The objects were often "japanned" — covered with glossy black coating, decorated with gold and mother-of-pearl.
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A showy, if less than original, William and Mary red japanned center table was typical of the new format.
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His Godson & Coles gallery sold a George I-period red japanned bureau cabinet at the fair to a new American client for £103,000, or about $250,000.
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Across the aisle, Apter-Fredericks is showing an 18th-century Chinese screen depicting upper-class family life in a lush garden and a red lacquer "japanned" (treated with a varnish imitating Asian lacquer work) bureau from the early 1700s.
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One battered, spoutless, handless, japanned-in jug, that did not contain water, for it leaked.
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Ironware was japanned black, for decorative reasons. It was also used to render it rustproof, suitable for carrying water. A significant industry developed at Pontypool and Usk, shortly before tinplate began to be made in the area. Japanned ware was being also made at Bilston by 1719 and later elsewhere in the area.
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Used as a verb, japan means "to finish in japan black." Thus japanning and japanned are terms describing the process and its products.
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The Soho Manufactory c. 1860. The Manufactory produced a wide range of goods from buttons, buckles and boxes to japanned ware (collectively called "toys"), and later luxury products such as silverware and ormolu (a type of gilded bronze).
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From the 18th century, Wolverhampton was well known for production of japanned ware and steel jewellery. The renowned 18th- and 19th-century artists Joseph Barney (1753–1832), Edward Bird (1772–1819), and George Wallis (1811–1891) were all born in Wolverhampton and initially trained as japanned ware painters. The School of Practical Art was opened in the 1850s and eventually became a close associate of the Art Gallery. Among its students and teachers were Robert Jackson Emerson (1878–1944), Sir Charles Wheeler (Emerson's most famous pupil and the sculptor of the fountains in Trafalgar Square), Sara Page who established her studio in Paris, and many other artists and sculptors recognised locally and nationally.
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" Further, the licensee was to pay Goodyear "at the rate of three cents per square yard of cloth japanned, marbled, or variegated as aforesaid."10 F. Cas. at 722–23. The license expressly provided that it did not "convey any right to make any contract with the government of the United States.
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The black-shouldered or Japanned mutation was initially considered as a subspecies P. c. nigripennis (or even a species), and was a topic of some interest during Darwin's time. It is however only a case of genetic variation within the population. In this mutation, the adult male is melanistic with black wings.
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The Print Room is part of the 18th-century extension of the Lodge and has been renovated by the Museum to look like a typical Print Room of the period. The collection of tiles around the fireplace, examples of marquetry and parquetry in the furniture and the ‘japanned’ grandfather clock represent the fashion of the early eighteenth century.
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Many of these pieces are japanned, or gilded, with vines and aspen trees and are part of a limited edition that is both numbered and signed. In 2004, Martin Pierce began work on an extensive range of cabinet and door hardware Decodir.com , "Stylish Pulls and Knob Design by Martin Pierce," 2010-11-09. which includes the Willow, Ergo,Trendir.
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Joseph Aronson, The Encyclopedia of Furniture (Random House, 1965), p. 192. The use of japanning is an exception to the general Queen Anne trend of minimal ornament. When used, japanned decoration was frequently in red, green, or gilt on a blue-green field. The tilt-top tea table was first made during the Queen Anne period in 1774.
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The facings on the coat were the same as the main color. The coat buttons may have been plain pewter painted black or japanned, but might also have been made of black horn. The hat was made from jacked leather and an ostrich plume, giving rise to the nickname of "Leathercaps". It resembled a jockey's cap.
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Georgian Japanned tin tea tray—severely worn—black lacquer and gilt made in Birmingham, UK Japanning is a type of finish that originated as a European imitation of Asian lacquerwork. It was first used on furniture, but was later much used on small items in metal. The word originated in the 17th century. American work is more often called toleware.
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Boston merchants advertised wine glasses, jelly glasses, syllabubs, decanters, sugar pots, barrel cans, punch bowls, bird fountains, and candlesticks. Merchants also offered japanned glassware. "For those who did buy taste in the newest styles, drinking glasses were the inverted baluster type (popular in England from 1720 to about 1735) or the later drawn stem glass (1730–1745)." Both types have been found in Virginia.
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Likewise, sea items were frequently blackened/japanned to protect their iron parts from the rusting effect of salt air. A hanger sword with a black-painted guard is probably the real deal. The ship's axe rapidly developed into the modern fireaxe and some are indistinguishable from their true naval counterparts. Modern British fire axes, war-time trench axes and even some tool axes have characteristics similar to boarding axes.
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The floors are of extremely narrow timber boards, possibly japanned originally. The public rooms have early timber panelling, and plate and picture rails with decorative timber brackets, all of which has been painted. The ceilings retain their original fibrous-cement sheeting and timber battening arranged in decorative patterns. In at least one flat, the timber battening on the ceiling retains its dark staining, but most ceilings have been repainted.
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Not every adaptation of Chinese design principles falls within mainstream chinoiserie. Chinoiserie media included "japanned" ware imitations of lacquer and painted tin (tôle) ware that imitated japanning, early painted wallpapers in sheets, after engravings by Jean-Baptiste Pillement, and ceramic figurines and table ornaments. In the 17th and 18th centuries Europeans began to manufacture furniture that imitated Chinese lacquer furniture. It was frequently decorated with ebony and ivory or Chinese motifs such as pagodas.
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On the top floor were four bedrooms, furnished with Japanned (black lacquered) and mahogany bedsteads, dressing tables, wash stands and chests of drawers; white dimity, leather-covered armchairs; and Kidderminster or Brussels carpets. On the second floor were three slightly bigger rooms, with four-poster beds. On the first floor were four comfortable sitting rooms, with open fires, velvet-covered oak chairs and mahogany tables. The third sitting room had a piano in a mahogany case.
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In 1862 he leased premises in on the south-west corner of Pirie Street and Gawler Place, Adelaide, which were later rebuilt. Simpson was an innovator and introduced labour-saving machinery and new products such as fire-proof safes, bedsteads, japanned ware, colonial ovens and gas stoves. He was one of the first members of the South Australian Chamber of Manufactures. Of a retiring disposition, he was esteemed for his commercial ability and consideration to employees.
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As the demand for all things japanned grew, the Italian technique for imitating Asian lacquerwork also spread. The art of japanning developed in seventeenth-century Britain, France, Italy, and the Low Countries. The technique was described in manuals such as Stalker and Parker's Treatise of Japanning and Varnishing, published in Oxford in 1688. Colonial Boston was a major center of the japanning trade in America, where at least a dozen cabinetmakers included it among their specialties.
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She tried to follow through on what she perceived as her husband's objectives but her editing was confusing to the first professional editors, Weaver and Freeman, who mistook her writing for Melville's. For instance, she put several pages into a folder and marked it "Preface?" indicating that she did not know what her husband had intended. At some point Elizabeth Melville placed the manuscript in "a japanned tin box" with the author's other literary materials, where it remained undiscovered for another 28 years.
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1836 He attended the Royal Manchester Institution; practised painting; became connected with the local Manchester industry, and it was then and there that he met the great engineer Joseph Whitworth (1803–1887) who became his lifelong friend. Japanned tray of 'Victoria' shape. 1850s In 1837, he returned to Wolverhampton and worked for local japanners Ryton and Walton painting the centres of the tea trays. He designed the shape of a tray which was named "Victoria" after the young queen and became very popular.
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Joinery throughout is of red cedar, as are the interior floorboards, with japanned edges in the main rooms. There is a cedar mantelpiece in the dining room and a grey marble mantelpiece with gilt mirror in the parlour, surrounding back-to-back fireplaces. The internal walls bear early paintwork, including a plain dado strip along the hallway. A servant's entrance leads from the dining room to a gable-roofed timber kitchen house, with servant's room, attached to the rear verandah.
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The eight chairs around it were a set of George II-style red-Japanned and parcel-gilted moderns. Also, a mahogany three-tier server, which Williams had found in poor condition in the countryside around the island of Grenada, where it is known as a "cupping table" – referring to its use to hold cups and dishes beside the dining table. It is estimated at $4,000. Williams used the carriage house, which fronts onto Whitaker Street to the west, as a guest house for visitors.
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Eginton was the grandson of the rector of Eckington, Worcestershire, and was trained as an enameller at Bilston. As a young man he was employed by Matthew Boulton at the Soho Manufactory. In 1764 Eginton was employed as a decorator of japanned wares, but also did much work in modelling. During the next few years Boulton brought together a number of able artists at Soho, including John Flaxman and James Wyatt; and Eginton rapidly became a skilful worker in almost every department of decorative art.
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Many of Williams' antiques and furnishings were sold by Williams' sister at a Sotheby's auction on October 20, 2000. Where their locations in the house were known, they are mentioned in the relevant section below. ;First floor Looking at the front of the house, at the bottom right is the drawing room, with a fireplace on the side of the house flanking West Wayne Street to the north. A George I Chinoiserie Japanned cabinet dating from around 1720, on a later George I-style stand, was located in this room.
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The Victorian Room The display in the two Victorian rooms present British 19th-century art in its relation with wider world. It includes landscapes by Henry Mark Anthony, David Cox, James Baker Pyne, David Roberts, narrative paintings by the Cranbrook Colony artists, religious paintings by Pre-Raphaelite artist Frederic Shields, japanned ware by local manufacturers which were shown at The Great Exhibition, examples of local Myatt pottery, and Eastern objects - Chinese ceramics and mirror paintings, Japanese woodblock prints, Indian pottery and weapons, Persian metalware - collected by local people.
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Simpson was founded in 1853 by Alfred Simpson (1805-1891) who had migrated from London to South Australia in 1849. Simpson was an innovator and introduced labour-saving machinery and new products such as fire-proof safes, bedsteads, japanned ware, colonial ovens and gas stoves. In 1963 it merged with Pope Industries Ltd to form Simpson Pope Holdings Limited. Pope was originally established in Adelaide as Popes Sprinkler and Irrigation Company in 1925 and after World War II was also a manufacturer of washing machines and hand tools.
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Supreme Court Justice Nathan Clifford, sitting as a circuit justice in the circuit court in Rhode Island, held that Providence infringed Goodyear's patent. Providence sought to defend on the ground that it was licensed to engage in the allegedly infringing conduct, but the court held that the license was "restricted to the manufacture of cloths to be japanned, marbled, and variegated, as therein described, and that it confers no authority to manufacture any of the articles specified in the bill of complaint." It therefore ruled against Providence, which then appealed to the Supreme Court.
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Most variations used what appeared to be a bottle but was actually a tin container japanned (lacquered) green to appear like glass. The internal area is divided into sections and each one empties into a tube that ends just short of the neck. Very small holes drilled into the bottle allow them to be selected in the same fashion as Hocus Pocus, with the magician's hand holding the bottle so their fingers cover the holes; lifting one starts the pour. The tea kettle varieties simply moved the holes to the handle.
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Bond was baptised in Stroud, Gloucestershire in July 1725 and probably educated at The Crypt School in Gloucester, where his uncle was an usher. He married Susannah Hodgetts at St Philip's, Birmingham in 1758. He was apprenticed as a painter of japanned and papier-mâché goods to Henry Clay in Birmingham, and from 1757 was in charge of the ornamental department of Matthew Boulton's Soho Manufactory. Nothing is known of Bond's artistic career until 1761, when he exhibited a landscape drawing after Claude Joseph Vernet at the Society of Artists in London.
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It weighed less than 7 kg thanks largely to a body made from molded aluminium instead of heavy cast iron. Though sewing machines had been traditionally japanned in black with gold decals, Elna was finished in a distinctive matte green, giving rise to the machine's popular nickname, the Grasshopper. Its carrying case even doubles as an extension table, another widely imitated feature that would eventually become an Elna trademark. Elna sold for US$179 when introduced in the US. It was phased out beginning in 1952 with the release of the Supermatic.
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Lewis was born in Gloucester in 1753. He was apprenticed to a manufacturer in Birmingham, where he obtained some reputation for his skill in the decoration of japanned tea-trays. He turned to painting, and in 1772, at the exhibition of the Society of Artists in London, he exhibited nine pictures of fruit, dead game and other still life subjects. He went to Dublin in 1776, but not meeting with success as a painter he took to the stage, obtaining from Michael Arne an engagement as a singer at the Crow Street Theatre, Dublin.
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Bantock House contains displays exploring the lives of the Bantock family and other locally important people. On the ground floor, there are displays about the Bantock family and the way they lived. Upstairs, the focus shifts to the men and women who shaped Wolverhampton and the industries they created with displays featuring locally-made enamels, steel jewellery and japanned ware. The museum is unusual in that it avoids for the most part the use of traditional 'glass case' displays, and instead presents a 'more informal and imaginative setting'; visitors are, for example, encouraged to sit on any furniture they can find.
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Haughton was born in Wednesbury, Staffordshire, and baptised on 27 March 1735. He trained as an enamel painter and was employed at the workshop of Hyla Holden in Wednesbury, before moving to Birmingham to work for John Baskerville and Henry Clay in 1761, where he worked on enamelled, japanned and papier-mâché products. He was married to Elizabeth Haughton (1741 - 13 January 1816). In 1809, together with Samuel Lines, he established a Life Academy in Peck Lane, a street leading out of New Street, close to what was the Free Grammar School (on a site now occupied by New Street station).
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Joseph Barber (1757 – 16 July 1811) was an English landscape painter and art teacher, and an early member of the Birmingham School of landscape painters. Born in Newcastle upon Tyne, Barber moved to Birmingham in the 1770s, where he worked painting papier-mâché and japanned goods. In 1798, Barber was appointed to teach drawing at the Free Grammar School on New Street holding classes in his studio on the corner of Edmund Street and Newhall Street. By the mid-1880s he was well established as the town's first drawing master, with an academy training artists on Great Charles Street.
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George Wallis, son of John Wallis (1783–1818) and his wife Mary, née Price (1784–1864), was born at Wolverhampton on 8 June 1811. His father died early, and George Wallis was adopted by his grand-uncle, John Worralow, who was a famous maker of steel- jewellery at the time of George III. George Wallis was educated at the Grammar School from 1825 to 1827 and received initial training in japanned ware painting. He practised as an artist and art educator in Wolverhampton from 1827 to 1832, but then left for Manchester where he lived the next five years.
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National Enameling and Stamping Company is a historic factory complex located at Baltimore, Maryland, United States. It was constructed in 1887 to serve as the works of the Baltimore branch of the nation's largest tinware manufacturer, the National Enameling and Stamping Company (NESCO). The densely packed complex fills an almost site and consists of 17 interconnected buildings and one structure that vary in height from one to five stories. The complex was organized to house three primary functions in discrete sections: the manufacture of tinware, the manufacture of enameled and japanned wares, and storage, warehousing, and distribution.
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As its wealth and influence grew, Wolverhampton both took part in notable exhibitions and hosted them. The Great Exhibition of 1851, at The Crystal Palace, had examples of locks, japanned ware, enamel ware and papier-mâché products all manufactured in Wolverhampton. Following successful exhibitions at Mechanics' Institutes in Manchester and many northern towns, Wolverhampton held an exhibition that was the brain child of George Wallis, an artist employed by the firm of Ryton and Walton. The exhibition was held in the Mechanics' Institute in Queen Street and showed fine art, furniture, and decorated trays, as well as a variety of ironwork, locks and steel toys.
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The electric pen was the key component of a complete duplicating system, which included the pen, a cast-iron holder with a wooden insert, a wet cell battery on a cast- iron stand, and a cast-iron flatbed duplicating press with ink roller. All the cast-iron parts were black japanned, with gold striping or decoration. The hand-held electric pen was powered by a wet cell battery, which was wired to an electric motor mounted on top of a pen-like shaft. The motor drove a reciprocating needle which, according to the manual, could make 50 punctures per second, or 3,000 per minute.
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This may be to prevent the plates rusting that Thomas Allgood, one of Hanbury's managers, began japanning plates as "Pontypool japan".As to japanning see W. D. John, Pontypool and Usk Japanned Wares (The Ceramic Book Company, Newport, UK, 1953). However, the concept of rolling plate iron was probably brought to Pontypool by Thomas Cooke, probably the son of Thomas Cooke, who had worked at Wolverley for Andrew Yarranton, who found out how to produce tinplate by visiting Saxony.Brown, P. J., "Andrew Yarranton and the British tinplate industry", Historical Metallurgy 22(1) (1988), 42–8King, P. W., "Wolverley Lower Mill and the beginnings of the tinplate industry", Historical Metallurgy 22(2) (1988), 104–113.
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In 1859, at the age of 23, John Marston's apprenticeship was competed and he bought Daniel Smith Lester's japanning business at Bilston which had amalgamated with Fred Walton & Company and Thurston and Company and established his own business John Marston Limited, producing japanned tin goods. He did so well that when Perry died in 1871 Marston took over the business and merged it with his own. Blue Plaque awarded by Wolverhampton Civic Society attached to the Sunbeamland works John Marston began making bicycles in 1877 with the trademark Sunbeam suggested by his wife. The factory was renamed Sunbeamland and Marston based his production on high build quality, with enclosure lubricated chains, which until 1936 became the best cycles on the market.
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Japanese lacquer and japanned, by Bernard II van Risenburgh, Paris, ca 1750-60 (Victoria and Albert MuseumV&A; Museum no. 1094-1882) Bernard was already received as a master in the guild by the time the sequence of surviving books begins in 1735, and he was already working for the marchands-merciers, for his stamp appears on a commode veneered with lacquer panels that was delivered by the marchand-mercier Hébert for the use of Marie Lesczinska at Fontainebleau in 1737, and the trade card of Simon-Philippe Poirier, perhaps the best-known of the marchands-merciers, is sometimes found affixed to furniture stamped BVRB. Furniture that once belonged to Mme de Pompadour also bears his stampWatson 1962:342 and note 5 remarks Pierre Verlet's description of a bidet and a night table, in Mobilier Royal Français, vol. II (1955:59-60).
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Guardia uniforms underwent some changes in the 1950s and 1960s, with officers adopting the US M1942 light khaki service dress, comprising tunic, slacks and a matching peaked cap with brown-japanned chinstrap and peak, or black dress cap with gold chinstrap, black peak with gold leaf embroidery for field and general ranks (the GN Chief Director had additional French-style embroidery on the cap band), and silver triangular national cap badge. For formal occasions, senior officers adopted a black ceremonial version of their M1942 service dress with gold embroidered insignia whilst the other ranks' retained the old khaki 'Chino' uniform as barrack dress or for walking-out, usually worn with the khaki sidecap. The 'Sam Browne' belt was discontinued, and brown (black for the other GN branches) leather shoes replaced the earlier breeches and riding boots. Nicaraguan Air Force (FAGN) officers received a royal blue US Air Force-style M1947 service dress, worn with a light blue shirt and royal blue tie on formal occasions; a short-sleeved shirt and matching royal blue sidecap (a.k.a.
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Irwin often wrote under a pseudonym or presented himself as the editor, translator, or sardonic discoverer of works by others. His Rubaiyat of Omar Khayyam, Jr. purports to be his translation from a language he calls “Mango-Bornese”. Irwin’s most sustained impersonation began in 1907 with the serialization of his "Letters of a Japanese Schoolboy" in Colliers magazine. He wrote in a stereotypical fractured English in the persona of a thirty-five-year-old “boy” Hashimura Togo. The fourth installment of the series, entitled “Yellow Peril”, featured Irwin posed in yellow face make-up for a portrait photograph of Togo. The photo fooled readers for months, whereupon Colliers produced twin photos, Irwin as Togo and Irwin “before he was Japanned”.Uzawa, Yoshiko. “’Will White Man and Yellow Man Ever Mix?’: Wallace Irwin, Hashimura Togo, and the Japanese Immigrant in America.” The Japanese Journal of American Studies. No. 17 (2006). 201-2. Irwin’s racial clichés brought him to the heights of success, including praise from Mark Twain who found Togo a delightful creation and the New York Globe which hailed the book as “the greatest joke in America”.
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The (Grade I listed) house is of interest not so much for its architecture, but for its contents. Lord Fairhaven's collection includes furniture, paintings and sculptures, clocks, tapestries, books, and objets d'art and, according to the author of a guide to Anglesey Abbey, expresses "an eclectic taste and refreshing disregard for fashion". Rooms open to the public include: the living room that originally formed the chapter house of the priory and dates from the 13th century; the "oak room" with its oak panelling and plaster ceiling copied from that of the Reindeer Inn at Banbury; the dining room formed from the monks' day room; the tapestry hall; the service wing; the library, where various royal visitors have engraved their names on a window; several first floor bedrooms; and the two-storey picture gallery. Furniture includes an Italian Renaissance refectory table in the dining room, chairs embroidered by Lord Fairhaven's mother in the living room, a white japanned Chippendale dressing table that once belonged to actor David Garrick in one of the bedrooms, and bookshelves made from the piles of John Rennie's Waterloo Bridge in the library.
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