Ref: 2459
  • Designer / Maker

    Designed by Harry Powell
    Manufactured by James Powell & Sons, Whitefriars Glass Works (1834–1980)

  • Detail


    Height: 25 cm

    English (London), circa 1899

  • Provenance

    […]; unidentified English private collection; Rowleys, 13 March 2021, lot 364

  • Notes

    Lesley Jackson (ed.), Whitefriars Glass – The Art of James Powell, Shepton Beauchamp, 1996, p. 59, fig. 151, illustrates a closely related ‘goblet’ (height 26.8 cm) in the Kunstgewerbemuseum, Berlin. The Studio, XVIII (1900), p. 252, top left, illustrates another comparable goblet, shown by the Arts & Crafts Exhibition Society in 1899, as part of a ‘CASE OF BLOWN GLASS. Designed by HARRY POWELL.’; see Catalogue of the Sixth Exhibition, 1899, p. 94, North Gallery, case S. Another version appears in Architectural Review, vol. 7, 1900, p. 267 (Jackson, fig. 74). A further variant was included in The John Scott Collection. James Powell & Sons Whitefriars Glass 1860–1960, Fine Art Society, exhibition catalogue, June-July 2014, no. 44. The Scott glass was formerly with H. Blairman & Sons, as was the identical example in the collection of the Los Angeles County Museum of Art (M.2008.26).

    A tinted glass with trailed decoration, not flaring at the top, is in the collection of the Nordenfjeldske Kunstindustrimuseum, Trondheim; see Hugh Wakefield, Nineteenth Century British Glass, London, 1961, 1982 edn, fig. 141. A variant with dark blue glass is illustrated in Jackson (p. 105, pl. 36); it may be the same glass as the one from the Scott collection offered by the Fine Art Society (2014, no. 45).

    Harry Powell is widely considered the most creative British glass designer of his generation. He contributed thousands of designs to his family firm between 1876 and his retirement in 1919. He drew on a background in chemistry and an interest in art history to create glassware drawn from a wealth of influences: from ancient Rome through Anglo-Saxon Britain to Renaissance Venice. He achieved a variety of effects in his work, encompassing colours, cutting, engraving and numerous forms of moulding, as well as unions of glass with both fine and base metals; see Andy McConnell, ‘Revolution in Glass’, Apollo, April 2005, pp. 66–71.