Herbert Tyson Smith Bronze-Piece of the Week

 I bought this bronze by Herbert Tyson Smith in an auction hundreds of miles away.

The Internet now dictates there is nothing local anymore.

But this really is a local artefact, and I had to have it, and paid a bit for it, but I must bring it home I thought..

It is a study of a Merman. Images of Mermen are all around this locality around Water Street and the town centre.

There is n almost identical depiction on the façade of Martins Bank Building across the road from my shop.

 It is signed in the bronze and sits on an exotic marble base.

It seems to my mind to be a limited casting; I would be surprised if there was more than one made. Herbert Tyson Smith had been very productive in the inter war years.

He was the man who created the bronze castings on the Cenotaph on the space directly in front of the entrance to St Georges Hall along with architect Lionel Buddon.

Look up at most stone carvings from that interwar period and there is a chance that they were done in his workshop.

There was a little bit of research to do but I can take my time I thought but shortly after me picking it up Terry McDonald a local sculptor who seems to have been around forever, dropped in the shop.

Of course he used to work for Tyson Smith so I showed him an image of the bronze.

” Oh yes I remember that....... I broke the full sized plaster model of that same piece up, after the war, It was going to be a fountain, there was no money around for it”

“Are you sure it’s the same one”

“Positive I was only a young bloke then but I remember it as if it was yesterday” he replied
pic; by Wayne Colquhoun; Terry McDonald at his workshop

I went around to Terry’s place and there you go, original pieces by Herbert Tyson Smith with the same themes and much more. His workshop was fascinating. 

Here he is pictured with a model for the huge bronze that he was commissioned for that was erected outside Liverpool Womens Hospital. 

pic; relief by Tyson Smith in Terry's workshop

I had been a member of the Liver Sketching Club at one time and I spent numerous Saturday mornings sitting by an easel drawing from life while Terry held court strutting around the circle of budding artists giving advice in a parental manner.

It was a bit too much for me and I refused his help but remembered the experience of the Saturdays spent in Seal Street with a group of older blokes who were dedicated to thier art.

Tyson Smith had his workshops at the Bluecoat and I made an application to have a separate listing within the English Heritage listing of his studio at the Bluecoat in School Lane.

Those English Heritics saw it a more fitting proposition to knock it down.

What a tourist attraction this would now make but instead http://www.liverpoolmonuments.co.uk/tyson/workshop06.htm  it is now a shop selling cheap Chinese imports that do nothing to evoke the history of that area.

He sculpted reliefs for "The Crown" a hotel and public house on the East Lancashire Road http://www.liverpoolmonuments.co.uk/sculpture/crown01.html  that in an act o vadalism was knocked down last year by a bunch of morons and this was allowed by an even larger group of clowns the City Council.

He also did work out of the city this is a monument he erected in Accrington. http://www.liverpoolmonuments.co.uk/tyson/accrington/content/figure01_large.html

Son of a lithographic printer and engraver, Herbert Tyson Smith was Liverpool born and educated at Liverpool University.

He enrolled in evening classes at the college of art where he studies clay modelling, plaster casting and stone carving.

He also studies drawing under Augustus John at the "Art Sheds" and University School of Art where he met Charles Allen, head of sculpture.

He joined the Royal Engineers at the outbreak of war in 1914 and was stationed at Dymchurch, Kent.

Honorary degree at the University of Liverpool. 1948 (George) Herbert Tyson Smith, MA.

Honorary instructor in Craftsmanship at Liverpool University School of Architecture.

He exhibited at Walker Art Gallery and the Sandon Studios where he was a member of the Sandon Studios Society.

pic courtesy of Chambre Hardman archive Liverpool

Lusitania Medal-Piece of the Week.

 It’s a small medal in a box that was struck nearly a hundred years ago.


Despite its size and at first glance, it is quite innocent looking,  this piece of history tells us fathoms about the era in which it was made and the tragedy that it represents.

I recently visited Cobh on the Irish coast near Cork, were passengers had once boarded the Titanic for its maiden voyage where there is a memorial to those that died on the Lusitania.

The medal was struck by the British "copied" from the original, that was made after the deplorable act of the sinking of The Lusitania on 7th May 1915 by a German U-Boat, killing 1,198 of the 1,959 people aboard, leaving 761 survivors.


It is said that it is an exact replica of the one that was struck by Karl Goetz for the Germans to commemorate the atrocity.
It was made in 1916 some time later than the original which was made privately in August 1915.
It was said that 500 German medals were struck and a limited circulation took place.


British copies were of die cast iron and were of poorer quality than the original. The original Goetz medals were sand-cast bronze. Belatedly realising his mistake, Goetz got the date wrong and the original German medal was dated ‘5 Mai’ Goetz quickly issued a corrected medal with the date of "7. Mai".

The Bavarian government suppressed the medal and ordered their confiscation in April 1917.

The original German medals can be identified from the English copies because the date is in German, the English version was altered to read 'May' rather than 'Mai'. After the war Goetz expressed his regret that his work had been the cause of increasing anti-German feelings.

One side of the medal showed the sinking of the Luitania laden with guns with the motto "KEINE BANNWARE!" ("NO CONTRABAND!"), the other side showed a skeleton selling tickets with the motto "Geschäft Über Alles" ("Business Above All").The replica medals were produced in an attractive case claiming to be an exact copy of the German medal, and were sold for a shilling apiece.

On the cases it was stated that the medals had been distributed in Germany "to commemorate the sinking of the Lusitania" and they came with a propaganda leaflet which strongly denounced the Germans and used the medal's incorrect date to claim that the sinking of the Lusitania was premeditated.
The head of the Lusitania Souvenir Medal Committee later estimated that 250,000 were sold, proceeds being given to the Red Cross and St. Dunstan's Blinded Soldiers and Sailors Hostel.

There had been an advertisement placed in an American paper warning of the risk to passengers travelling on Cunard Line.

U-Boats were the new threat to shipping.

U-20 sank the 6,000 ton steamer Candidate. It then failed to get off a shot at the 16,000 ton liner Arabic, because although she kept a straight course the liner was too fast, but then sank another 6,000 ton British cargo ship flying no flag, Centurion, all in the region of the Coningbeg light ship.

The specific mention of a submarine was dropped from the midnight broadcast on 6–7 May as news of the new sinking's had not yet reached the navy at Queenstown, and it was correctly assumed that there was no longer a submarine at Fastnet.

Captain Turner of Lusitania was given a warning message twice on the evening of 6 May, and took what he felt were prudent precautions.

There can be n excuse for this barbaric act in the early days of the First World War before new style Naval warfare, and the new U-Boat threat had been understoo.

But it is also a fact that Britain wanted America in the First World War and this unholy act is cited as one of the main reasons that America entered the war on the side of the Allies.

Churchill then Lord of the Admiralty knew of the threats to the Lusitania and it was said he was away playing golf, it has been rumoured he ignored the threats. 

Posters were also produced. It says a lot about the cruel nature at the time where both side splayed with propaganda that cost peoples lives.

The RMS Lusitania was funded by the British Government and had a contract that it could be commissioned by the Navy.

It was estimated that it took 16 minutes to sink 11 miles off the Old Head of Kinsale.

The contemporary investigations both in Britain and in the United States into the precise causes of the ship's loss were obstructed by the needs of wartime secrecy and a propaganda campaign to ensure all blame fell upon Germany.

The reason why we the British would strike a medal and distribute it, is, a sinister act itself.

Argument over whether the ship was a legitimate military target raged back and forth throughout the war as both sides made claims about the ship and whether it was a legitimate target.

At the time she was sunk, she was carrying a large quantity of rifle ammunition and other supplies necessary for war, as well as civilian passengers.

Several attempts have been made over the years since the sinking to dive to the wreck seeking information about exactly how the ship sank.

It was on its way to Liverpool and one of its bronze propellers is on display near Liverpoos Albert Dock.

Art Deco Panther-Piece of the Week

I love the way the French depicted animals in the inter war years, with their tradition of sculptors in the genre.
The noble beast lends itself to a stylised study and in the hands of a good sculptor it is amazing what can be done.
I have chosen a picture of one I currently have that is not too expensive, £300-400 would be a decent price to pay for such.
It is a spelter model, but the base is nice marble and the way it has been inlaid with sections of onyx just gives it a  little extra.
It has a bronze patina and this is everything when purchasing a spelter as a beautiful glow can hint that it is a bronze to most people.
Where do you go with the same equivalent in bronze well its going to set you back a thousand pounds and if it was by my favourite sculptor Rembrandt Bugatti, son of the furniture maker and brother of the car designer then you may be looking at half a million pounds.
This is a nice way to "buy in" to he at deco style. It may be said it is a touch on the masculine style but having sold scores of Art Deco Cats to ladies it seems that the beauty transcends the sexes.
 I don't know anyone could deny the beauty of a strident black leopard stalking its prey or just strident as in this pose.
Tradition:
Le Livre du Jungle  http://fr.wikipedia.org/wiki/Le_Livre_de_la_jungle that was published in France, or as we know it here Jungle Book by Rudyard Kipling.
This animalier style was championed at the Salons and was maybe the continuation of a tradition that Antoine Louis Barye http://en.wikipedia.org/wiki/Antoine-Louis_Barye came from in the 19th century.

 So you may wonder what a cartoon in the sixties with songs such as the Bear necessities and lyrics such as "I wanna be like you..u..u, dooby doo, dooby doo, have got to do with this sculpture.
Well its my opinion that it is because Le Livre Du Jungle was illustrated by Paul Jouve with his beautiful stylised and characterful depictions of the beasts that Kipling made come to life from his memories in India, and this helped to inspire a generation of artists and sculptors that helped form the vision that made the cartoon come alive. To another generation. It does not disredit Paul Jouve t know that his amazing illustrations of Mowgli  lit up the eyes of Walt Disney for sure.
How now we take it for granted, we know almost every creature that has ever existed, but in the 1920's  you may not know what a Lion or a Tiger looked like.
These exotic creatures were to mesmerise a generation with a novel such as Edgar Rice Burroughs Tarzan of the Jungle, (it seems like only yesterday, watching the Johnny Weissmuller and seeing the 1960s cartoon on the flics).

Today these artists and sculptors from a tradition of craftsmanship that could not be recreated today, leave an affordable and stylistic legacy to a almost forgotten era.


But in the twenties and thirties you could discover their magnificence only in a zoo, but a sculpture could then be purchased in a posh department store and be placed be pride of place on your mantelpiece..............just as you can today.

Eric Knowles Calls In For A Cuppa.

Its always nice to see Eric, he was in town for a Bonhams valuation day and he popped over for a cuppa. He was quite taken by the strident panther on a marble and onyx base that he is holding in the picture that was taken in my shop today. He always seems so genuinely interested in his stock in trade, the Art Deco period. We had a good natter about the job and where its going, with the new Internet age, and decided we both don't know. But it has opened a lot of new opportunities where a piece can be viewed all round the world within minutes of it being put on line. http://www.classicartdeco.co.uk/sculpture.php

Diana The Huntress by Lejan-Piece of the Week.

Sometimes the French craqelle glazed sculptures of the inter war years can be underrated.
This is an amazing piece of movement, it almost looks as if it has been designed in a wind tunnel.
LEJAN did some wonderful sculptures, and some not too good but there is a mystery surrounding the work of the sculptor who may have in fact been a group of sculptors which may go some way to explaining the inconsistency of the work.
I used this sculpture by LEJAN in a exhibition called The Age Of Jazz curated by Sue Lunt at the Walker Art Gallery, to which I was commissioned to put together a room setting.
The signature can be seen on several different craquelles sometimes signed JAN LE, JANLE and I have had a interesting black glazed Panther signed JEAN.
There was a sculpture and a Pate de Verre vase that went through a New York Christies sale in 1990 signed Walter Nancy Le Jan.
Almeric Walter (Sevres1859-1860) was a collaborator with Daum.
Some of the rare pieces have the mark Orchies or Moulin des Loups. There is also a theory that it may have been a woman and it is why the masculine style of some of the sculptures may not have suited being attributed to a lady but needed to be seen in a masculine manner. This piece is some 50cm long signed LEJAN looks as good from several different angles, and is pretty wonderful

Pair of Chairs by George Montague Ellwood-Piece Of The Week

 A pair of exceptional Arts & Crafts side chairs designed by George Montague Ellwood & made by J S Henry.
The single central back splat united by two lower cross stretchers which cleverly emulate the lower twin side stretchers & single side uprights which are united by a higher single cross stretcher with its roundel.
A single variation to this chair with copper inlay sold at Sotheby's London on 22nd Feb 2006, it made £5040 with the buyer's premium that chair was almost identical in form.

George Montague Ellwood (1875-1955) Artist, Designer & Interior Decorator was educated at Holloway Art School & later studied in Paris, Berlin, Dresden & Vienna & at Camden School of Art from 1916 to 1924. In 1897 he won the gold medal for his furniture designs at the National Competition, South Kensington. He was one of the founding members of the 'Guild of Art Craftsmen', comprising the likes of Onslow Whiting (metal & repousse' work) J Osmond (a carver), & Richard Garbe (sculptor).They held regular exhibitions of their works, situated at Camden Square, London.

Some of Ellwood's best work was between 1900-1905/6 when he was the head designer for J S Henry (John Sollie Henry, founded c1880) of Old Street, London.

Ellwood knew how to strengthen a piece of furniture yet retain a lightness of touch that is still surprising in its vision, today.

The simple addition of the upright that connects to an additional internal stretcher gives the chair an architectural strength, yet manages to give the chair an air of lightness.

All this extra work adding to the integral strength in such a way that he was able to create modernism in a Victorian age.

 Other designers such as C F A Voysey, W J Neatby, G Walton, W A S Benson, & E G Punnett whom also supplied designs for J S Henry were tryng hard to encapsulate the same vision.

J S Henry made furniture to their designs in oak, walnut, green stained sycamore & mahogany, often inlaid with fruitwood, pewter & copper depicting stylistic & organic designs. Ellwood's designs for J S Henry were exhibited at the 1900 Paris Exhibition & won a silver medal. He exhibited at a number of venues between 1899 & 1915, including four times at the Royal Academy. He also worked for Bath Cabinetmakers & the Bristol based firm of Trapnell & Gane. Later he traded as Ellwood & Sledmere at 53 Mortimer Street, London. & designed posters for the London Underground Group between 1912 & 1914 now displayed at The Transport Museum.

He became editor of Drawing & Design Journal & in later years continuing his life's work he wrote several books on drawing & design.

Daum Acid Etched Vase-Piece of the Week

Sometimes simplicity is key to good design and Daum were usually quite good at simple art deco designs combined with craftsmanship. This vase is 31cm high.
see glass section of my website; http://www.classicartdeco.co.uk/glass.php


Founded in 1878 by Jean Daum[1] (1825–1885).
His sons, Auguste Daum (1853–1909) and Antonin Daum (1864–1931), ran the company during Art Nouveau period.
During the Universal Exhibition of 1900 Daum was awarded a ‘Grand Prix’ medal. Daum glass became more elaborate, acid etching (by Jacques Gruber) was often combined with carving, enamelling and engraving on a single piece of glass to produce creative glass master-pieces.
Daum creations also feature applied glass elements, such as handles and ornamental motifs in naturalistic forms.
The Daum brothers were one of the major forces in the Art Nouveau movement, seriously rivalling Gallé, so much so that when Émile Gallé died in 1904 they became the leaders in the field of decorative glass.
In 1906 Daum revived pâte de verre (glass paste), an ancient Egyptian method of glass casting, developing the method so that by the 1930s Daum's window panels used pâte de verre for richness instead of leaded or painted glass.

Daum gradually moved into the Art Deco period. The creations in this new style are some of the best of its period. Glass became a tool with which to create good design and Daum began to use the skills learnt during the Art Nouveau time to move with the times.
On the art deco pieces they produced it can be seen how the craftsmen worked.
Bevels were arranged in cubist form, planes were cut deep into a crystallised or frosted  aspect, leaving parts of a pattern rough and other parts polished. Geometric patterns were arranged and motifs employed that were fresh and vibrant for the jazz age.
Always tactile to hold and feel. The differing textures were copied and imitated but very rarely equalled.
The Exposition International des Art Decoratif et Industrial held in Paris in 1925 gave them an opportunity to show their wares off to buyers all over the word and with the skill of its craftsman the Daum company had years of prosperity leaving us today with some of the finest examples of Art Deco.
They don't come cheap quality never does this one is over £500 but where can you find something with such sophistication for less.