Decorative Arts since 1860 features items fashioned through individually recognisable design principles from the mid-19th century through to the present day. Pieces from this specialist area can include furniture, sculpture, silver, ceramics, metal works, glassware and lighting and the sections within the sales cover a number of artistic movements.
When people think of Wedgwood their first thought is usually the classic blue and white biscuit stoneware known as Jasperware for which the firm is more-or-less synonymous, or perhaps a tea set used and treasured by one’s granny, yet Fairyland Lustre could not be further removed from either of these.
There are around 60 designs and these each combine bright colours, lustre glazes and gilding with whimsical motifs to create a fantasy world of fairies, elves, and imps within exotic architectural, oriental and stylised woodland settings.
Daisy Makeig-Jones started off designing the items of Dragon lustre in 1913 before moving onto the Fairyland Lustre range in 1915. Immediately the line proved immensely popular and this was especially the case across the Atlantic during the ‘Roaring '20s’. Following a change in taste and the line growing less popular the production was discontinued in 1929 and Makeig-Jones left the firm in 1931. Today, nearly a century on, the items decorated with her designs are highly sought after and collectable and usually attract interest when they come up for auction from both sides of the Atlantic.
In our next Interiors auction we are pleased to be offering five lots of Wedgwood Fairyland Lustre, each with a characteristically striking design by Daisy Makeig-Jones.
The offering starts with Fig.2, a bowl decorated in the Nizami pattern, the interior with Nizami W2191 pattern, the central well with roundel depicting maidens beneath fruiting branches and bordered by a band of hunting animals, the exterior with Islamic-inspired panels featuring lappets of symmetrical ornament on panels of stylised flowers and foliage with pairs of birds, in gilt and colours, 23.3cm diameter.
Fig.3 is another bowl, slightly smaller at 21.2cm diameter and fuses together two of the woodland elves patterns (I & V), the interior with a number of playful and mischievous sprites around a central pool on a lustrous ‘sky’ with interspersed trees and a foliage rim. In contrast to the bright interior the exterior is a darker and more mysterious woodland landscape.
Fig.4 is an inverted baluster vase and cover, Wedgwood shape no. 2046, this piece is decorated in the well-known Candlemas pattern, incorporating panels of figures and quasi-religious scenes in gilt and colours and interspersed with a chain of pixies climbing a rope, it stands 22.5cm high.
Fig.5 is a trumpet vase, Wedgwood shape no. 2810, decorated in the Butterfly Women pattern, the exteriors with pinks in gilt and colours, printed factory mark, 25cm high.
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