Jackson, Whitefriars Glass, The Art of James Powell & Sons,
Shepton Beauchamp, 1996, fig.155, p.62, the pair to this piece
illustrated
This spectacular vase is one of a pair of centrepieces made
by Powell & Sons for Count Lionel Hirschel de Minerbi
for his newly acquired Ca’Rezzonico palace in Venice.
Each handle is decorated with a pair of enamelled shields
depicting the arms of the Minerbi family. The partner to
it is now in the Corning Museum of Glass in the United
States of America [accession no.90.2.3].
The well-documented commission – of around
four hundred pieces – was reported in an unidentified
newspaper cutting* which stated that, as Minerbi ‘wished
to have the best glass he could procure he had come to the
makers of the specimen he had bought at Turin.’ The 1902
Turin International Exhibition was the first to be devoted
entirely to the decorative arts; Harry Powell created many
remarkable new pieces for the British Pavilion, which had
been organised by Walter Crane from his acquaintances at
the Arts & Crafts Exhibition Society.
‘I bought this in 1982 from Andy Tilbrook.’ JS
* ‘Foreigners beaten by British. Venetian Glass to be sent to
Venice’, unidentified newspaper cutting, c.1906, Whitefriars
Archive, Museum of London (the drawings for the commission
are also part of the archive)
44 JAMES POWELL & SONS
Harry Powell 1853–1922
Harry Powell 1853–1922
62 Table glass for the Minerbi Service, 1906
63 Table glass for the Minerbi Service, 1906
Flint glass with pulled down, melted-in, green threads and open
three-strand stem, designed c.1899 · Height 8¾ in · 22 cm
Flint glass with pulled down, melted-in, green threads and blown
stem · Height 6¾ in · 17 cm
Literature: Studio Year Book, 1907, p.173; ed. Jackson,
Whitefriars Glass, The Art of James Powell & Sons, Shepton
Beauchamp, 1996, pl.45 (vi), p.107, same design illustrated
Literature: Studio Year Book, 1907, p.173; ed. Jackson,
Whitefriars Glass, The Art of James Powell & Sons, Shepton
Beauchamp, 1996, pl.45(vii), p.107, the same design illustrated
46 JAMES POWELL & SONS
the john scott collection 47
Harry Powell 1853–1922
64 Decanter, 1906
Blue glass, with white melted-in threads, applied collar, silver and
cork stopper, hallmark for James Powell & Sons, London, 1906
Height 12 in · 30 cm
Harry Powell 1853–1922
65 Table Glass c.1906
Flint glass, with pulled down, melted-in, green threads and
twisted stem
Height 6¾ in · 17 cm
Literature: ed. Jackson, Whitefriars Glass, The Art of James
Powell & Sons, Shepton Beauchamp, 1996, pl.45(ii), p.107, same
design illustrated; c.Hajdamach, 20th Century British Glass,
Woodbridge 2009, p.35 pl.63, an example from the collection of
the Manchester Metropolitan University, purchased from the
company in 1910
Harry Powell 1853–1922
66 Tumbler, c.1906 (designed)
Amber glass with applied raspberry prunts, trailing spiralled
decoration and rigaree foot
Height 4¼ in · 10.8 cm
Literature: Studio Yearbook, 1937; ed. Jackson, Whitefriars Glass,
The Art of James Powell & Sons, Shepton Beauchamp, 1996, pp
36–53, p.71
According to Jackson the design of this glass is thought to
be inspired by Lucas Cranach’s painting Melancholia (1528),
exhibited at Burlington House in 1906. Powell later
made a sketchbook of ‘Glasses with Histories’ taken from
various sources, c.1918–1922, featuring many the firm’s
existing historical designs as well as other glasses from
museums, and several taken from paintings.
48 JAMES POWELL & SONS
the john scott collection 49
Harry Powell 1853–1922
Harry Powell 1853–1922
67 Decanter, 1907
68 Lotus vase, 1910
Sea Green glass, with white melted-in threads, applied collar,
silver mounted cork stopper hallmark for James Powell & Sons,
London, 1907
Height 12 in · 30 cm
Engraved glass vase, inspired by an Egyptian pottery vase in the
British Museum, factory pattern number 1187
Height 5½ in · 14 cm
Exhibited: Turin, International Exhibition, 1902, the same
design
Literature: ed. Jackson, Whitefriars Glass, The Art of James
Powell & Sons, Shepton Beauchamp, 1996, pl.43 (ii), p.107
Exhibited: Paris, Exposition des Arts Décoratifs de Grande
Bretagne et d’Irlande, 1914
Literature: Studio Year Book, 1911, p.131; ed. Jackson,
Whitefriars Glass, The Art of James Powell & Sons, Shepton
Beauchamp, 1996, pl.63, p.110; fig.160, p.64, same design
illustrated
‘I bought this Egyptian-inspired vase from Jeanette Hayhurst.’
JS
50 JAMES POWELL & SONS
the john scott collection 51
69 Dragon vase, c.1910
Ruby red glass, with gold inclusions, overlaid with opaque red
glass, acid-etched with a dragon design
Height 7¼ in · 18.5 cm
Literature: ed. Jackson, Whitefriars Glass, The Art of James
Powell & Sons, Shepton Beauchamp, 1996, pp.15–18, see also
pp.39–40
Harry Powell ‘s interest in ancient glass manufacture and
in particular Roman glass lead to a number of experiments to test what was possible to for production. Shapes,
patterns and techniques were borrowed from Roman
and other ‘glasses with histories’, but one technique that
proved very difficult for the company to replicate was
the Roman cameo cutting, of which very few examples
had survived. Powell did try replicating the Roman blue
but found more success with a ruby red glass, into which
he mixed gold inclusions, for the body, overlaid with
an opaque red glass which was acid-etched with floral,
heraldic and dragon designs. These pieces, which were
exhibited at the Arts & Crafts Exhibition in 1910, appear to be specially produced exhibition pieces and their
rarity would suggest they were never put into general
production. Two examples, with similar dragon motifs are
illustrated by Jackson (fig.28, p.15 and fig.42, p.18) albeit
on different shaped bodies.
According to Brian Cargin and Chris Morley, this ruby
example must be one of the very few cameos outside of
Museum collections.
52 JAMES POWELL & SONS
Harry Powell 1853–1922
70
Goblet vase, 1919
Sea Green glass, with gold inclusions in tapering twisted stem,
factory pattern number 1168
Height 9¼ in · 23.5 cm
Literature: ed. Jackson, Whitefriars Glass, The Art of James
Powell & Sons, Shepton Beauchamp, 1996, p113, pl.75 (iv)
Inspired by a finely blown Venetian vessel, seen during Powell’s studies of historical glass, and produced in
Alsatian Blue and Sea Green, Jackson suggests this design
dates from before 1919 although the pieces were in production until the mid-1930s.
71
Commemorative goblet, 1918
Flint glass, with air bubble in stem, wheel engraved around the
rim Dominus loquitor. Arma Silent. 11.11.1918, to commemorate the
end of the First World War
Height 9 in · 23 cm
Literature: ed. Jackson, Whitefriars Glass, The Art of James
Powell & Sons, Shepton Beauchamp, 1996, p.144, pl.174(i), same
design illustrated
‘From Chris Morley and Brian Cargin in 2002.’ JS
William Butler
72
Footed bowl, c.1935
Blue tinted glass, with threaded on Sea Green glass, bowl shape
pattern number 7170 (from 1920s)
6 x 9 in · 15.2 x 23 cm
Literature: ed. Jackson, Whitefriars Glass, The Art of James
Powell & Sons, Shepton Beauchamp, 1996, p121, pl.102 (iv)
‘This footed bowl is in the Venetian style with a honeycombed
moulded bowl. It is ‘majestic’.’ JS
54 JAMES POWELL & SONS
William J. Wilson b.1914 (engraver)
73
Coronation goblet, 1937
William J. Wilson b.1914 (engraver)
74
Coronation goblet, 1937
Flint glass, diamond engraved 12th G&E May / 1937, to
commemorate King George VI and Queen Elizabeth’s
coronation, factory pattern no. 9070
Height 8 in · 20 cm
Flint glass with blue knop, diamond-engraved 12th G&E May /
1937, to commemorate King George VI and Queen Elizabeth’s
coronation
Height 7¼ in · 18.5 cm
Exhibited: London and Birmingham, British Industries Fair,
1937, same design exhibited
Literature: Studio, April 1937, vol.113, p.204; ed. Jackson,
Whitefriars Glass, The Art of James Powell & Sons, Shepton
Beauchamp, 1996, p.144, pl.175(i), same design illustrated
Literature: Studio, April 1937, vol.113, p.204; ed. Jackson,
Whitefriars Glass, The Art of James Powell & Sons, Shepton
Beauchamp, 1996, p.144, pl.175(v), same design illustrated
‘These drawn trumpet glasses are a joy to hold. Whitefriars
were seeking to emulate the most famous of English glasses –
The Amen Glasses – same shape, style, and engraving – just
200 years older and valued at hundreds of thousands now!
Gorgeous to drink from when blindfolded – imagine!’ JS
William J. Wilson b.1914 (engraver)
75
Coronation goblet, 1937
Flint glass with blue knop, diamond-engraved 19 ER 37 / VIII to
commemorate the planned coronation of Edward VIII in 1937
Height 7½ in · 19 cm
Literature: Studio, April 1937, vol.113, p.204; ed. Jackson,
Whitefriars Glass, The Art of James Powell & Sons, Shepton
Beauchamp, 1996, p.144, pl.175 (ii), same design illustrated
‘This goblet is very heavy – ideal for Royal picnics.’ JS
Frank Hill (maker)
WILLIAM J. WILSON b.1914 (engraver)
76
Coronation goblet, 1953
Frank Hill (maker)
WILLIAM J. WILSON b.1914 (engraver)
78
Coronation goblet, 1953
Clear glass, with red, blue and white enamel twist stem, diamond
engraved 2nd EIIR June / 1953 · Height 8 in · 20 cm
Clear glass, with red, blue and white enamel twist stem, diamond
engraved 2nd EIIR June / 1953 · Height 8 in · 20 cm
Literature: ed. Jackson, Whitefriars Glass, The Art of James
Powell & Sons, Shepton Beauchamp, 1996, p.144, pl.176(i),
same design illustrated – Jackson notes that this shape was
designed c.1936; G. M. Heddle, Manuel on Etching and Engraving
Glass, London 1962, same design illustrates cover; Morley ‘The
Whitefriars Glassworks (James Powell & Sons Ltd): The final
chapter n the post-war years’, Decorative Arts Society Journal, vol.15,
1991, illustrated
Literature: ed. Jackson, Whitefriars Glass, The Art of James
Powell & Sons, Shepton Beauchamp, 1996, p.144, pl.176(i), this
design illustrated – Jackson notes that this shape was designed
c.1936; G. M. Heddle, Manuel on Etching and Engraving Glass,
London 1962, same design illustrates cover; Morley ‘The
Whitefriars Glassworks (James Powell & Sons Ltd): The final
chapter on the post-war years’, Decorative Arts Society Journal,
vol.15, 1991, illustrated
‘Reputed by Chris Morley to have been diamond point etched
by William Wilson (one or two per evening?); from Chipping
Norton Antiques Centre in 2001.’ JS
‘From Vernon Arcade in 2010.’ JS
William J. Wilson b.1914 (engraver)
77
Coronation goblet, 1953
Flint glass, diamond engraved 2nd EIIR June / 1953, to
commemorate Queen Elizabeth II’s coronation
Height 8 in · 20 cm
Literature: ed. Jackson, Whitefriars Glass, The Art of James
Powell & Sons, Shepton Beauchamp, 1996, p.144, pl.175(iv), same
design illustrated
56 JAMES POWELL & SONS
the john scott collection 57
William J. Wilson b.1914 (engraver)
79
Coronation goblet, 1953
Flint glass, diamond engraved 2nd EIIR June / 1953, to
commemorate Queen Elizabeth II’s coronation
Height 8 in · 20 cm
Literature: ed. Jackson, Whitefriars Glass, The Art of James
Powell & Sons, Shepton Beauchamp, 1996, p.144, pl.175(iv), same
design illustrated
William Wilson b.1914 and Harry Dyer
80 Knobbly vase, 1963
Willow soda glass, cased in clear crystal
Height 8¾ in · 22 cm
Literature: ed. Jackson, Whitefriars Glass, The Art of James
Powell & Sons, Shepton Beauchamp, 1996, pp.87–88
William Wilson b.1914 and Harry Dyer
81
Knobbly vase, 1963
Indigo soda glass, cased in clear crystal
Height 8¾ in · 22 cm
Literature: ed. Jackson, Whitefriars Glass, The Art of James
Powell & Sons, Shepton Beauchamp, 1996, pp.87–88
The ‘Knobbly’ range was launched at the Blackpool Fair in
1964. These free blown pieces were heavy and thick-walled.
The shapes were created using a special s-shaped tool to
manipulate the molten glass before blowing. Geoffrey
Baxter later refined and standardised the shapes and
created two colour ranges: one of single colours encased
in clear crystal, as here, and the other lead crystal with
streaks of different colours through the body.
‘One man’s meat is another man’s poison. After all this is
Britain’s greatest glass business and the designer is known!’ JS
58 JAMES POWELL & SONS
the john scott collection 59
Attributed to Charles Hardgrave 1848-c.1920
Attributed to Charles Hardgrave 1848-c.1920
82 Angel and Rose opus sectile tablet, c.1885
83
Opaque and painted glass mosaic
7¼ x 16½ in · 18.5 x 42 cm
Opaque and painted glass mosaic
28¾ x 12½ in · 73 x 32 cm
‘I call this material pâte de verre, as it is powdered glass reheated to a lower temperature than for glass proper.’ JS
Literature: Hardy, ‘Powell’s Opus Sectile Locations,’ 2001,
published on www.tilesoc.org.uk/pdf/opuslist
Lily opus sectile tablet, c.1885
Opus sectile was a revival of an ancient Roman technique
where specially cut materials usually marble, stone or
mother of pearl, were inlaid into walls and floors to create
pictures. Using Powell’s innovative colours and finishes in
glass in this way was a natural extension of the work of the
firm, whose clients were often ecclesiastical decorators
to whom they supplied stained glass either as a mix, as
quarries or as ‘off the shelf ’ or commissioned glass panels.
Documentary evidence in the Powell’s Cash Window
Books, analysed by Dr Dennis Hardley, suggests that
Powell & Sons were making reredoses, altar and wall panels with opus sectile certainly from 1873. By the 1890s they
were exporting them across the world including to India,
USA, France, Ireland and Denmark and making panels for
commercial as well as religious purposes.
This lily panel is similar to that used in The Church of
the Holy Cross, Owlpen, 1887, and may be attributed to
Charles Hardgrave.
‘These pâte de verre panels were frequently used in church
interiors, many depict religious subjects.’ JS
60 JAMES POWELL & SONS
Attributed to Harry Powell 1853–1922
84 Five-branch electric ceiling light, c.1900
Wrought iron and opalescent glass
57 x 23 in · 145 x 59 cm
An 1866 catalogue of Whitefriars’ products shows that the
company were making and retailing glass lighting in the
form of gasoliers and chandeliers from at least that time.
From about 1875, shortly after the arrival of Harry Powell,
the firm employed a blacksmith, Edminstone, and anapprentice, Edmund Francis, who are thought to have made
wrought iron fittings for the firm’s glass shades, vases and
bowls as well as looking after the workmen’s tools and
equipment. They were probably responsible for the manufacture of this piece.
62 JAMES POWELL & SONS
Published in an edition of 600 copies for the exhibition
James Powell & Sons Whitefriars Glass 1860–1960 held at
148 New Bond Street, London w1, 11 June – 3 July 2014
The Fine Art Society would like to thank Brian Cargin and
Chris Morley for their kindness and expertise in helping
catalogue these items.
Catalogue © The Fine Art Society, London
Text © the authors
ISBN 978 1 907052 41 5
Text by Annamarie Phelps and John Scott
Edited by Rowena Morgan-Cox and Annamarie Phelps
Photography © Michael Whiteway,
A.C. Cooper: inside covers and cat.62
Designed and typeset in Verdigris by Dalrymple
Printed in Belgium by Albe De Coker
Front cover: Harry Powell, Vase, 1901 [cat.55]
Back cover: William Butler, Footed bowl, c.1935 [cat.72]
Inside cover: Owen Jones 1809–1874 ‘Stanhope’
textile design, 1872
THE FINE ART SOCIETY
Dealers since 1876
148 New Bond Street · London W1S 2JT
+44 (0)20 7629 5116 · art@faslondon.com
www.faslondon.com
THE FINE ART SOCIETY
66 JAMES POWELL & SONS
Dealers since 1876