Learn about and understand the items, manufacturers, designers and periods as well as the specialist terms used in describing antiques and collectables. Either click one of the letters below to list the items beginning with that letter, or click on a category on the left side of the screen to list the items under that category.

S. Hancock & Sons

S. Hancock & Sons was a ceramics manufacturer in Stoke-on-Trent, England. The company was founded in 1857 by Sampson Hancock, a prominent Wesleyan. Hancock began his career as a potter's apprentice, and eventually went on to establish his own business. The company's early products were mainly earthenware, but Hancock soon began to experiment with other materials, such as porcelain and bone china. In 1891, the company was renamed S. Hancock & Sons, and Hancock's three sons, Jabez, Harry, and Arthur, joined the business.

The company's products were known for their high quality and attractive designs. In 1912, S. Hancock & Sons introduced a new line of china called Corona Ware. The term "Corona" referred to the radiating patterns that were often used in the decoration of the ware. Corona Ware was made from a fine-grained porcelain, and was decorated with delicate floral patterns. The new line was an immediate success, and helped to establish S. Hancock & Sons as one of the leading ceramics manufacturers in England. Other popular patterns produced by the company were Duchess China, Grosvenor Ware, Ivory Ware, Morris Ware, Rubens Ware, Titian Ware. These patterns are known for their delicate floral designs, which were often hand-painted by skilled artisans. S. Hancock & Sons also produced a variety of other patterns, including geometric designs, landscapes, and portraits.

The company continued to produce high-quality ceramics throughout the 20th century. In 1935, the company was renamed S. Hancock & Sons (Potters) Ltd., and moved to a new factory in Hanley. The company continued to operate until 1968, when it was acquired by Wedgwood.

View further examples of S. Hancock & Sons

S. Hille & Co

Set of four dining chairs, designed in 1951 by Robin Day, and manufactured by S. Hille & Co., England, with enamelled metal frame supporting a padded seat and laminated wood back rest.

The S. Hille & Co. furniture company was founded in the East End of London in1906 by Salamon Hille. The company manufactured quality reproduction Sheraton and Chippendale furniture, with the emphasis on quality rather than volume.

In 1932, Salamon Hille retired and his daughter Ray Hille took over the company. During and after World War II, timber was not available for manufacure of new furniture, unless for export, so the company concnetrated on repairing and restoring furniture with second-hand materials, and building up an export market, using new timber.

In 1949, Ray Hille, a formidable matriarch, with her daughter Rosamind and son-in-law Leslie Julius, began the collaboration with Robin Day which continued successfully for more than 20 years.

In addition to designing nearly all of Hille’s products Robin Day also took over the graphic design for Hille, including letterheads, forms, vehicle livery, and the Hille logo which with a few variations has been used for 60 years. He was also responsible for graphics, brochures, showroom designs and exhibition stands.

View further examples of S. Hille & Co

Sabino Glass

The Sabino Maitre Verrier company (Sabino Master Glassmaker) was founded in Paris in 1919 by Sicilian born Marius Ernest Sabino. He grew up in France, and attended the L’Ecole Nationale Des Arts Decoratifs and Beaux Arts de Paris. His earlier production were metal chandeliers, mounted lamps and architectural accessories in moulded glass, and then after World War I he diversified into decorative objects in the Art Deco or Art Nouveau style, which he had designed.

It was in 1925 that first Sabino created the blue-hued semi-transparent opalescent glass for which the company is best known, and he expanded his business to make statuettes and figurines, both human and animal.

In the 1930s Sabino moved his production to his factory in Noisy-le-Sec in the south-eastern suburbs of Paris where production continued using the same techniques and moulds.

Limited production with the consent of the Germans continued during World War II, and when the war had finished, Sabino transferred the company's operations to his nephew and adopted son Gripoix Sabino, where production continued using the same moulds.

Marius Sabino died in 1961 and Gripoix Sabino continued production, still using the same techniques and moulds. Almost all the production was being exported to the United Sattes, and in 1978 the business was sold to Richard Choucroun, the company's American agent, trading as "Sabino Crystal Company".

The "Sabino Crystal Company" is based in Houston Texas and still selling the same blue-hued semi-transparent opalescent statues and decorative items that were were fist made in the late 1920s.

Earlier Sabino glass is usually signed "Sabino Paris", "Sabino France" or "Sabino", either in engraved cursive script, or if moulded, in uppercase. A catalogue raisonne of Sabino's work by Philippe Decelle, "Sabino - Catalogue Raisonne Sabino - Maitre Verrier D'l'Art Deco 1874-1961" was published in 1978.

View further examples of Sabino Glass

Sabre Leg

The sabre leg is commonly associated with chairs made in the Regency or classical revival manner of the early 19th century. The form was copied from designs of the ancient Grecian chair known as a klismos found on painted classical vases. The characteristic of the sabre leg is a wide, sweeping backward curve which was frequently reeded, similar to a sabre. The sweep of the front legs was sometimes complemented by a corresponding curve in the back legs of the chair, though on most domestic furniture the sweep of the rear support was not as pronounced. Sabre legs are often encountered in reproductions of the regency style. They are uncommon in Australian furniture where, by and large, colonial craftsmen preferred to use turned legs.

View further examples of Sabre Leg

Saddle Seat

A saddle seat is a chair with a solid wooden seat, with two shallow depressions separated by a slight central ridge, suggestive of the shape of a saddle. However the term has been applied by designers and auction cataloguers to a wide range of seat shapes.

View further examples of Saddle Seat

Saint Louis Glass

The Compagnie des Cristalleries de Saint Louis, commonly known as Saint Louis, is a prestigious French glass manufacturer whose origins date back to 1586 when the royal factory for mirror glass was established in the Lorraine region of France. In 1767, King Louis XV granted Jean-François Bolzinger permission to create a glassworks in the town of Saint-Louis-lès-Bitche. The factory initially produced window glass and tableware.

In the early 19th century, the ownership of the glassworks changed hands multiple times. In 1829, Louis-Joseph Polycarpe Heintz, a former director of Baccarat, purchased the factory and renamed it "Verrerie des Cristalleries de Saint-Louis." Under Heintz's guidance, the company began focusing on the production of high-quality crystal glassware and decorative items.

During the mid-19th century, Saint Louis became known for its intricate glass designs and innovative techniques. The company participated in various international exhibitions and received numerous awards for its craftsmanship. The company's crystal glassware became highly sought after by the European aristocracy and elite.

In the 20th century, Saint Louis faced challenges due to the two World Wars and the Great Depression. However, the company managed to endure and maintain its reputation for exquisite glass creations. In the 1930s, renowned designers such as Paul Nicolas and Jean Sala contributed to the development of Saint Louis' distinctive Art Deco style.

In 1989, the company merged with Hermès, the renowned French luxury brand, which further strengthened Saint Louis' position in the luxury goods market. The collaboration with Hermès brought fresh ideas and modernized the production processes while preserving the traditional craftsmanship and heritage of Saint Louis.

 Saint Louis continues to produce exquisite crystal glassware, including stemware, vases, decorative objects, and lighting fixtures. The company's products can be found in prestigious hotels, restaurants, and luxury homes around the globe, making Saint Louis a symbol of French artistry and craftsmanship in the world of glass manufacturing.

Saint-Louis Glass

The history of glass making in the town of Saint-Louis in France dates back to the 16th century. In 1586, a group of glassmakers from the town of Meisenthal, located about 20 kilometers away, established a glassworks in Saint-Louis. The glassworks was originally called the "Verrerie de Münzthal," after the name of the valley in which it was located.

The glassworks initially produced a variety of products, including window glass, tableware, and decorative items. In the early 18th century, the glassworks began to produce crystal, which is a type of glass that is made with a high concentration of lead oxide. Crystal is known for its clarity, brilliance, and refractive properties. In 1767, King Louis XV of France granted the glassworks the title of "Verrerie Royale de Saint-Louis," (Royal Glassworks of Saint-Louis). This title was a recognition of the high quality of the glass produced at the glassworks.

The glassworks continued to produce high-quality crystal throughout the 18th and 19th centuries. The glassworks were also known for their innovative designs, which often featured intricate patterns and motifs.

In the early 20th century, the glassworks faced some challenges, including competition from foreign manufacturers and the two World Wars. However, the glassworks has since recovered and continues to produce high-quality crystal today.

The Saint-Louis crystal factory is a popular tourist destination offering tours and a museum.

Sally Tuffin

Sally Tuffin came into ceramics from a background in fashion design. In the early 1960's she was the other half of 'Foale & Tuffin', one of the trendiest labels in Carnaby Street, London.

She turned to ceramics in 1972 when her retailing partnership was dissolved and in 1985, with her husband, Richard Dennis, launched The Dennis China Works to make ceramics for collectors.

In 1986, Richard Dennis and a partner purchased the ailing Moorcroft pottery and over the next six years Sally Tuffin's designs injected new life into the pottery.

Sally and Richard Dennis re-started the Dennis China Works in 1993 after reviving Moorcroft pottery for the previous six years.

Sally Tuffin's designs are influenced by the arts and crafts movement and nature. All pieces are signed and numbered.

View further examples of Sally Tuffin

Salt Glazed

Salt glazing involves throwing salt into the kiln when it is at its highest temperature, usually around 2,300 to 2,400 degrees Fahrenheit (1,260 to 1,320 degrees Celsius). The salt vaporizes and forms a glaze on the surface of the pottery, creating a range of effects depending on how the salt is applied and the firing conditions. This glazing method was first developed in Germany in the 15th century and quickly became popular throughout Europe and North America. It was particularly popular for making stoneware pottery, such as jugs, crocks, and other utilitarian objects.

Salt glazes can produce a range of colors, including gray, brown, blue, and even pink or purple in some cases. The texture of the glaze is typically rough and pebbled, with a matte or satin finish. The process of salt glazing can be unpredictable, with variations in temperature and salt application leading to subtle variations in the finished product.

Salt glazing is still used by potters and ceramic artists although it is less common than it was in the past.

View further examples of Salt Glazed

Salter Scales

Salter Australia Pty. Ltd manufactures scales and weighing equipment in Australia. The original company, Salter Weighing Machines, was founded in the United Kingdom in 1760 by Richard Salter. The company began manufacturing spring scales in the 1820s, and went on to become one of the world's leading manufacturers of scales and weighing equipment.

In 1908, Salter Weighing Machines established a subsidiary in Australia, named Salter Scales Pty. Ltd. The company began manufacturing scales and weighing equipment for the Australian market, and quickly became a leading supplier of weighing equipment in the country.

During the early part of the 20th century, Salter Scales Pty. Ltd. continued to expand its operations, and opened branches in various cities throughout Australia. The company also began exporting its products to other countries in the region, including New Zealand and Papua New Guinea.

In the 1960s, Salter Scales Pty. Ltd. changed its name to Salter Australia Pty. Ltd. The company continued to expand its product range and operations, and in the 1970s, it began manufacturing electronic scales and weighing equipment.

Salter Australia Pty. Ltd. continues to be a leading supplier of scales and weighing equipment in Australia. The company offers a wide range of products, including kitchen scales, bathroom scales, industrial scales, and laboratory scales, and exports its products to countries throughout the Asia-Pacific region.

View further examples of Salter Scales

Salver

A plate or tray used for the formal offering of food, drink, letters or visiting cards, usually of silver plate, silver or silver-gilt. Large, heavy, oblong or oval silver salvers evolved into what we know as trays in the 18th century. Small, flat salvers are known as waiters.

View further examples of Salver

Samplers

A needlework sampler by Caroline Ward, dated August 17, 1824, with the alphabet and numerals and initials of her parents and five siblings.

Samplers can be found dating back to the 16th century, but most samplers date from the 19th century, although 17th and 18th century examples can be found.

Their purpose was to teach girls from as young as 9 or 10 and young women a variety of sewing stiches through instruction and practice, in the era before examples were available in printed magazines and books. They also were an aid to teaching the embroiderer the alphabet and numerals - most samplers include both of these in the lower section.

Samplers often carry the name of the embroiderer and the date. Sometimes the age of the embroiderer is given and occasionally the name of her house or school. This information adds interest to the piece, and can also affect the value, particularly if it verifies that the sampler was completed in Australia.

Samplers were sewn on linen and wool or silk threads were used for the embroidery.

Coloured silk samplers tend to command the highest prices, particularly when combined with raised work and metal threads, such as gold or silver, which would only have been used by the wealthy.

Moth holes, tears, disintegration or faded colours will affect value and the edges of the sampler, where the material has been stretched, should be checked for damage. If the sampler is no longer in its original frame, the value will be reduced.

View further examples of Samplers

Samson of Paris

The firm of Samson et Cie, was founded in Paris in 1845 by Edme Samson (1810-91) originally specialising in the production of good quality copies of porcelain pieces in museums and renowned private collections.

The range of wares included copies of Chinese famille rose and famille verte porcelain, Japanese Imari as well as Worcester, Chelsea, Sevres and Meissen porcelain.

The firm did not set out to pass off the reproductions as originals, as they were distinctly marked with the Samson mark, and also sometimes also with the mark of the factory that was being reproduced. Some of the reproductions were of such high quality they have been mistaken for, or passed off as being originals of the copied factory. This exercise has sometimes been assisted by removal of the Samson marks.

Chelsea, Meissen, Famille Verte, and Chinese Export porcelain are some of the wares that have been reproduced by the company. The firm used a variety of marks on the reproductions. Most of the reproduced pieces copy mid-eighteenth- to early nineteenth-century designs.

The business was successful, and Edme's son Emile Samson joined the family business when it moved to larger premises in the 1860s.

The firm continued in business until 1969.

View further examples of Samson of Paris

Samson of Paris

Samson of Paris is a porcelain manufacturer that was established in Paris, France, in 1845. The company was founded by Edme Samson, who had previously worked at the Sèvres porcelain factory and had extensive knowledge of porcelain production.

Samson of Paris was known for its reproductions of historic and antique porcelain pieces, as well as for creating new designs inspired by traditional porcelain styles. The company was particularly skilled at creating high quality copies of every kind of porcelain, including Meissen, Chantilly, Chelsea, Derby, and Chinese works. In addition to their own unique marks, Samson marked their items with symbols very similar to marks seen on the actual original pieces they were copying. They often added the letter “S” or some other sign to indicate that this was a copy. These reproductions were skilfully created and can be difficult to distinguish from the original.

The company also worked on special commissions, creating porcelain pieces for prominent figures such as Napoleon III and Empress Eugenie.

The company remained in operation until 1969.

View further examples of Samson of Paris

Samuel Alcock & Co

Founded by Samuel Alcock in Cobridge, Staffordshire in the early 19th century, Samuel Alcock & Co. was a 19th-century English pottery which made general pottery and porcelain. Samuel Alcock was a member of the Alcock family of potters, who were known for their high-quality earthenware and bone china products, and the Alcock family owned several potteries in Staffordshire, including the Trent Pottery in Burslem and the Patent Ironstone China Company in Tunstall. Samuel Alcock is perhaps best known for his work at the Patent Ironstone China Company, where he played a key role in the development of ironstone china, a type of ceramics that was highly prized for its durability and resistance to chipping. Marking used included Samuel Alcock & Co.,. S. A. & Co., and S. Alcock & Co.

View further examples of Samuel Alcock & Co

Samuel Kirk & Sons

Samuel Kirk & Sons was a prominent American silversmiths company founded in 1815 by Samuel Kirk in Baltimore, Maryland. The company produced silverware, hollowware, and other decorative objects in a variety of styles and designs.

In the early years of the company, Kirk focused on creating pieces in the neoclassical style, with an emphasis on clean lines and simple elegance. This style was popular at the time and helped establish Kirk's reputation as a skilled and innovative silversmith.

In the mid-19th century, the company expanded its offerings to include pieces in the Rococo Revival style, characterized by elaborate decoration, curves, and floral motifs. This style was also popular at the time and helped the company maintain its position as a leading silversmiths.

During the late 19th and early 20th centuries, Kirk & Sons continued to produce high-quality silverware and hollowware, often incorporating elements of Art Nouveau and Art Deco design. The company's products were sold across the United States and were highly regarded for their quality and craftsmanship.

One of Kirk's most famous designs is the "Repousse" pattern, which was first introduced in 1828 and remained popular throughout the 19th and 20th centuries. The pattern features a raised floral design that was achieved using a process of hammering and chasing the silver from the back.

In 1979, Kirk & Sons was acquired by Stieff Company, another Baltimore-based silversmiths. Stieff continued to produce silverware under the Kirk-Stieff name, and in 1979, which continued to produce silverware and hollowware under the Kirk brand until 2003. Today, Kirk & Sons pieces are highly sought after by collectors and are considered important examples of American silver design and craftsmanship.

View further examples of Samuel Kirk & Sons

Sandalwood

Sandalwood is a heavy, yellow coloured and very fine-grained timber, which has a fragrance which lasts for many decades, and acts as a deterent to moths and insects.

In the British colonial era, sandalwood was imported into Britain from India, and the wood also used within India for the manufacture of Anglo-Indian furniture.

Becasue it does not have a distinct grain pattern, sandalwood was not used for the exterior surfaces of furniture, but was put to use for drawer and box linings, where the aroma was noticeable one the object was opened. it was also used to manufacture small objects (treen).

Nowadays sandalwood is commercially grown with Australia the largest producer. As well as producing timber, oil is extracted for use in the manufacture of perfumes.

View further examples of Sandalwood

Sandra Black

Black was born in Perth, Western Australia, in 1950 and studied at the Western Australian Institute of Technology (now Curtin University). She has exhibited extensively throughout Australia and internationally, and her work is held in major public and private collections around the world.

Black's work is often described as being both elegant and powerful. She is a master of her medium, and her porcelain pieces are known for their lightness, translucency, and strength. Black's work is also notable for its technical virtuosity, and she is skilled in a wide range of ceramic techniques, including throwing, hand-building, carving, piercing, and glazing.

In addition to her studio practice, Black has also taught ceramics at a number of universities and art schools. She is a passionate advocate for the medium of ceramics, and she has played a significant role in promoting Australian ceramics on the world stage.

In 1989, Black was the subject of a major solo exhibition at the Art Gallery of Western Australia and in 2001, Black was awarded a Churchill Fellowship to study ceramics in China. Other awards include the Australia Council's Red Ochre Award for Lifetime Achievement in Ceramics in 2008 and the Fremantle Arts Centre's Lifetime Achievement Award in 2018 confirming her place as one of Australia's most respected and admired ceramic artists.

View further examples of Sandra Black

Sang-De-Boeuf

Flambe glazes, termed "sang-de-boeuf" (ox blood) were in use by the Chinese from the 11th century, and the effect was achieved by using copper oxide as a colouring agent and firing the object in a reducing atmosphere.

In the 18th century the red glaze often accumulated on the shoulders of vases and bowls, reproducing the effect of coagulated blood. Sometimes the glaze was often slightly streaked, or included blue bleeds and wares with these features were prized by collectors in the 19th century.

European potters were not able to master the technique until the early 20th century. The Royal Doulton company employed the potter Bernard Moore, who had been experimenting with flambe glazes for many years, as a consultant and they were able to produce their first flambe wares in 1904.

View further examples of Sang-De-Boeuf

Saporiti Italia

Saporiti Italia is a mid-century Italian furniture maker with a reputation for avant-garde and enduring designs. The company was founded in 1950 by furniture designer Sergio Saporiti, who had a vision of creating pieces that were both stylish and functional.

Saporiti was inspired by the work of Scandinavian designers, who were known for their use of natural materials and simple lines. He also drew inspiration from the industrial design movement, which was experimenting with new materials and technologies.

In the early years, Saporiti collaborated with a number of other Italian designers, including Alberto Rosselli, Giovanni Offredi, and Mario Bellini. These collaborations resulted in some of the company's most iconic pieces, such as the Confidential sofa, the Moby Dick chaise lounge, and the Jumbo chair.

In the 1970s, Saporiti continued to innovate and experiment with new materials and designs. The company introduced a number of plastic and fiberglass pieces, as well as more organic and curvilinear forms.

Saporiti Italia's furniture remains in high demand, and the company's designs are considered to be some of the finest examples of mid-century modern furniture.

View further examples of Saporiti Italia

Sargisons Jewellers

Sargisons Jewellers is a family-owned and operated business that has been in operation in Hobart, Tasmania, since 1905. The company was founded by Harold Sargison, who was a skilled craftsman and jeweller. After completing a five year apprenticeship to a local jeweller, Harold set up shop in Hobart. Sargisons quickly became known for its high-quality jewelrley, and the company has continued to produce beautiful and unique pieces of jewelry for over 100 years.

In the early years, Sargisons focused on traditional jewellery designs, but the company began to experiment with new styles and techniques in the 1960s. Sargisons was one of the first jewellers in Tasmania to use gold filled and sterling silver, and the company also began to offer custom-made jewelry.

In 1981 Sargisons were commissioned to create and produce a set of sterling silver serving spoons, as a wedding gift from Tasmanians for Prince Charles and Lady Diana Spencer.

Harold Sargison retired in the early 1980s. His work is represented in public collections, including the National Gallery of Australia, Canberra, and the Powerhouse Museum, Sydney.

The business was sold in 1996 to a Tasmanian family who continue to trade under the Sargison name.

View further examples of Sargisons Jewellers

Sarreguemines Pottery

Sarreguemines pottery is a faience pottery that was made in the town of Sarreguemines, France, from the 18th century to the early 20th century. The pottery was known for its brightly coloured and decorated designs, and it was popular both in France and abroad. The history of Sarreguemines pottery dates back to the 17th century, when the town was a centre for the production of earthenware. In the 18th century, the town began to produce faience, which is a type of pottery that is made from a mixture of clay and ground quartz. Faience can be decorated with a variety of techniques, including painting, glazing, and enameling.

Sarreguemines pottery became particularly known for its brightly colored and decorated designs. The town's potters were influenced by a variety of sources, including Chinese porcelain, Japanese ceramics, and European folk art. They also experimented with new techniques, such as lithography and transfer printing.

In the mid-19th century, under the leadership of Paul Utzschneider, Sarreguemines experienced a significant expansion and modernization. Utzschneider introduced new production techniques and invested in advanced machinery, enabling the company to increase its output and diversify its range of products. Sarreguemines began producing decorative items, including ornamental vases, figurines, and sculptures, which found great popularity among collectors and art enthusiasts.

The company's success continued into the late 19th and early 20th centuries when it embraced the emerging Art Nouveau movement. Sarreguemines collaborated with prominent designers and artists of the time, such as Louis Majorelle and Émile Gallé, to create exquisite pieces that showcased the distinctive flowing lines, nature-inspired motifs, and vibrant glazes synonymous with Art Nouveau.

Throughout the 20th century, Sarreguemines continued to evolve and adapt to changing tastes and trends. The company expanded its product lines to include fine porcelain, dinnerware sets, bathroom fixtures, and architectural ceramics. It also embraced modernist and contemporary design influences, collaborating with renowned designers like Pierre Guariche and Georges Jouve.

However, like many traditional pottery manufacturers, Sarreguemines faced challenges in the latter half of the 20th century due to changing market conditions and increased competition. The company underwent several ownership changes and restructuring processes and the last pottery factory closed in 1978.

View further examples of Sarreguemines Pottery

Satinwood

Satinwood is a dense pale gold coloured timber that was imported into Britain in the second half of the 18th century, and early 19th centuries from the East Indies and the West Indies. The name derives from the satin-like surface sheen when the timber is polished.

It was used in the solid, as a veneer and in inlays. As well as furniture, satinwood was used for making musical instruments, barometers, boxes and clocks.

It will usually be found on only the very best quality objects, presumably because of of its cost at the time.

View further examples of Satinwood

Satsuma - History

Satsuma ware is a type of pottery that originated in the Satsuma province of Japan, which is now known as Kagoshima prefecture. Satsuma ware is known for its distinctive designs, which often feature intricate patterns and detailed images.

The history of Satsuma ware dates back to the late 16th century, when the first kilns were established in the region. At that time, Satsuma ware was mostly produced for local use, and the designs were simple and utilitarian. However, in the late 17th century, the Satsuma domain was ruled by the Shimazu family, who encouraged the production of high-quality ceramics as a way to boost the local economy.

Under the Shimazu family's patronage, Satsuma ware began to evolve into a more refined art form. The potters began to experiment with new techniques and designs, and the kilns produced a range of ceramics, from tea bowls and sake cups to vases and figurines. The most famous Satsuma ware of this period was produced by a potter named Shimizu Yasutaro, who was known for his delicately painted pieces that featured scenes from classical literature.

During the Meiji period (1868-1912), Satsuma ware became increasingly popular in Japan and abroad. The Meiji government actively promoted the export of Japanese goods, and Satsuma ware was among the most successful products. The Satsuma ware exported during this period was often decorated with gold and silver, and the designs were heavily influenced by traditional Japanese motifs such as cherry blossoms and chrysanthemums.

Satsuma ware is still produced in Kagoshima prefecture and other parts of Japan. While traditional designs are still popular, contemporary Satsuma ware often incorporates modern techniques and themes. Satsuma ware continues to be prized for its intricate designs and rich history.

View further examples of Satsuma - History

Satsuma - Koshida

Satsuma pottery originated in the Satsuma province of Japan (present-day Kagoshima prefecture) during the late 16th century. The style is characterized by a cream-colored, crackled glaze and intricate hand-painted designs featuring figures, landscapes, and flora.

Koshida is a well-known Satsuma pottery maker that has been producing ceramics since the Meiji era (1868-1912). It is particularly renowned for its intricate designs, delicate color palette, and use of gold embellishments. Koshida Satsuma pieces often depict scenes from Japanese folklore, history, and mythology, as well as everyday life.

Koshida Satsuma pieces can be identified by their signature "Koshida" mark on the base, which is typically written in kanji characters. These pieces are highly collectible and can be quite valuable, particularly those produced during the Meiji era, which are considered to be of the highest quality.

View further examples of Satsuma - Koshida

Satsuma - Yabu Meizan

Satsuma pottery originated in the Satsuma province of Japan (present-day Kagoshima prefecture) during the late 16th century. The style is characterized by a cream-colored, crackled glaze and intricate hand-painted designs featuring figures, landscapes, and flora.

Yabu Meizan (1853-1934) was a renowned Japanese potter known for his exquisite Satsuma pottery. He was born in Kyoto, Japan, into a family of potters who specialized in producing Satsuma ware.

He began his training in pottery making under the tutelage of his father and grandfather at a young age. He quickly showed an aptitude for the craft, and by the age of 16, he had already become a skilled potter. However, it wasn't until he was 25 years old that he established his own kiln in Kyoto, where he began producing his own unique style of Satsuma pottery.

Meizan's Satsuma pottery was characterized by its delicate designs, intricate patterns, and beautiful colors. He often used a technique known as "moriage," which involved the application of raised enamel to create a three-dimensional effect. His pottery was highly sought after by collectors and connoisseurs, and he received many awards and accolades for his work.

In addition to his pottery making, Meizan was also an accomplished painter and calligrapher. He was known for his beautiful brushwork and often incorporated his calligraphy into his pottery designs.

View further examples of Satsuma - Yabu Meizan

Satyr

A creature from Greek mythology with goat-like features, including a bearded face and horns, a man's torso, hairy legs and cloven hooves and a tail. As attendants of Bacchus, satyrs sometimes carry grapes or pitchers of wine. As spitis of fertility they may carry a cornucopia or basket of fruit.

They are also used to portray lust, and are often depicted with a leering expression. As well as being depicted singly or in a group in sculpture and candelabra, they also appear as motifs on ceramics, glass, silver and gold objects.

View further examples of Satyr

Sauce Boat

Sauce boats, also called gravy boats, are a small jug form object used for serving sauces and gravy as indicated by the name. They were made in silver, silver plate or ceramics became fashionable in the early 18th century. Early suaceboats were usually plain and of oval shape, with a solid oval foot.. In the later Georgian period they became more elaborate, with the metal examples decorated with chasing and engraving, and a three-footed base, and sometimes available in pairs. Ceramic suaceboats were often part of a dinner service, and some of the ceramic sauceboats have an attached plate, its purpose being to catch drips and dribbles.

View further examples of Sauce Boat

Sautoir

A sautoir is a long necklace that suspends a tassel or other ornament. "Sautoir" is a French word that literally means "to jump". The term was originally used to describe a piece of horse harness that helped riders to mount their horses. However, the term has since been adopted to describe a long necklace.

Sautoirs became popular in the early 20th century, partly due to the elongated silhouette of dresses that were popular during this time. Sautoirs were also a popular choice for jewellery designers during the Art Deco period, and they often featured geometric designs and precious stones.

Sautoirs may be made from a variety of materials, including gold, silver, pearls, and gemstones. They can also be decorated with various other elements, such as tassels, pendants, and charms.

View further examples of Sautoir

Savonarola or 'x' Chairs

The Savanarola chair or "X" chair originated in medieval Italy and the style spread through Europe especially Spain. Production in the Renaissance style continued to the 19th century, sometimes with carved decoration to the back and arms. Some versions folded, whilst others were rigid. They often had a wooden seat, which accommodated a cushion for comfort.

Contrast this with the English Glastonbury chair, a type of folding chair, where, from a side view, the legs form an "X". They were supposedly named after a design of a similar chair by the Abbot of Glastonbury in the16th century.

View further examples of Savonarola or 'x' Chairs

Scagliola

A process used in architecture, and manufacture of objects, where various colours of marble chips were embedded into a cement mix, which was usually white, in imitation of marble. Usually there was no pattern followed; the chips were embedded randomly unlike pietra dura which as well as incorporating semi precious stones, was usually laid out in a geometric or naturalistic pattern.

The process had been known since Roman times but was revived in Italy in the 17th century. Scagliola was incorporated into the interior design of some important English houses in the early 18th century and Italian crafsmen were brought over to install the material.

Scagliola was also used to make table tops, columns, pedestals and busts.

View further examples of Scagliola

Scallop / Shell Motif

The shell motif has been used in furniture and decorative arts for centuries. In ancient Greece and Rome, shells were often used as decorative elements on furniture and in mosaics. The scallop or cockleshell are the most commonly used. During the Renaissance, the shell motif became popular in furniture and architecture, as the ornate decoration was seen as a symbol of wealth and luxury. In the 18th century, the Rococo style of furniture and decorative arts featured an abundance of shell motifs, and it was used by Thomas Chippendale and as a feature on Queen Anne style cabriole legs. In the 19th century, the shell motif was incorporated into Victorian furniture and decorative items, and often a representation of the the conch shell was inlaid into furniture.

View further examples of Scallop / Shell Motif

Scandinavian Mid-Century Furniture

The Scandinavian mid-century furniture industry developed in the period between the 1930s and the 1970s, and it was a period of significant growth and innovation. This period saw the emergence of several iconic designers and furniture manufacturers, who created a new style of furniture that combined functionality, simplicity, and modernity.

The development of the Scandinavian mid-century furniture industry was influenced by several factors, including the social and economic conditions of the time, the availability of new materials and technologies, and the influence of modernist design principles.

One of the key factors in the development of the Scandinavian mid-century furniture industry was the emphasis on functionalism and simplicity. This approach to design was influenced by the social and economic conditions of the time, which demanded furniture that was practical, affordable, and easy to manufacture. The designers of the mid-century furniture industry focused on creating furniture that was both beautiful and functional, with clean lines and minimal ornamentation.

Another important factor in the development of the Scandinavian mid-century furniture industry was the availability of new materials and technologies. In particular, the emergence of laminated wood, which allowed designers to create curved and organic shapes, was a major breakthrough in furniture design.

Finally, the influence of modernist design principles was also a key factor in the development of the Scandinavian mid-century furniture industry. Many designers of this period were influenced by the Bauhaus movement and its emphasis on the unity of form and function, as well as the International Style, which emphasized simplicity, clarity, and the use of industrial materials.

Some of the iconic designers of the Scandinavian mid-century furniture industry include Hans Wegner, Arne Jacobsen, Alvar Aalto, and Verner Panton. Their designs continue to be popular today and have had a lasting impact on the furniture industry.

View further examples of Scandinavian Mid-Century Furniture

Scent Bottles

In the Victorian era scent bottles were often made of pressed glass, with silver or silver-plate rims and cut glass or imitation cut glass stoppers.

Generally, the customer purchased the bottle empty and had it filled by a chemist or perfumier, as ready filled bottles of perfume were not yet on the market.

The variety of shapes was enormous. The larger scent bottles were made in the shape of flagons or decanters. In the 1870s a new design was produced: the double ended bottle. This was a slim cylindrical bottle with a round or polygonal surface. Some were produced in clear glass, some coloured dark blue, red, green, or yellow, and some were decorated in the Nailsea style. At each end were silver or plated caps, which were heavily chased or moulded. One half of the bottle was for scent and usually had a screw cap, while the other end was hinged, often spring loaded for fast access, and was for smelling salts.

Some bottles hinged in the middle, and when you opened them there was the grating of a vinaigrette on one side and on the other a recess with a glass-covered photograph. The outer ends had normal hinge- or screw-caps so that either part of the bottle could be filled with scent.

The production of scent bottles continued into the twentieth century, though it became more customary to buy scent in ready-filled bottles from cosmetic houses. These 'package' bottles in themselves have become the object of much decorative skill, and no doubt in the not-too-distant future they will be sought after by collectors.

Some manufacturers supplied scent bottles with rubber bulbs, which could be attached to the top of the bottle to produce a fine spray of scent. Although some types of scent bottle can be expensive, there are still many examples available at a reasonable price.

View further examples of Scent Bottles

Scheurich Keramik

Scheurich Keramik is a German ceramics manufacturer that was founded in 1928 by the Scheurich cousins, Franz and Anton. The company was originally located in Selb, Bavaria, but it moved to Speichersdorf in 1935. The company commenced operations as a producer tableware and decorative items, but it soon expanded into other areas, such as garden pottery and lighting. The company's products were known for their high quality and affordable prices, and they quickly became popular in Germany and other European countries.

In the 1960s, Scheurich Keramik began to export its products to the United States. The company's products were well-received in the US, and they helped to make Scheurich Keramik a global brand. In the 1980s, Scheurich Keramik began to experience financial difficulties. The company was forced to close some of its factories and lay off employees. However, the company was able to turn things around in the 1990s, and it is now one of the leading ceramics manufacturers in Germany.

View further examples of Scheurich Keramik

Schneider / Le Verre Francais

A Charles Schneider orange, blue and yellow cameo glass vase, circa 1930, signed Le Verre Francais, 41 cm high.

The Verrerie Schneider company (Schneider Glassware) was founded in 1911 in Epinay-Sur-Seine, in the northern suburbs of Paris in 1911, by brothers Ernest and Charles Schneider, who had trained and worked for both the Galle and Daum companies. It was Charles who took up the position of glass designer and technician for the company, while his brother looked after the administration including accounting and promotion.

The began producing cameo glass in the Art Nouveau style, vases with applied handles in contrasting colours and art glass.

In 1918, Galle’s studios were destroyed by fire and a number of his artists moved to Schneider’s factory to continue their work for Galle. Here they taught Schneider the decorative technique of ‘marqueterie de verre’, where coloured glass shapes are pressed into glass of a different colour to form a pattern or image.

After the 1925 Paris Exhibition, Schneider’s factory, now operating under the name Verrerie Schneider, expanded enormously and took on commissions from shops and perfumeries such as Coty, and by 1926 the Verrerie Schneider company was the largest glass producer in France.

The company produced cameo glass, but rather than using the wheel-cut technique, specialised in acid etching to remove the top layers. This was marketed under the "Le Verre Francais" signature, usually inscribed towards the base of the object in script.

Some items also have an additional signature, "Charder", a contraction of CHARles SchneiDER, which most likely indicates the object was of his design.

Other internally decorated objects, or items with applied decoration are signed "Shneider".

The Verrerie Schneider company also manufactured for a number of retailers, and the objects bear the names: "De Baker", "Finnigans", a Manchester based UK silversmith and retailer and "Ovingtons", a decorative arts specialty store in New York.

By the time of the death of Ernest Schneider in 1936, fashions had moved away from the highly decorative coloured glass of the 1920s, and the Verrerie Schneider company commenced producing the clear glass shapes that were being made by the Scandinavian glass makers.

During World War II the company's works were badly damaged and it ceased production in 1940. Following the end of the war, in 1949 Charles Schneider's son, Charles Schneider, Junior led the rebuilding, and the renaming of the company to "Cristallerie Schneider". Charles Schneider died in 1953, and the company ceased operations in 1981.

View further examples of Schneider / Le Verre Francais

Schoenau & Hoffmeister

The Schoenau & Hoffmeister porcelain factory was founded in 1901 by Arthur Schoenau and Carl Hoffmeister in Burggrub, Germany near Kronach, Bavaria. The company made dolls from 1901 to 1953. The two partners had different ideas about the type of porcelain heads for their dolls. Hoffmeister insisted on producing shoulder head dolls, while Schoenau wanted to produce socket head dolls. Unable to resolve their differences, Carl Hoffmeister left the company in 1907 and Arthur Schoenau became the sole owner.

In 1911, Arthur Schoenau passed away and his son Hans Schoenau took over as director of the company. Sometime later, Arthur's widow Caroline and son Curt Schoenau took over the directorship. Schoenau & Hoffmeister dolls were known for their high quality and realistic features. They were often dressed in regional costumes. The company made a wide variety of dolls, including bisque head dolls, composition dolls, and celluloid dolls.

Some of the most popular Schoenau & Hoffmeister dolls include the Dolly Face doll, which was introduced in 1906 which had a bisque head with a painted face and real hair; the Princess Elizabeth doll, which was introduced in 1936, made in honour of the coronation of Princess Elizabeth II of England and the Little Dutch Girl doll, which was introduced in the early 1900s. This doll was dressed in traditional Dutch clothing.

Schoenau & Hoffmeister dolls are a part of the history of German doll making and were exported all over the world.

View further examples of Schoenau & Hoffmeister

Scholar's Calligraphy Scrolls

The history of Chinese scholar's calligraphy scrolls dates back to ancient China. In Chinese culture, calligraphy has always been considered one of the highest forms of artistic expression and was an essential skill for any educated person. Scholars would spend years mastering the art of calligraphy and would often produce their own calligraphy scrolls as a form of self-expression.

During the Tang dynasty (618-907), calligraphy became increasingly popular among the educated elite, and many famous calligraphers emerged during this period. The Tang dynasty is also considered the golden age of Chinese calligraphy, with many masterpieces produced during this time.

In the Song dynasty (960-1279), calligraphy continued to flourish, and new styles and techniques were developed. The Song dynasty saw the emergence of the "Four Treasures of the Study" – the brush, ink, paper, and inkstone – which are still essential tools for calligraphy today.

During the Ming dynasty (1368-1644), calligraphy became even more popular, and many scholars would create their own calligraphy scrolls as a form of self-expression. These scrolls would often feature poems or other literary works, as well as the scholar's own calligraphy.

Chinese calligraphy continues to be an important art form, and many calligraphy scrolls are still produced today. These scrolls are often used for decorative purposes, as well as for meditation and reflection.

View further examples of Scholar's Calligraphy Scrolls

School of ....

In the opinion of the cataloguer, a work by a pupil or follower of the artist.

View further examples of School of ....

Schuco Toys

Schuco is a renowned German toy manufacturer that was founded in 1912 by Heinrich Müller and Heinrich Schreyer under the name Schreyer & Co. in Nuremberg, Germany. Initially, Schuco focused on producing metal and tinplate toys. Their early products included mechanical cars, trains, and various other wind-up toys. However, it was in the 1920s and 1930s that Schuco gained international recognition and popularity for their innovative and finely crafted toys.

During this period, Schuco introduced a range of ingenious wind-up toys with intricate mechanisms. These toys, often featuring detailed designs and moving parts, captivated children and collectors alike. Some of Schuco's most iconic toys from this era include the "Examico" car, the "Piccolo" line of miniature vehicles, and the famous "Yes/No" Teddy bears, which could move their heads in response to being tilted.

Schuco continued to produce toys throughout World War II. However, the company's production was disrupted by the war and the company's facilities were damaged. After the war, Heinrich Schreyer rebuilt the company and resumed production, and began to export its toys to other countries.

In the 1950s, Schuco shifted its production to incorporate new materials, such as plastic, and introduced a wider variety of toys. They expanded their range to include model cars, trucks, motorcycles, and even licensed character toys. In the following decade Schuco introduced a line of electronic toys. The company also began to produce die-cast metal trains.

In the 1970s to the 1990s Schuco produced a line of collectible die-cast metal cars and a line of miniature die-cast metal cars, and later a line of radio controlled cars.

The company went bankrupt in 1976 but was reorganized in 1993 and then became totally independent again by 1996. Some of the products currently commercialised by Schuco include die-cast scale model cars, aircraft, ships, and commercial vehicles.. The company also began to produce a line of radio-controlled cars. Schuco's radio-controlled cars were popular with children and adults alike.

View further examples of Schuco Toys

Schulim Krimper

Schulim Krimper was a renowned Australian furniture designer and maker who gained prominence during the mid-20th century. He was born on 28 July 1893 in Sereth, Bukovina, Austria, and in 1939 along with his wife Elsbeth they fled Nazi Germany and migrated to Australia, where they settled in Melbourne.

Krimper began his career as a cabinetmaker, working for various furniture manufacturers in Melbourne. In the 1940s, he established his own workshop, where he started designing and making furniture pieces that would become some of the most iconic examples of Australian mid-century modern design.

Krimper's style was characterized by the use of high-quality materials such as Australian hardwoods, as well as clean, simple lines that emphasized functionality and practicality. His designs often incorporated unique details such as curved edges, hand-carved joints, and subtle geometric patterns.

Some of Krimper's most famous pieces include the tri-leg dining table, the hoop armchair, and the Lowline entertainment unit. These pieces were highly sought after by collectors and design enthusiasts and are now considered classic examples of Australian mid-century modern design.

Krimper was known for his meticulous attention to detail and his dedication to his craft. He often worked alone, preferring to take on only a few projects at a time to ensure that each piece received his full attention. He was also known for his willingness to experiment with new materials and techniques, often incorporating innovative approaches into his work. He is represented in the permanent collections of the National Gallery of Australia, the Art Gallery of South Australia and the Powerhouse Museum.

Despite his success as a designer and maker, Krimper remained humble and reserved throughout his life. He passed away in 1971. leaving behind a legacy of iconic furniture pieces that continue to inspire designers and collectors to this day.

View further examples of Schulim Krimper

Sconce

A light attached to a wall. Originally a candle holder that is attached to a wall with an ornamental bracket and sometimes with a reflective back plate, but now applied to an electric light that has been inspired by that design.

In recent times the word has also come into use to desribe the candle holders on a candelabra.

View further examples of Sconce

Scott, Digby, and Benjamin Smith Ii

Scott Smith, Digby Smith and Benjamin Smith II were prominent London silversmiths who played significant roles in the world of silver craftsmanship during the late 18th and early 19th centuries. Each of them contributed to the success and reputation of the renowned Smith family of silversmiths.

Benjamin Smith I (1754-1833) was the patriarch of the Smith family of silversmiths. He was born in London in 1754 and trained under the renowned silversmith William Abdy. In 1782, Benjamin Smith I established his own silver workshop in London and quickly gained recognition for his exceptional silverware. He was known for producing high-quality pieces in various styles, including neoclassical and Georgian. His work was highly sought after by the aristocracy and upper classes.

Scott, Digby, and Benjamin Smith II were the sons of Benjamin Smith I. They continued their father's legacy of craftsmanship and expanded the family's reputation in the silver industry.

Scott Smith (1788-1813) was the eldest son of Benjamin Smith I and played a significant role in the family business. He was known for his talent as a silversmith and his contributions to the production of exquisite silverware. Unfortunately, his life was cut short when he passed away at the young age of 25 in 1813.

Digby Scott Smith (1792-1857) the second son, carried on the family tradition and made valuable contributions to the firm's success. He became a partner in the family workshop and helped maintain the high standards of craftsmanship established by his father.

Benjamin Smith II (1793-1865), the youngest of the three, also joined the family business. He continued to produce silverware of exceptional quality and was instrumental in preserving the Smith family's reputation as premier silversmiths.

The Smith family's silver workshop operated under various names, including Benjamin Smith & Sons and Scott, Digby, & Benjamin Smith II, depending on the partners involved. Their work encompassed a wide range of styles, including Georgian, Regency, and early Victorian designs, which reflected the evolving tastes of their clientele.

The silversmiths of this era often created pieces such as tea and coffee sets, serving utensils, candelabras, and decorative objects that showcased their exceptional skills. Today, antique pieces crafted by Benjamin Smith I, Scott Smith, Digby Scott Smith, and Benjamin Smith II are highly prized by collectors and enthusiasts for their historical significance and craftsmanship. The Smith family's legacy as distinguished London silversmiths continues to be celebrated in the world of decorative arts.

View further examples of Scott, Digby, and Benjamin Smith Ii

Scratch Built

A scratch built model is one that is built "from scratch", i.e. from the raw materials, rather than one purchased and built from a kit of parts, or purchased pre-assembled.

View further examples of Scratch Built

Scrimshaw

Scrimshaw is a type of folk art that involves the carving or engraving of designs on ivory or bone. It has a long and fascinating history, dating back to the early days of whaling in the 18th century.

The term "scrimshaw" originally referred to the practice of carving designs on whalebone or ivory items, such as the handles of knives or tools, by sailors and whalers during their long voyages at sea. The practice was widespread among sailors of many different nationalities, including Americans, British, Dutch, and Portuguese.

At first, scrimshaw was a practical art form, as sailors used it to create useful items for themselves or to trade with locals in foreign ports. However, over time, scrimshaw evolved into a highly skilled and artistic form of expression, with sailors creating intricate designs and scenes on everything from ivory tusks to whale teeth.

Scrimshaw artists used a variety of tools to create their designs, including knives, needles, and even sail needles. The designs often depicted maritime scenes, such as ships, whales, or sea creatures, as well as landscapes, portraits, and other decorative motifs.

In addition to being a popular pastime among sailors, scrimshaw also became a way for sailors to pass the time during long voyages and to create mementos of their travels. Many scrimshaw pieces were made as gifts for loved ones back home or as tokens of appreciation for other sailors.

View further examples of Scrimshaw

Scroll Legs

are in the form of an elongated scroll or 's' shape, from which the cabriole leg also derived. Scroll legs, however, are usually rather more substantial and are frequently found supporting side tables and hall tables throughout much of the 19th century. As a rule, the back legs of such tables intended to remain against the wall were flat and rectangular.

View further examples of Scroll Legs

Scrolls

Serpentine-shaped forms, used in cabinet construction and decoration for centuries. The scroll appears in legs, feet, as carving in chair brackets, chair rails and arms. The deeper and more spontaneous the carving is, the earlier the piece is likely to be. The Regency or 'Thomas Hope' scroll, used on pediments and sideboard backs, consists of two scrolls on the horizontal plane, placed back to back in a mirror image, and sometimes decorated with a variety of carved and/or applied ornament, such as shells, foliate and other motifs. Chippendale-style furniture is often distinguished by two corresponding scrolls in the form of a 'C' in the upper splat or where chair legs join the seat rail.

View further examples of Scrolls

Seals

A seal is an engraved stamp for making impressions on sealing-wax. The seal was made by heating sealing wax and dropping it onto the paper, and then placing the seal into the soft wax. Seals were originally used to provide authenticity to documents and proclamations, and in the 19th century to seal letters, before the introduction of the gummed flap. Seals were often set into rings, hung on watch fob chains or neck chains, and there was also a more substantial freestanding desk model with a handle. The seal could be made of any material that could be finely engraved with a monogram or other symbol, including agate, black onyx, bloodstone, cornelian, jasper and lapis lazuli. For desk seals, materials used for the handles included gold, pinchbeck, ivory, hardstones, silver, brass, steel, and coloured twist glass. Seals were fell out of use with the introduction of the penny post in 1840, which led to the evolution of the gummed envelope meaning it was no longer necessary to place a seal every envelope.

View further examples of Seals

Searching for Carlton Ware by Pattern Number

Carlton Ware was first produced in the 1890s and many of the objects are marked to the base with a pattern number. However pattern books listing pattern number and names are not available, and names have been assigned by collectors, dealers and auction houses over the decades. Locating a matching pattern number will assist in identify your object, or locating similar objects.


You can locate matching items in our database by entering the pattern number  in the text box below.

View further examples of Searching for Carlton Ware by Pattern Number

Searching for Royal Doulton Figurines

An early Royal Doulton figurine, ‘The Gleaner’, HN1302 modelled as a young gypsy girl with flowers with impressed and printed marks, painted title and number



There have been over 4000 different models of Royal Doulton figurines manufactured to captivate collectors. Production of these figures has been from 1890s (Doulton Lambeth) through to the present day with rarity, age, theme, colour and variations of individual designer determining the value of each figure. Although Doulton had produced figures from the mid-19th century, production did not really take off

until c1913 under modeller C. J. Noke, when the HN (for Harry Nixon, head of figure painting department) model numbering system was introduced for a new collection. During the 20th century production mushroomed under the guidance of Noke and Leslie Harradine.



You can locate the figurine you are looking for by entering "HN" followed by the number (no spaces) or one or more words making up the title of the figurine in the text box below.




View further examples of Searching for Royal Doulton Figurines

Seaweed Marquetry

Marquetry of Italian origin having the form of symmetrical, foliate or twining scrolls, as seen on English cabinetwork of the late 17th and early 18th centuries.

Sebel

Sebel, a renowned Australian furniture maker, is known for its innovative and iconic designs. The company was founded in 1947 by Harry Sebel, a British immigrant who was a pioneer in the use of moulded plastics in Australia.

The company initially focused on manufacturing steel-framed furniture, and Sebel's first major success was the Stak-A-Bye chair, a pressed metal chair that was both affordable and durable. It quickly became a popular choice for schools, cafes, and other public spaces.

In the 1960s, Sebel began to focus on the use of plastic in furniture design. The company's most famous design, the Integra chair, was launched in 1974. It was the world's first monobloc plastic moulded chair, and it quickly became a global icon.

The Integra chair was designed by Charles Furey, one of Australia's most respected industrial designers. It is known for its simplicity, durability, and stackability. The chair has been used in homes, schools, offices, and public spaces all over the world.

In addition to the Integra chair, Sebel has produced a number of other iconic designs, including the Postura school chair, the Slim and Comfy chair, and the Nest-A-Bye stackable chair.

Sebel remains one of Australia's leading furniture makers. The company's products are sold in Australia and around the world.

View further examples of Sebel

Seccombe, Grace

Grace Povey Seccombe (nee Capper) (1880-1956), was born in the potteries district of England, at Tunstall in Staffordshire in 1880.

Her father was a potter and Grace followed in his footsteps before the family migrated to Sydney in 1902.

She studied black and white drawing at Sydney Technical College, and then married and it wasn't until 1926 that she took up art in a professional capacity, concentrating on the manufacture of hand-painted earthenware.

She worked from a modest studio that was part of the family home in the Sydney suburb of Eastwood, making use of the local clay.

She had become a member of the Sydney Society of Arts and Crafts in 1930 and exhibited with the society until 1951.

After her first major exhibition in 1931, staged by the Society of Arts and Crafts, she was contracted to sell her work through the Sydney jewellers Prouds Ltd. stores. She also sold through the Blaxland Gallery at the former Grace Bros in Broadway and the Taronga Zoo gift shop.

During the 1940s Seccombe became known for her small hand-modelled, brightly painted pottery birds and animals. Her early kookaburras and other birds and animals of the 1920s are marked 'Australia’ and 'S’.

The range of Australiana fauna she modelled in the 1930s and 1940s for Prouds Ltd are either initialled 'GS’ or signed 'Grace Seccombe Australia’ on the base.

She also designed plates, dishes and bowls decorated with Aboriginal motifs in the 1930s and 1940s.

Grace Seccombe died on 25 February 1956.

View further examples of Seccombe, Grace

Secondary Timbers

As indicated by the name, these are less expensive and thus lower quality timbers used in the construction of an item in surface areas that may not generally be seen, such as backboards, or as the ground for veneers, drawer linings or for framing.

View further examples of Secondary Timbers

Secretaire

A French term for a type of bureau desk in translation a 'secretary'. Like a bureau, it has a drop front that pulls out to reveal a writing surface, small drawers and pigeonholes. Its front, however, is usually disguised as a drawer which, when let down, is supported on semicircular brass slides known as quadrants. The secretaire may have either cupboards or drawers beneath the writing desk.

View further examples of Secretaire

Secretaire Bookcase

A double-heightened piece, dating from the second half of the 18th century. It consists of a secretaire in the lower section, the upper part being a glass-fronted bookcase. Very useful pieces of furniture, they were made until Edwardian times.

View further examples of Secretaire Bookcase

Seguso, Archimede

Archimede Seguso, Feathers Vase , c1956, retains two decal labels, height 20 cm

Archimede Seguso (1909-1999) was apprenticed to his father, Antonio, in the glass-house La Vetreria Artistica Barovier where his father was a partner. Working alongside the designers Vittorio Zecchin and Flavia Poli, Archimede Seguso acquired impressive manual skills at the furnace resulting in a vibrant glass-house.

By twenty, Archimede Seguso was a true glass maestro and by 1945 had established his own glass-house.

In 1957 he revived his earlier models of animals in opalescent glass with delicate stripes.

By birth, by training, by his working life, by the way in which he lives the art of glass, he embodies the qualities that have characterlsed Murano culture and that over the centuries have determined the professional and social prestige of the master glass worker (Rosa Barovier Mentasti, I Vetri Di Archimede Seguso, 2002).

View further examples of Seguso, Archimede

Seiko Watch Company

Seiko is a Japanese watch company that has been producing wristwatches for over a century. The company was founded in 1881 by Kintaro Hattori, who started out with a watch and jewelry shop in Tokyo, Japan. He began producing his own timepieces in 1892 under the name Seikosha, which translates to "House of Precision."

Seikosha's first wristwatch, the Laurel, was produced in 1913. It featured a 12-ligne movement and was powered by a cylinder escapement. In 1924, Seikosha introduced the Seiko Marvel, its first wristwatch with a chronometer-grade movement.

Seiko has a long history of producing innovative and high-quality wristwatches. In 1960, the company released its first diving watch, the Seiko 6217-8001, which was water-resistant up to 150 meters and featured a rotating bezel to measure elapsed time. In 1969, Seiko made history by introducing the Seiko Quartz Astron, the world's first quartz wristwatch. This watch was more accurate and reliable than traditional mechanical watches, and changed the watch industry forever.

In 1975, Seiko released the Seiko 7549-7009, the world's first professional saturation diving watch. With water resistance up to 600 meters, it quickly became a favorite among professional divers. In 1982, Seiko launched the Seiko Kinetic, a watch that combined quartz accuracy with a self-winding mechanism. This watch used the movement of the wearer's wrist to generate electricity, which powered the quartz movement.

Seiko continued to push the boundaries of watchmaking in 1999 with the release of the Spring Drive, a watch that combined mechanical and quartz technologies. The Spring Drive used a mainspring to power the watch, but also had a quartz regulator to keep time accurately.

Today, Seiko is still producing a wide range of wristwatches, both with quartz and mechanical movements. The company's reputation for innovation and high-quality timepieces has made it highly respected in the watch industry.

View further examples of Seiko Watch Company

Seikozan

Seikozan is a type of Japanese pottery that was produced in the Satsuma domain in Kyushu, Japan, from the late 16th century to the early 20th century. It is characterized by its intricate overglaze enameling, which often features scenes from Japanese mythology, history, and folklore. Seikozan pottery is typically made from a fine white clay, and it is fired at a high temperature. The overglaze enamelling is applied after the pottery has been fired, and it is then fired again at a lower temperature. This process creates a durable and colourful glaze that is resistant to scratches and chipping.

Seikozan pottery is often decorated with scenes from Japanese mythology, history, and folklore. These scenes are often depicted in a very detailed and realistic manner, and they can be quite complex and intricate.

The first Seikozan kilns were established in the late 16th century by Korean potters who had been brought to Japan by the Shimazu clan, the rulers of Satsuma. These early Seikozan wares were mostly undecorated, but they were of high quality and were quickly adopted by the Japanese aristocracy.

In the early 17th century, Seikozan potters began to experiment with overglaze enamelling, a technique that had been developed in China. This allowed them to create more elaborate and colourful designs, and Seikozan pottery became increasingly popular.

By the late 17th century, Seikozan pottery was being exported to all over the world, and it was especially popular in Europe. The demand for Seikozan pottery continued to grow throughout the 18th and 19th centuries, and by the early 20th century, it was one of the most popular types of Japanese pottery.

However, the production of Seikozan pottery declined in the early 20th century due to competition from other types of Japanese pottery and from mass-produced ceramics from Europe. The last Seikozan kilns were closed in the 1930s.

View further examples of Seikozan

Sergio Rossi

 Sergio Rossi (1935-2020) was an Italian fashion designer who specialized in footwear. He was known for his elegant, feminine, and high-quality shoes.

Rossi was born in San Mauro Pascoli, Italy, a region known for its shoemaking tradition. He learned the trade from his father and opened his first shoe store in 1951. He also made sandals and sold them to beachgoers in Rimini and at Bologna boutiques.

In 1966, Rossi began selling his shoes in Bologna stores, and in 1968, he launched his eponymous brand. His shoes quickly gained popularity for their unique designs and attention to detail. Rossi was known for his use of high-quality materials and his innovative construction techniques.

Some of Rossi's most famous designs include the Opanca sandal, a simple yet elegant shoe with a round sole and straps that wrap around the foot, and the Godiva pump, a classic high-heeled pump with a pointed toe. Rossi's shoes were worn by celebrities such as Sophia Loren, Marilyn Monroe, and Elizabeth Taylor.

In 1999, the Sergio Rossi brand was sold to the Gucci Group, which is now part of the Kering Group. Rossi continued to serve as the brand's creative director until 2009. It was then sold by Kering to Investindustrial in 2015. He retired from shoe design in 2015, but his brand continues to produce high-quality footwear that is prized by women around the world.

Rossi was a visionary designer who helped to elevate the status of footwear from a functional item to a fashion statement. His shoes are known for their timeless elegance and craftsmanship. Rossi's legacy continues to inspire shoe designers around the world.

View further examples of Sergio Rossi

Serpentine

Resembling a serpent, in the form of an elongated 'S'. A serpentine front is similar to a bow front, except that the curve is shallow at each end, swelling towards the middle. The term presumably derives from its similarity to a moving snake or serpent. Serpentine fronts are usually veneered, with the carcase either being cut and shaped from a solid piece of timber, or built in the 'brick' method.

View further examples of Serpentine

Seth Thomas Clocks

Seth Thomas Clock Company was founded in 1813 in Connecticut, United States so has a long history of producing high-quality timepieces.

The business began as a small clock-making workshop run by the eponymous founder and his family. The company grew over the years and by the mid-19th century, it had become one of the largest clock manufacturers in the world.

In the late 1800s, Seth Thomas Clock Company began production of ornate mantel clocks, which were often made of brass and featured intricate designs and engravings. These clocks were popular during the Victorian era and remain highly sought after by collectors.

During the 20th century, the company continued to produce a variety of clock models, including wall clocks, alarm clocks, and grandfather clocks. Many of these clocks were produced in classic styles that incorporated traditional design elements such as Roman numerals, pendulums, and chimes.

In the 1930s, Seth Thomas began producing electric clocks, which were more accurate and reliable than their mechanical counterparts. The company continued to innovate and in the 1950s, it began producing atomic clocks, which were the most accurate timepieces of their day.

In the late 1970s, Seth Thomas merged with General Time Corporation, another clock manufacturer, and the company was eventually sold to Talley Industries in 1985. Today, Seth Thomas clocks are highly collectible and are prized for their quality, craftsmanship, and history.

View further examples of Seth Thomas Clocks

Settee

A long couch dating from the late 17th century, similar to a sofa with arms at either end. Unlike the upholstered sofa, however, the settee usually has a shaped wooden splat back, similar to dining chairs. In Australia, any small couch is sometimes known as a settee.

View further examples of Settee

Settees and Sofas

An upholstered couch, based on the 18th century French canape, often with a high back and shaped front, usually standing upon cabriole, turned or sabre legs. Distinguished, perhaps, from the full stuffed over couch, the sofa usually had a band of polished show wood around the seat, back and arm frames. During the Regency, many sofas were made based on the principles of the Classical Revival. Such sofas are noted for their deeply scrolled arms and curved sabre legs, usually reeded. Their influence can be traced through the many colonial day beds and miner's couches, however humble by comparison, made during the later part of the 19th century.

View further examples of Settees and Sofas

Settle

Usually made of oak, a settle is a long wooden bench, distinguished by a high back and usually with timber wings to ward off draughts. Settles were generally placed by the large open fireplaces in country houses and inns. Some had drawers beneath the seat, others had a lidded seat with a storage chest below. Settles date from medieval times, though few have survived that were made before the 17th century.

The settle is a provincial or country piece of furniture and was not made by major London or provincial cabinetmakers.

The form was revived in Australia in the early 20th century, with acknowledgment to the styles of the times.

View further examples of Settle

Sèvres Porcelain

Sèvres porcelain is known for its exquisite beauty and fine craftsmanship. It has a rich history that dates back to the 18th century, and it continues to be highly prized by collectors and enthusiasts today.

The story of Sèvres porcelain begins in 1740, when a group of French businessmen and craftsmen decided to establish a porcelain factory in the town of Vincennes, near Paris. The factory was designed to produce high-quality porcelain that could rival the best Chinese and Meissen porcelain.

In 1756, the factory was moved to the nearby town of Sèvres, where it was expanded and modernized. The new factory quickly gained a reputation for producing some of the finest porcelain in the world, and it became a favourite of French royalty and nobility.

Sèvres porcelain was highly prized for its delicate and intricate designs, which often featured intricate floral patterns, landscapes, and scenes from mythology and history. The porcelain was also known for its soft and creamy glazes, which gave it a unique and ethereal quality.

Over the years, the Sèvres factory continued to innovate and produce new and exciting designs. In the 19th century, it began to produce a new type of porcelain called pâte-sur-pâte, which involved layering thin layers of porcelain paste to create intricate designs and relief patterns.

View further examples of Sèvres Porcelain

Sewing Bobbin

Prior to the invention of the sewing machine bobbins comprised a slender spool made from ivory, bone or wood used to hold thread for making bobbin lace.

View further examples of Sewing Bobbin

Sewing Implements and Accessories

Collecting sewing implements and accessories can be a fascinating hobby that allows one to explore the history of sewing and the evolution of sewing tools and techniques. The collection can range from antique sewing machines and vintage scissors to thimbles and pin cushions.

One of the most popular sewing implements collected is the sewing machine, which has a long history dating back to the early 19th century. Antique sewing machines are highly prized by collectors and can be found in a variety of styles and designs, ranging from simple hand-cranked models to ornate Victorian machines.

Other popular items include vintage scissors, which were often handmade and decorated with intricate designs, and thimbles, which were used to protect the fingers while sewing. Pin cushions, needle cases, and thread holders are also popular collectibles that come in a variety of styles and designs, from simple utilitarian objects to elaborately decorated pieces made from precious materials.

Collectors often focus on specific types of sewing implements, such as antique button hooks or vintage embroidery tools, and can build a collection over time by attending auctions, estate sales, and antique markets. They may also seek out rare and unusual items to add to their collection or display their collection in a dedicated space in their home.

Collecting sewing implements and accessories can be a rewarding hobby that allows one to appreciate the history and craftsmanship of sewing tools and techniques. It can also be a great way to connect with other collectors and share knowledge and information about the hobby.

View further examples of Sewing Implements and Accessories

Sewing Machines

The history of the sewing machine dates back to the 18th century when the first designs for mechanical sewing machines were proposed. However, it wasn't until the 19th century that practical sewing machines were developed, revolutionizing the way clothes were made and paving the way for the modern textile industry.

In 1790, the English inventor Thomas Saint patented the first working sewing machine, which was designed for sewing leather and canvas. However, his machine was never put into production, and its design was lost.

In 1830, the French tailor Barthelemy Thimonnier invented a sewing machine that used a hooked needle to create a chain stitch. Thimonnier's machine was the first to be successfully used in a factory setting, and he was granted a patent for his invention in 1830.

In 1844, the American inventor John Greenough patented the first American sewing machine, which used a needle with an eye at the point instead of a hook. However, his machine was not commercially successful.

The first commercially successful sewing machine was invented by the American Elias Howe in 1846. Howe's machine used a lockstitch mechanism and was able to sew 250 stitches per minute. Howe's invention revolutionized the garment industry, making it possible to produce clothing on a large scale.

Another important figure in the history of the sewing machine was Isaac Singer, who improved on Howe's design and patented his own sewing machine in 1851. Singer's machine was easier to use and more affordable than earlier models, and it quickly became the most popular sewing machine in the world.

Throughout the 19th century, improvements were made to sewing machines, including the addition of foot pedals and the development of electric sewing machines in the late 1800s. Today, sewing machines are an essential tool in the textile industry and are used by millions of people around the world for both commercial and domestic purposes.

View further examples of Sewing Machines

Sewing Table / Work Table

Originally, ladies small work tables, usually with a detachable or lift-up lid, containing a bag or basket of silk, in which sewing and other needlework could be stored. There was generally a tray beneath the lid containing compartments for cotton, thread, needles and so on, and beneath that a well, with a lined interior and the exterior in either timber or fabric.

There are also combination sewing tables that may include a chequer-board top, or a hinged top that opens for games. These tables may have a drawer under the top, with the compartments for sewing equipment, and the well sliding out from under the drawer frame.

View further examples of Sewing Table / Work Table

Sextant

A sextant is a navigation tool used to measure the angle between two objects, typically the horizon and a celestial object such as the sun, moon, or stars. It consists of an optical system with a small mirror mounted on a graduated arc, which allows the user to align the image of the celestial object with the horizon and measure the angle between them.

By measuring the angle between the horizon and a celestial object, navigators can determine their latitude (their position north or south of the equator) and, by comparing measurements taken at different times, can calculate their longitude (their position east or west of a reference meridian, usually Greenwich, England). The sextant was an essential tool for celestial navigation.

View further examples of Sextant

Sfbj

The Société Française de Fabrication de Bébés et Jouets (SFBJ) was a prominent French company specializing in the production of dolls and toys. Established in 1899, SFBJ played a significant role in the history of doll manufacturing. SFBJ was founded by Léon Casimir Bru and Henri François Gautier, who were previously associated with the renowned French doll-making firm Jumeau. The company was established in the town of Rueil-Malmaison, near Paris.

SFBJ quickly gained recognition for its high-quality dolls, which showcased remarkable craftsmanship and attention to detail. The company's dolls were made using a variety of materials, including bisque (porcelain), composition, and celluloid. SFBJ's dolls encompassed a wide range of sizes, from miniature dolls to large character dolls. During the early 20th century, SFBJ experienced significant success and expanded its product line to include other toys such as teddy bears, mechanical toys, and miniature accessories for dolls. The company's toys were highly sought after both in France and internationally.

Their dolls were renowned for their exquisite facial features, realistic glass eyes, finely painted details, and beautifully styled wigs. The company employed talented sculptors and painters who brought the dolls to life with remarkable artistry. One of SFBJ's notable contributions to the doll industry was the production of bébé dolls, which became iconic representations of the French bebe doll style. These dolls featured delicately painted faces, jointed bodies, and luxurious clothing, capturing the essence of French doll-making elegance.

SFBJ faced challenges during the early 20th century, including disruptions caused by World War I and the rise of new materials and manufacturing techniques. The company attempted to adapt to changing market demands by introducing dolls made of composition materials and producing lower-cost dolls to appeal to a broader range of customers. However, by the mid-1920s, SFBJ began to decline in popularity as competition from other doll manufacturers intensified. The company faced financial difficulties and eventually ceased doll production in the late 1920s. SFBJ's factory was acquired by another French doll company, Jumeau, in 1927.

Despite its relatively short existence, SFBJ made a lasting impact on the doll industry. The company's dolls are highly regarded by collectors today for their exceptional craftsmanship and historical significance. SFBJ dolls, especially the bébé dolls, continue to be cherished and sought after by doll enthusiasts worldwide.

View further examples of Sfbj

Sgraffito

In ceramics, sgraffito is a scratched or incised decoration through the slip, applied to the body of the object before glazing, to reveal the colour of the body underneath.

View further examples of Sgraffito

Shagreen

Shagreen is the untanned smoothly pebbled textured skins of rays, sharks or dogfish. In finishing, it is dyed, mostly green, but the colour often fades to a cream colour. Shagreen was a popular material in Europe during the Art Deco era, when designers sought to mould the French tradition of luxury with exotic and precious materials. Most collectable items made from shagreen are smaller objects, like glasses cases, dagger and sword hilts, dressing accessories, boxes and picture frames.

View further examples of Shagreen

Shakudo

Japanese shakudo is a traditional alloy that has been used in Japan for centuries. It is primarily composed of copper and gold, with the copper serving as the base metal and the gold adding a yellowish hue to the alloy. Shakudo is known for its beautiful dark blue-black or black colour, which is achieved through the addition of a small amount of a patina-inducing element like silver or arsenic.

The word "shakudo" itself can be translated as "red copper" in Japanese, referring to the reddish-brown color of the pure copper base metal before it is patinated. The gold content in shakudo is usually around 4-10%, but this can vary depending on the specific purpose or desired appearance.

Shakudo has been traditionally used in various forms of decorative arts and crafts in Japan. It is particularly associated with metalwork, including sword fittings (such as tsuba, menuki, and kashira), jewelry, and small ornamental objects. The alloy's dark color provides a striking contrast to other metals like silver or gold, making it ideal for intricate inlay work or as a background for other decorative elements.

View further examples of Shakudo

Shank

In jewellery, the shank of a ring is the hoop which encirles the finger.

View further examples of Shank

Sharp, Martin

Martin Sharp is a Sydney artist well known for his support and promotion through graphic posters, of amongst others, Tiny Tim, Luna Park and Arthur Stace, the 'Eternity Man'.

In the early 1960s along with Richard Walsh and Richard Neville he started the controversial underground satirical magazine 'Oz' and provided many of the graphic illustrations.

In the late 1960s he designed iconic psychedelic album covers for Donovan's 'Sunshine Superman' and Cream's 'Disraeli Gears' as well as psychedelic posters for Bob Dylan and Jimi Hendrix.

In 1970 on his return to Sydney he set up the 'Yellow House' exhibition space at 59 Macleay Street, Potts Point which was based on the idea of a community of artists in the way of Van Gogh's Yellow House at Aries.

Artists involved included George Gittoes, Peter Powditch, Peter Kingston and Brett Whiteley.

View further examples of Sharp, Martin

Sheaffer Pen Corporation

The American Sheaffer Pen Corporation specialises in manufacturing writing instruments, particularly fountain pens. The company was founded in 1912 by Walter A. Sheaffer in Fort Madison, Iowa.

Sheaffer's first pen, the Sheaffer Triumph, was introduced in 1913 and featured a new filling mechanism that allowed users to fill the pen with ink without having to dip the nib into an inkwell. The Triumph was a commercial success and established Sheaffer as a major player in the pen industry.

Over the next several decades, Sheaffer continued to innovate and expand its product line, introducing new pen designs and filling mechanisms. In the 1920s and 1930s, the company developed a series of pens with sleek, streamlined designs that were emblematic of the Art Deco style of the era. During World War II, Sheaffer supplied pens to the U.S. military and also developed a waterproof pen that could be used by troops in the field.

In the postwar years, Sheaffer continued to grow and expand, opening a new manufacturing plant in Fort Madison and launching a series of new pen models, including the popular Sheaffer Snorkel, which featured a retractable filling tube that prevented ink from spilling or leaking.

In the 1960s, Sheaffer introduced the Sheaffer PFM (Pen for Men), a high-end fountain pen that was designed to compete with European luxury brands such as Montblanc and Pelikan. The PFM was a commercial success and helped to solidify Sheaffer's reputation as a premier manufacturer of fine writing instruments.

In the years that followed, Sheaffer continued to introduce new pen models and designs, and the company also expanded into other areas, such as ballpoint pens, rollerball pens, and mechanical pencils. In 2014, the company was acquired by A.T. Cross, another American writing instrument manufacturer, and the Sheaffer brand continues to be sold today under the Cross corporate umbrella.

View further examples of Sheaffer Pen Corporation

Sheffield Plate

Sheffield Plate was the first commercially viable method of plating metal with silver. The method of plating was invented by Thomas Boulsover, a Sheffield Cutler, in 1743 and involved sandwiching an ingot of copper between two plates of silver, tightly binding it with wire, heating it in a furnace and then milling it out in to sheet, from which objects could be made.

Originally used by its inventor to make buttons, the potential of the material was quickly realised, and soon it was being used to fashion boxes, salvers and jugs, and not long after that candlesticks and coffee pots, and other traditional tableware.

Although there was a considerable saving in the amount of silver used, Old Sheffield Plate manufacture was more labour intensive than solid silver, meaning higher labour costs. This meant that Old Sheffield Plate was very much a luxury product, and only available to the very wealthy.

The thickness of the silver means that many 18th century Sheffield Plate pieces still have a good layer of silver, while electroplated pieces (EPNS), may have been replated several times over their lifetime. Where the silver has worn off the Sheffield Plate the soft glow of the copper base can be seen underneath. However this is not an infallible guide that the piece is Sheffield Plate, as many EPNS items were also plated on to a copper base.

Most Sheffield Plate items are unmarked, whereas most elecroplated items display manufacturers names or marks, quality indications such as "A1", "EP", together with pattern or model numbers.

View further examples of Sheffield Plate

Sheffield Plate

Sheffield plate was the first commercially viable method of plating metal with silver. The method of plating was invented by Thomas Boulsover, a Sheffield Cutler, in 1743 and involved sandwiching an ingot of copper between two plates of silver, tightly binding it with wire, heating it in a furnace and then milling it out in to sheet, from which objects could be made.

Originally used by its inventor to make buttons, the potential of the material was quickly realised, and soon it was being used to fashion boxes, salvers and jugs, and not long after that candlesticks and coffee pots, and other traditional tableware.

Although there was a considerable saving in the amount of silver used, Old Sheffield Plate manufacture was more labour intensive than solid silver, meaning higher labour costs. This meant that Old Sheffield Plate was very much a luxury product, and only available to the very wealthy.

The thickness of the silver means that many 18th century Sheffield Plate pieces still have a good layer of silver, while electroplated pieces (EPNS), may have been replated several times over their lifetime. Where the silver has worn off the Sheffield plate the soft glow of the copper base can be seen underneath. However this is not an infallible guide that the piece is Sheffield Plate, as many EPNS items were also plated on to a copper base.

Most Sheffield plate items are unmarked, whereas most elecroplated items display manufacturers names or marks, quality indications such as "A1", "EP", together with pattern or model numbers.

Sheffield plate was made commercially between 1750 and 1850.

View further examples of Sheffield Plate

Shelley Potteries

Shelley ceramics is an historic English ceramics company that is known for producing some of the finest tea sets and tea pots in the world. The company was founded in 1860 by Henry Wileman as Wileman & Co. which also traded as The Foley Potteries. and it gained a reputation for producing high-quality and beautifully designed ceramics.

In the late 19th century, Wileman & Co. began to focus on producing tea sets and tea pots, which became the company's signature products. These tea sets and tea pots were highly prized for their delicate designs, intricate patterns, and bright, vibrant colors.

In 1896, the company was acquired by Percy Shelley, who renamed it "Shelley". Under Shelley's leadership, the company continued to produce exquisite tea sets and tea pots, as well as other types of ceramics, such as dinnerware and decorative objects.

Shelley became known for its innovative designs, which often featured bold and unusual shapes, as well as bright and striking colors. The company also pioneered new techniques, such as the use of airbrushing to create unique and intricate patterns on its ceramics.

During the 20th century, Shelley continued to produce high-quality tea sets and tea pots, and its products became highly prized by collectors and enthusiasts around the world. In 1965, the company changed its name to Shelley Potteries Ltd. The company also gained a reputation for its collaborations with leading artists and designers, who created some of the company's most iconic and memorable designs.

Shelley China Ltd. was acquired by Allied English Potteries in 1966 and closed down.

View further examples of Shelley Potteries

Shiga, Shigeo

Shigeo Shiga born in 1928 was a Japanese potter who studied

and worked in Japan before arriving in Australia in 1966 at the invitation of Les

Blakebrough to work at the Sturt Workshop in Mittagong, and then at the Talofa

Workshop in Sydney. He had a profound and lasting impact on the development of

Australian stoneware pottery. Following his time at Sturt, Shiga moved to

Sydney where he was employed by Peter Rushforth as a part-time teacher at the

National Art school. He also assisted Bernard Sahm in building his studio and

kiln and in 1972 established his own studio and kilns in Terry hills. In 1979

he returned to live in Tokyo but continued to hold occasional exhibitions in

Australia, and in 2009 returned to live back in Sydney. Shiga's works are held

by the National Gallery of Australia, the Art Gallery of NSW, the Powerhouse

Museum and many other state galleries in Australia.



Shiga has exhibited widely and his work is represented in the Australian National Collection, several state galleries and institutional collections.

Shigeo Shiga died in February 2011.

View further examples of Shiga, Shigeo

Shirley Temple

Shirley Temple was an American actress, singer, and dancer who achieved fame as a child star during the 1930s. She was known for her curly blonde hair, dimples, and precocious personality. Temple starred in a string of successful films, including Bright Eyes (1934), Curly Top (1935), and Heidi (1937). She was awarded a special Academy Award in 1934 for her "outstanding contribution to screen entertainment".

Temple's popularity waned in the late 1930s as she grew older. She continued to act in films and on television, but she never achieved the same level of entertainment success as she had as a child. In the 1950s, Temple entered politics and served as a United States ambassador to Ghana and Czechoslovakia. She later retired from public life and became a successful businesswoman.

Shirley Temple memorabilia remains popular today. Her dolls are highly sought-after by collectors, and her films are often shown on television and streaming services. Temple is considered one of the most popular child stars of all time, and her legacy continues to inspire people around the world.

Shirley Temple dolls were first produced in 1934, and they quickly became a popular collectible. The dolls are typically made of porcelain or plastic and have Shirley Temple's signature curly blonde hair and dimples. Sheet music for Shirley Temple's songs was also popular during the 1930s. Songs like "On the Good Ship Lollipop" and "Animal Crackers in My Soup" were often played in homes and at parties. Movie posters for Shirley Temple films are also popular collectibles. The posters often featured Shirley Temple in her most iconic roles, such as Curly Top and Heidi.

Shirley Temple memorabilia is a reminder of a time when she was one of the most popular stars in the world.

View further examples of Shirley Temple

Shoji Hamada

Shoji Hamada (1894-1978) was a Japanese master potter who played a significant role in the development of the Mingei folk craft movement. He worked with Bernard Leach and assisted him to establish his own pottery at St Ives, England from 1920 – 1923. He established his own pottery in Mashiko, Japan in 1930. Hamada influenced New Zealand's pottery scene during his visit in 1953-1955, where he worked with local potters, shared techniques, and collaborated on pieces. His ceramic works are characterized by a focus on functional form and a traditional, rustic aesthetic, often featuring natural motifs and glazes. Hamada's legacy continues to inspire potters worldwide.

View further examples of Shoji Hamada

Short & Mason

Short & Mason were precision instrument makers based in Hatton Garden, London, England. The company was founded in 1864 by Thomas Watling Short and William James Mason. Short was a skilled mechanic who had previously worked for other instrument makers, while Mason was a businessman. The company established a reputation for producing high-quality precision instruments, including barometers, thermometers, hygrometers, aneroids, and other meteorological instruments. Short & Mason also produced surveying instruments, optical instruments, and other scientific instruments. From the beginning of the 20th century a significant part of their business was the production of Aneroid barometers.

The company's products were used by a wide range of customers, including scientists, engineers, surveyors, and navigators and by the British government and military. In the early 20th century, Short & Mason was one of the leading precision instrument makers in the world.

Short & Mason continued to produce precision instruments until the mid-20th century and closed down in 1959. The company's products are a testament to the high standards of craftsmanship that were achieved by British instrument makers in the early 20th century.

View further examples of Short & Mason

Shorter & Son

Shorter & Son was a ceramics manufacturer based in Stoke-on-Trent, England. The company was founded in 1874 by Thomas Shorter and his son, Guy Shorter. The company initially produced a range of utilitarian ceramics, but soon began to produce more decorative pieces.

In 1916 Clarice Cliff was employed in the company as the decorator. Clarice Cliff’s came up with her "Bizarre" ware, which was a huge success in 1920. Later on, she came-up with new innovative designs boasting bold geometric designs, expressing the Art Deco age. The company had also come up with a ’Fisherware’ range, which was also designed by Clarice Cliff. In the 1930s, Shorter & Son began to produce a range of new designs including Batavia Ware inspired by the Dutch East Indies and Sunray Pottery featuring a sunray design that was created by using a special firing technique. These designs helped to make Shorter & Son one of the leading ceramics manufacturers in England. These designs were popular with the public, and helped to keep Shorter & Son in business during the Great Depression.

After World War II, the company faced increasing competition from foreign manufacturers. In 1964, Shorter & Son was acquired by Crown Devon, and the Shorter name was discontinued.

View further examples of Shorter & Son

Shunichi Inoue

Shunichi Inoue, born in 1946, studied at Kyoto City University of Arts from 1969 to 1975. After completing his studies, he visited Australia and was appointed a ceramics lecturer at Bendigo College of Advanced Education for three years.

Inoue exhibited actively during his stay in Australia and participated in several group exhibitions in Japan and held solo exhibitions in Australia at the Craft Centre, South Yarra, in 1976; the Macquarie Galleries, Sydney, in 1977 and the Victor Mace Fine Art Gallery, Brisbane, in 1978.

When Inoue returned to Japan he spent three years potting professionally in Saga Prefecture and subsequently taught at Fukuoka University.

He was invited through the Japan Foundation to be Visiting Professor at the Darwin Community College in late 1984 and in 1993, Inoue lectured at the Caulfield Campus of Monash University.

His visits to served to showcase his pottery and left a lasting impression on the Australian potters community. His work is represented in the collection of the Queensland Art Gallery and the National Gallery of Australia, Canberra.

View further examples of Shunichi Inoue

Sibast Mobler

Sibast Mobler is a Danish furniture manufacturer that was

founded in 1908 by Peder Olsen Sibast, a skilled carpenter who began making

furniture in his workshop in the Danish countryside. In the 1940s the company

was passed down to his son, Helge Sibast, who was also a talented carpenter and

designer. Helge Sibast led the company to international success in the 1950s

and 1960s with his innovative designs, which were characterized by their clean

lines, simple forms, and high-quality craftsmanship.



Some of Helge Sibast's most iconic designs include the

Sibast No. 7, No. 8, and No. 9 dining chairs, which are still in production

today. These chairs are made from solid oak and feature a distinctive X-shaped

backrest. They are known for their comfort, durability, and timeless style.



In addition to his own designs, Helge Sibast also

collaborated with other renowned Danish designers, such as Arne Vodder.

Vodder's designs were known for their elegant simplicity, and he worked with

Sibast Furniture to create a number of iconic pieces, including the Sibast

Vodder sofa and the Sibast Vodder coffee table.



The company was passed down to Helge Sibast's grandson,

Ditlev Sibast, in the early 2000s. Ditlev Sibast relaunched the company in

2012, and he has since been working to revive the Sibast name and bring its

classic designs back to market.



Sibast Furniture remains a leading manufacturer of

mid-century modern furniture, conmtinuing to produce its classic designs, as

well as new pieces that are inspired by the work of Helge Sibast and other Danish

designers.

View further examples of Sibast Mobler

Sideboard

There are several distinct types of sideboard. The Georgian sideboard was a long narrow table, fitted with cutlery drawers and cellaret cupboards, used as a serving table in dining rooms. Most examples are at least five feet long.

Although sideboards date from the mid-18th century, their development is usually associated with the designs of Sheraton. Sideboards may be straight fronted, curved at either end, or sometimes have a recessed breakfront. The latter was partly to lighten the effect of a large piece of furniture and partly, writes Sheraton, 'to secure the butler from the jostles of the other servants'.

The central portion of the sideboard, beneath the long drawer, was usually arched with semicircular lunettes, either carved or often strung. The legs were sometimes turned, but more generally were tapered, often standing on spade or block feet. Georgian sideboards always have six legs one at each corner, one on either side of the central recess. Four legged sideboards were not introduced until the second decade of the 19th century.

Sideboards were usually made of well-figured mahogany or, in Australia, cedar or beefwood veneer, though very few colonial examples appear to have survived. They were sometimes cross banded, strung and inlaid with decorative panels of contrasting timber.

Another type of sideboard appeared in the late 19th century, based more or less on the Renaissance revival forms associated with designers Talbert and Eastlake. It consisted of a two-door cupboard, usually panelled and carved, with a mirrored back, containing shelves and a hutched or overhanging cornice, supported by turned or carved columns.

There are many variants, but the lines and angles were much squarer, handles were often of pressed metal alloy, and by the time the sideboard reached its full Edwardian flowering, it often boasted broken or swan-neck pediments, reeded and fluted decorations, and shallow machine-made carvings of shells, rosettes and other foliage.

The style continued to be made in mahogany, oak, maple, pine or cedar until after the first world war. During the 1920s, and under the influence of the modern movement, furniture forms became much simpler and less cluttered, taking on the characteristics pioneered by the Arts and Crafts designers a third of a century before. It should always be remembered that it may take a generation before an original design, breaking with tradition, becomes fully established in popular taste.

From around 1900 the size of sideboards began to decrease, in order to fit the smaller dining rooms of the day, although this example would still require a substantial room to display it properly.

View further examples of Sideboard

Signed or Stamped

A signed piece of furniture may mean that the maker has signed (and hopefully dated) the piece in the same way that we sign a cheque, but more likely, that it bears evidence of the name of the maker, wholesaler or retailer as a paper label, metal plaque, impressed into the timber or in later pieces after about 1880, stamped onto the timber with an ink stamp.

The 'signature' or stamp will always be in an unobtrusive position: under the top of a table, on the underside of the rails of a chair, inside a drawer or on the back.

The fact that a piece is 'signed' considerably enhances its value. Signed Australian furniture is extremely rare, and for imported furniture, it is a mark of quality of the item, as only the items by the top makers or retailers were 'signed'

View further examples of Signed or Stamped

Silver Beakers

Usually of tapering cylindrical shape and without handles, silver beakers have been made from the 17th century onwards, but most examples appearing on the Australian market date from the mid Victorian period to the 20th century. They were popular as trophies for masculine sporting events.

Other shapes are the bell shape which has a flared top, and the half-barrel shape. Some beakers have embossed and/or chased decoration.

View further examples of Silver Beakers

Silver Dredger

A silver table dredger is a small utensil used to sift through fine granulated sugar, salt or pepper, to remove any lumps or clumps before adding it to a dish. It typically has a small container, often with a handle, and a perforated or mesh bottom.

The dredger is used by holding it over a dish and shaking it to sprinkle the powdery substance through the holes or mesh. It can also be used to sprinkle powdered sugar over desserts such as cakes, pastries, and cookies, or to add a decorative touch to drinks like coffee and tea.

Silverplate Not Added Too Many Hits

Silver plating is a name given to the process of electroplating in which a thin layer of silver metal is deposited onto a conductive surface using electrical current. The history of electroplating dates back to the 1840s when Italian physicist Alessandro Volta discovered the principles of electrochemistry. British chemist John Wright is credited with first electroplating metal in 1805, but the process wasn't fully developed until the late 1830s, when German engineer Moritz von Jacobi successfully electroplated metal onto various objects. The process was commercialized in the 1850s and was widely used in the manufacture of various products, such as cutlery, coins, and jewellery.

Silvio Apponyi

Silvio Apponyi (1913-1981) was an Australian sculptor known for his figurative and abstract works. He was born in Hungary and studied sculpture in Budapest and Vienna before immigrating to Australia in 1951. His early works in Australia were primarily figurative, with a focus on the human form. He created many commissioned works for public spaces, including statues of Sir Charles Kingsford Smith and Sir William McKell.

In the 1960s, Apponyi began to experiment with abstract forms and materials such as aluminum and steel. He created a series of large abstract sculptures that were installed in public spaces across Australia, including the National Gallery of Victoria and the National Library of Australia. One of Apponyi's best known works is the sculpture "The Sun" which is located in the forecourt of the Australian National University in Canberra. It is a large, abstract piece made of aluminum and copper that represents the energy and power of the sun.

Throughout his career, Apponyi was recognized for his contributions to Australian sculpture, receiving numerous awards and accolades. His works are held in major collections including the National Gallery of Australia, the Art Gallery of New South Wales, and the Tate Gallery in London.

View further examples of Silvio Apponyi

Singer Sewing Machine

The Singer sewing machine is one of the most iconic and recognizable brands in the world of sewing. The company was founded in 1851 by Isaac Singer, who had invented a new and improved sewing machine that quickly became popular with seamstresses and tailors around the world.

Singer's first sewing machine, which was patented in 1851, was an improvement on earlier designs that used a needle with an eye at the point instead of a hook. Singer's machine used a shuttle instead of a needle and was able to sew much faster and more accurately than earlier machines.

In the years that followed, Singer continued to innovate and improve upon his original design, adding features like a foot pedal to control the speed of the machine and a tension system to ensure even stitching. By the 1870s, Singer had become the largest sewing machine manufacturer in the world, with factories in the United States, Europe, and beyond.

Singer's success was due in part to his innovative marketing techniques, which included aggressive advertising campaigns and the use of traveling salesmen to demonstrate the machines in homes and shops around the country. The company also introduced instalment payment plans, making the machines more affordable for people who could not afford to pay the full price upfront.

Over the years, Singer continued to develop new sewing machine models, including portable machines for home use and specialized machines for specific tasks like embroidery and quilting. Today, Singer sewing machines are still in production and continue to be popular with both professional and amateur sewers around the world.

The Singer sewing machine has played an important role in the history of the textile industry, making it possible to produce clothing and other textile products more quickly and efficiently than ever before. Its impact on the world of sewing and fashion is still felt today, more than a century and a half after Isaac Singer first introduced his groundbreaking machine.

View further examples of Singer Sewing Machine

Sinister

The words dexter and sinister are commonly used in heraldry, but have a more general application in the world of antiques and collectables (mainly sculpture and numismatics) to describe the position of the head of the subject. Dexter, which is Latin for right means the subject is looking to their right, while sinister, which is Latin for left, means the subject is looking to their left.

View further examples of Sinister

Sir Charles Kingsford Smith

Sir Charles Kingsford Smith, often referred to as "Smithy," was an Australian aviator who achieved worldwide fame for his record-breaking flights and contributions to aviation. He was born on February 9, 1897, in Hamilton, Queensland, Australia.

Kingsford Smith's passion for aviation developed during his service as a pilot in World War I. After the war, he began a career as a barnstormer, performing aerobatics and taking people on joyrides. In 1921, he earned his commercial pilot's license and started working for an Australian airline.

In 1928, Kingsford Smith gained international recognition for his historic trans-Pacific flight from California to Australia. He piloted the aircraft Southern Cross, which he co-owned with other aviators. The 11,585-kilometre (7,212-mile) journey marked the first successful flight across the Pacific Ocean from the United States to Australia. This remarkable achievement established him as a pioneering aviator and a symbol of the adventurous spirit of the era.

Kingsford Smith's subsequent exploits included a number of record-breaking flights. In 1929, he completed the first non-stop flight from Australia to England, flying from Portmarnock Beach near Dublin to Australia's northern coast. This epic journey covered a distance of approximately 20,000 kilometres (12,427 miles) and took just over 12 days.

In 1930, Kingsford Smith and his crew set a new record by completing the first non-stop flight across the Australian continent, from Perth to Sydney. This flight further cemented his reputation as an aviation pioneer.

Tragically, Kingsford Smith's career was cut short on November 8, 1935, when his plane, the Lady Southern Cross, disappeared over the Andaman Sea during an attempt to break the England-to-Australia speed record. Despite extensive search efforts, the wreckage was never found, and Kingsford Smith and his co-pilot, John Thompson, were presumed lost at sea.

Sir Charles Kingsford Smith's contributions to aviation were widely celebrated, and he received numerous honours and awards during his lifetime. In recognition of his achievements, he was knighted in 1932, becoming the first person in the British Empire to be knighted for services to aviation. His legacy as a pioneering aviator and adventurer continues to inspire future generations of pilots and aviation enthusiasts worldwide.

View further examples of Sir Charles Kingsford Smith

Sir Edward Burne-Jones

Sir Edward Burne-Jones (1833-1898) was an English artist and designer associated with the Pre-Raphaelite movement. He was born in 1833 and began his career as an apprentice to the artist and designer William Morris. He went on to become a leading member of the Pre-Raphaelite Brotherhood, a group of artists who sought to revive the techniques and styles of the early Renaissance.

Burne-Jones is best known for his paintings, which often featured romantic and mythological themes, as well as his stained glass designs. He was also a highly skilled designer of furniture and textiles, and was involved in the decorative arts movement of the late 19th century. His work was highly influential and was a major inspiration to the Arts and Crafts movement. He died in 1898.

View further examples of Sir Edward Burne-Jones

Sir John Monash

Sir John Monash was an Australian civil engineer and military commander of the First World War. He was born in Melbourne, Australia, to German-Jewish parents. He was a brilliant student and graduated from the University of Melbourne with degrees in engineering, arts, and law. Monash worked as a civil engineer and was recognized as an innovator in the use of reinforced concrete. He also served in the Australian militia, where he rose to the rank of colonel.

With the advent of World War I, Monash was called up to active service in 1914 and was appointed commander of the 13th Infantry Brigade. He led the brigade at Gallipoli, where he was among the first under fire. He was the only Australian brigade commander among the original troops not killed or evacuated as wounded. In 1916, Monash was appointed commander of the 3rd Division in France. He led the division in a number of successful battles, including the Battle of Hamel, which is considered one of the most brilliant operations of the war.

In 1918, Monash was appointed commander of the Australian Corps. He led the corps in a number of decisive victories, including the Battle of Amiens, which is considered the turning point of the war. After the war, Monash served as the first General Manager of the State Electricity Commission of Victoria. He was also Vice-Chancellor of the University of Melbourne. Sir John Monash is considered one of Australia's greatest military leaders. He was a brilliant strategist and tactician, and he was also a compassionate and inspiring leader. He is remembered as a key figure in Australia's victory in the First World War.

View further examples of Sir John Monash

Sir Joseph Edgar Boehm R.a.

Sir Joseph Edgar Boehm, R.A. (1834-1890) was an Austrian-born British sculptor. He is best known for his large-scale equestrian statues and portrait busts, and for his work in the medium of porcelain.

Boehm was born in Vienna and studied sculpture in his native Austria, before moving to England in the 1850s. He quickly established himself as one of the leading sculptors of his time and was elected a member of the Royal Academy in 1867. He was appointed as a sculptor to Queen Victoria and Prince Albert, and also received commissions from other members of the royal family, as well as from wealthy patrons and public institutions.

Boehm's most famous works include the statue of the Duke of Wellington that stands outside Apsley House in London, and the statue of King Edward VII in the City of London. His portrait busts of notable figures such as the poet Tennyson and the scientist Charles Darwin are considered among his most accomplished works. Boehm's work in porcelain includes a series of portrait figures of members of the royal family, which were produced by the Royal Worcester porcelain factory.

View further examples of Sir Joseph Edgar Boehm R.a.

Sir Robert Menzies

Sir Robert Menzies was an Australian politician who served as the country's longest-serving Prime Minister, holding office for a total of 18 years, from 1939 to 1941 and from 1949 to 1966. He was born on December 20, 1894, in Jeparit, Victoria, Australia, and passed away on May 15, 1978, in Melbourne.

Menzies studied law at the University of Melbourne and later worked as a barrister before entering politics. He was first elected to the Australian Parliament in 1934 as a member of the United Australia Party (UAP). In 1939, he became the leader of the UAP and was appointed Prime Minister of Australia the same year.

During his first term as Prime Minister, Menzies led Australia through the early stages of World War II. He was a staunch supporter of the British Empire and sought to maintain Australia's close ties with the United Kingdom. However, his government also began to pursue a more independent foreign policy, particularly in relation to the United States.

After losing the 1941 election, Menzies remained active in politics and was instrumental in the formation of the Liberal Party of Australia in 1945. He was again elected Prime Minister in 1949 and held the position until his retirement in 1966. During his second term, Menzies oversaw a period of economic growth and modernization in Australia. He also played a key role in the formation of the ANZUS Treaty, which strengthened Australia's security alliance with the United States and New Zealand.

Menzies was a strong advocate of conservative values and played a significant role in shaping Australian politics in the post-war era. He was knighted in 1963 and retired from politics three years later.

View further examples of Sir Robert Menzies

Sitzendorf

The history of Sitzendorf porcelain dates begins in 1760, when Georg Heinrich Macheleidt, a theology student, received permission from Prince Johann Friedrich von Schwarzburg-Rudolstadt to establish a porcelain factory in the town of Sitzendorf. The factory was originally located in a small building, but it quickly outgrew its space and was moved to a larger building in 1762.

The factory's early products were mainly tableware and decorative items, but it soon began to produce figurines and other objects. The factory's figurines were particularly popular, and they were often decorated with scenes from mythology and history.

In 1850, the factory was acquired by Wilhelm Liebmann, who invested heavily in new technology and equipment. This helped to improve the quality of the factory's products and to increase its output. In 1884, the factory was acquired by Alfred and Carl Wilhelm Voigt, who continued to invest in the factory and to improve its products. Under their ownership, the factory became one of the leading producers of porcelain figurines in Europe.

The factory was forced to close during World War II, but it reopened in 1945. It continued to produce porcelain figurines and other objects until 1991, when it was closed again. In 2003, the factory was reopened by a group of investors who are committed to reviving the tradition of Sitzendorf porcelain. The factory is now producing a new range of products, including tableware, decorative items, and figurines.

Sitzendorf porcelain is known for its high quality and its delicate beauty. The factory's figurines are particularly prized by collectors, and they are often sold for high prices.

View further examples of Sitzendorf

Skipper Mobler

Skipper Mobler is a Danish furniture manufacturer founded in 1955 by Svend Skipper. The company is known for its mid-century modern furniture, which is characterized by its clean lines, simple designs, and use of natural materials such as teak and oak. Svend Skipper was a self-taught furniture designer who was inspired by the work of other Scandinavian designers such as Arne Jacobsen and Hans Wegner. He began his career working for other furniture manufacturers, but he eventually decided to start his own company.

The first pieces of furniture that Skipper Mobler produced were designed by Svend Skipper himself. These pieces were well-received by the Danish public, and the company quickly gained a reputation for quality and innovation. In the 1960s, Skipper Mobler began to collaborate with other designers, including Takashi Okamura and Eric Marqvardson. These collaborations resulted in some of the company's most iconic pieces, such as the Model 91 lounge chair and the Model 77 dining table.

Skipper Mobler continued under the founder's ownership until the 1980s, when the company was sold to the Nyberg family, and it continues to trade under the Skipper name.

View further examples of Skipper Mobler

Skirt

In furniture, the skirt is a strip of wood underneath the top or front of the item. On chairs, the skirt is the support under the seat joining the legs, while on tables, the skirt is the support under the top, that assists in supporting the top and also joins the legs. On carcase furniture such as chests and cabinets, the skirt is the timber strip immediately under the drawers or cupboard.

View further examples of Skirt

Slater, John / Slater's Patent

John Slater (1844 - 1914) was the Art Director at Doulton & Co. Burslem from 1887 until his death in 1914.

He studied at the Stoke-on-Trent School of Design and worked at Minton and then Pinder, Bourne & Co., before moving to Doulton & Co. when Pinder, Bourne & Co. was acquired by that company.

As well as being a painter who signed his works, he was involved in the development of many of the special glazes used by Doulton, including rouge flambe, and for a number of patents relating to transfer printing from photographic plates onto ceramics.

Some works are marked "Doulton & Slaters Patent", a process which involves the use of lace fabrics impressed into the surface of clay as a decorative technique.

View further examples of Slater, John / Slater's Patent

Sleep Eyes

On a doll, sleep eyes are eyes made from glass or a similar material that are open when the doll is upright, and closed when the dollis horizontal.

View further examples of Sleep Eyes

Sleigh Bed

As the name implies, a sleigh bed is postless bed with the foot and head boards of an "S" shape, similar to that of a sleigh. In France it is an Empire style bed known as a "lit en bateau". Sleigh beds are still being made and sold at the present time.

View further examples of Sleigh Bed

Slipware Pottery

When people think of how pottery is made, they usually imagine clay being thrown on a wheel. This is still a common method used by studio potters, together with coiling and carving. However, these techniques are time-consuming and so for factory production, a quicker and cheaper method is essential. Such a method is slip casting.

In slip casting, a clay slurry is poured into a plaster of Paris mould. When the clay has dried, the mould is taken apart and the pot allowed to dry further. It may then be fired, decorated and glazed.

Most factory produced mid 20th century pottery was slipware. Huge quantities were maufactured for the 'popular ornaments' market.

View further examples of Slipware Pottery

Smith Family of Silversmiths

The Smith family of silversmiths in London was one of the most successful and respected in the 19th century. The family business was founded in 1800 by George Smith Sr., who was apprenticed to the renowned silversmith Paul Storr. Smith Sr. quickly established himself as a skilled and innovative silversmith, and his work was soon in high demand among the aristocracy and wealthy middle class.

In 1820, George Smith Jr. joined the family business, and together father and son created some of the most beautiful and iconic silver pieces of the 19th century. Their work was characterized by its elegant design, exquisite craftsmanship, and use of high-quality materials. The Smiths were also known for their ability to produce silver in a wide range of styles, from traditional to neoclassical to romantic.

The Smith family business was particularly successful during the Victorian era. During this time, there was a great demand for silver, and the Smiths were able to meet this demand by producing a wide range of silver objects, including tableware, tea sets, coffee sets, candlesticks, and centerpieces. The Smiths also produced a number of important ceremonial pieces, such as the silver trowel used to lay the foundation stone of the Houses of Parliament in 1834.

The Smith family business continued to thrive in the late 19th century, even in the face of increasing competition from foreign silversmiths. The Smiths were able to maintain their position at the forefront of the British silver industry by continuing to produce high-quality silver in a variety of styles. The family business also benefited from the support of a number of royal patrons, including Queen Victoria and Prince Albert.

The Smith family of silversmiths played a significant role in the development of British silver in the 19th century. Their work is still admired and collected today for its beauty, craftsmanship, and historical importance.

Notable members of the Smith family of silversmiths

•   George Smith Sr. (1769-1845) - Founder of the family business and one of the most renowned silversmiths of the 19th century.

•   George Smith Jr. (1793-1866) - Joined the family business in 1820 and worked alongside his father to create some of the most beautiful and iconic silver pieces of the 19th century.

•   William Henry Smith (1825-1891) - Son of George Smith Jr. and a successful silversmith in his own right. He was also a Member of Parliament and served as First Lord of the Admiralty from 1877 to 1880.

•   Edward William Smith (1856-1933) - Son of William Henry Smith and a talented silversmith who continued the family tradition of producing high-quality silver in a variety of styles.

Examples of the Smith family's work

•   The silver trowel used to lay the foundation stone of the Houses of Parliament in 1834.

•   The silver cradle used for the christening of Prince Arthur, the son of Queen Victoria and Prince Albert, in 1850.

•   The silver centerpiece commissioned by the City of London to commemorate the visit of Napoleon III in 1855.

•   The silver tea set presented to Queen Victoria on her Diamond Jubilee in 1897.

The Smith family's work is on display in museums and private collections around the world. The Victoria and Albert Museum in London has a particularly fine collection of Smith silver, including a number of pieces that were commissioned by the British royal family.

Bard may display inaccurate or offensive information that doesn’t rep

View further examples of Smith Family of Silversmiths

Smith Family of Silversmiths

The Smith family of silversmiths in London was one of the most successful and respected in the 19th century. The family business was founded in 1800 by George Smith Sr., who was apprenticed to the renowned silversmith Paul Storr. Smith Sr. quickly established himself as a skilled and innovative silversmith, and his work was soon in high demand among the aristocracy and wealthy middle class.

In 1820, George Smith Jr. joined the family business, and together father and son created some of the most beautiful and iconic silver pieces of the 19th century. Their work was characterized by its elegant design, exquisite craftsmanship, and use of high-quality materials. The Smiths were also known for their ability to produce silver in a wide range of styles, from traditional to neoclassical to romantic.

The Smith family business was particularly successful during the Victorian era. During this time, there was a great demand for silver, and the Smiths were able to meet this demand by producing a wide range of silver objects, including tableware, tea sets, coffee sets, candlesticks, and centerpieces. The Smiths also produced a number of important ceremonial pieces, such as the silver trowel used to lay the foundation stone of the Houses of Parliament in 1834.

The Smith family business continued to thrive in the late 19th century, even in the face of increasing competition from foreign silversmiths. The Smiths were able to maintain their position at the forefront of the British silver industry by continuing to produce high-quality silver in a variety of styles. The family business also benefited from the support of a number of royal patrons, including Queen Victoria and Prince Albert.

The Smith family of silversmiths played a significant role in the development of British silver in the 19th century. Their work is still admired and collected today for its beauty, craftsmanship, and historical importance.

Notable members of the Smith family of silversmiths

•   George Smith Sr. (1769-1845) - Founder of the family business and one of the most renowned silversmiths of the 19th century.

•   George Smith Jr. (1793-1866) - Joined the family business in 1820 and worked alongside his father to create some of the most beautiful and iconic silver pieces of the 19th century.

•   William Henry Smith (1825-1891) - Son of George Smith Jr. and a successful silversmith in his own right. He was also a Member of Parliament and served as First Lord of the Admiralty from 1877 to 1880.

•   Edward William Smith (1856-1933) - Son of William Henry Smith and a talented silversmith who continued the family tradition of producing high-quality silver in a variety of styles.

Examples of the Smith family's work

•   The silver trowel used to lay the foundation stone of the Houses of Parliament in 1834.

•   The silver cradle used for the christening of Prince Arthur, the son of Queen Victoria and Prince Albert, in 1850.

•   The silver centerpiece commissioned by the City of London to commemorate the visit of Napoleon III in 1855.

•   The silver tea set presented to Queen Victoria on her Diamond Jubilee in 1897.

The Smith family's work is on display in museums and private collections around the world. The Victoria and Albert Museum in London has a particularly fine collection of Smith silver, including a number of pieces that were commissioned by the British royal family.

View further examples of Smith Family of Silversmiths

Smith, Penny

Penny Smith was born in 1947 in Germany.

She obtained a Bachelor of Design from the High Wycombe College of Art and Technology at High Wycombe, Buckinghamshire, England and Master of Fine Art from the University of Tasmania, Hobart.

She is self-trained as a potter. From 1980 she lectured in the ceramics department of the University of Tasmania and was appointed head of the studio in 1984, where she is currently a Research Fellow.

Her first solo exhibition was held at Salamanca Place Gallery in Hobart in 1970.

Her work can be found in the Tasmanian Museum and Art Gallery, National Gallery of Victoria, and other regional and state galleries.

View further examples of Smith, Penny

Smiths Clocks

The history of Smiths Clocks (England) can be traced back to

1851, when Samuel Smith founded a jewellery shop in Clerkenwell, London. The

company grew rapidly over the next few decades, and by the early 1900s it was a

major supplier of timepieces, diamonds, and automotive instrumentation.



During World War I, Smiths Clocks made a significant

contribution to the war effort. The company manufactured precision timekeeping

instruments, including aircraft clocks and marine chronometers, which were

vital for military operations.



In 1931, Smiths entered the domestic clock market. They

formed a new company, Smiths English Clocks Ltd, and began producing a range of

synchronous electric clocks. These clocks were well-received by the public, and

Smiths soon became one of the leading clockmakers in the UK.



In the years that followed, Smiths continued to expand its

range of clocks. They introduced a number of innovative new designs, including

the "Mystery Clock" and the "Synfinity". They also acquired

a number of other clockmakers, including English Clock and Watch Manufacturers

Ltd (1932) and Enfield Clock Company (1934).



After World War II, Smiths Clocks continued to thrive and

expanded its operations further. The company ventured into other industries,

including automotive, aviation, and telecommunications, diversifying its

product range beyond clocks and watches and was renamed Smiths Industries and

then in 2000 the name was again changed, this time to Smiths Group plc

recognising the diverse operations of the company.

View further examples of Smiths Clocks

Smoker's Bow

A form of Windsor chair, similar to a Captain's chair or pub chair.

View further examples of Smoker's Bow

Snuff Boxes

Snuff boxes are small, decorative containers used to store and carry powdered tobacco, known as snuff. The use of snuff dates back to the 16th century, and the popularity of snuff boxes grew along with the popularity of snuff itself.

Some of the European countries where snuff-taking was popular include:

•    France: Snuff-taking was particularly popular in France during the 18th century. The French royal court was known for its elaborate snuff boxes and the habit was popular among the French aristocracy.

•    England: Snuff-taking was introduced to England in the 17th century and quickly became popular among the upper classes. Many English gentlemen carried snuff boxes and the habit was seen as a sign of good manners and social status.

•    Germany: Snuff-taking was popular in Germany during the 18th and 19th centuries, particularly among the aristocracy.

•    Spain: Snuff-taking was popular in Spain in the 18th century and was often used by the Spanish aristocracy as a way to display their wealth and status.

In the Americas, snuff-taking was introduced by European colonizers and became popular among both the European and indigenous populations. Snuff-taking remained popular in many countries throughout the Americas well into the 20th century.

Snuff boxes were originally made of wood, horn, or other simple materials. However, as snuff-taking became more fashionable among the wealthy, snuff boxes became more elaborate and luxurious, often made of gold, silver, ivory, or other precious materials, and decorated with intricate engravings or enamel work.

Other materials that were commonly used to make snuff boxes include:

•    Enamel: Enamel was a popular material for snuff boxes during the 18th and 19th centuries. It was used to create colorful and intricate designs on the boxes.

•    Mother of pearl: Mother of pearl was often used to decorate snuff boxes. It was prized for its iridescence and was often inlaid into the surface of the box.

•    Gemstones: Precious and semi-precious stones such as diamonds, rubies, and emeralds were sometimes used to decorate snuff boxes.

•    Leather: Leather was used to make more casual snuff boxes, particularly those designed for travel.

•    Porcelain: Porcelain snuff boxes were made in China and other countries and were often decorated with intricate designs.

Overall, the materials used to make snuff boxes varied depending on the era and the social status of the owner. More luxurious and expensive materials were used to create snuff boxes for the upper classes, while simpler materials were used for more utilitarian boxes.

Snuff boxes also became status symbols, and were often given as gifts or used to display wealth and social standing. They were particularly popular in Europe in the 18th and 19th centuries, and many notable figures of the time, including royalty and politicians, were known to collect and use snuff boxes.

Although the use of snuff declined in popularity in the 20th century, snuff boxes remain popular among collectors of antique and vintage items. They offer a glimpse into the social and cultural history of the time, and the craftsmanship and decorative work of many snuff boxes make them highly sought-after collector's items.

Snuff boxes are still made and used by some snuff enthusiasts, but they are primarily collected for their historical and aesthetic value.

View further examples of Snuff Boxes

Snuff Mull

A snuff mull is a type of container that was used to hold snuff, a form of powdered tobacco that was popular in the 18th and 19th centuries. The snuff mull originated in Scotland, and was often made from materials such as horn, wood, or silver.

Snuff was typically carried in small boxes or bottles, but the snuff mull was designed to hold a larger quantity of the powdered tobacco. The snuff mull usually had a hinged lid and was often decorated with intricate designs or carvings. Some snuff mulls were also fitted with a small spoon or scoop for dispensing the snuff.

In Scottish tradition, the snuff mull was often passed around as a way of sharing snuff with friends and guests. It was considered a sign of hospitality to offer guests a pinch of snuff from the mull.

View further examples of Snuff Mull

Snuffer

A device for extinguishing a candle, usually made of silver or silver plate, and sometimes ceramic.

There are two types, the first in the shape of a cone that is placed over the the top of candle and smothers the flame, also known as an extinguisher. The cone shaped snuffer may be part of a candlestick or have its own stand. The second type is similar to a pair of scissors with a small box on one of the blades into which the wick falls when it is cut.

Prior to the invention of snuffless candles in the 1820s, this type of snuffer was used to trim the wick of the tallow candles (also called "snuffing") that were in use at that time, so that they did not become too long. With the snuffles candle, the newly developed plaited wick bent into the flame as it burnt, and was fully consumed.

This type sometimes comes with an accompanying stand or tray.

However the two components may have been separated, and a new name found for the snuffer tray, such as a pen tray.

View further examples of Snuffer

Soapstone

Soapstone is a soft rock, that has been carved by the Chinese for centuries, and is still being carved today. The name derives from the soap-like feel that some of the softer grades of soapstone have.

The softness of the rock is due to talc in its composition, and the amount of talc can vary from 80% (very soft) to about 30%. On the Mohs scale of hardness, soapstone has a hardness of 1 to 5, whereas jade has a hardness of 6 to 6.5. It is often possible to scratch a piece of soapstone with a fingernail or knife blade.

Because of continuing production over several centuries, it can be difficult to date soapstone carvings, and there are many that were made for the tourist market.

Soapstone carvings are generally not expensive and the quality of the carving and the size and colouring of the soapstone contribute to the determination of value.

Colours of soapstone can vary and include off-white, red, green and brown.

View further examples of Soapstone

Socle

The short plinth, usually cylindrical, that serves as a pedestal for a sculpture or vase

View further examples of Socle

Sofa Table

A long, rather narrow table with drawers and a flap at each end supported by fly rails. Sofa tables are mostly supported by two pedestals which may be turned, of lyre shape or square section standing on splay feet. Originally the tables were placed in front of the sofa for reading or writing. Modern practice is often to place them behind a sofa or to use them as occasional tables elsewhere in a room. Nineteenth century sofa tables sometimes omitted the flaps.

View further examples of Sofa Table

Soft Paste Porcelain

Porcelain is an ancient ceramic material, first made in China, hence the common name "china", and the process was unknown in the West.

European potters attempted to replicate Chinese porcelain, without knowing the ingredients in its composition, and the earliest wares were produced with mixtures of clay and ground-up glass (frit), the idea being that the glass would give the porcelain translucency.

It was given the name "soft" because it did not remain rigid, but "slumped" when fired in the kiln at high temperatures.

View further examples of Soft Paste Porcelain

Soholm Keramic

Soholm Keramicis a Danish ceramic factory that was founded in 1835 on the island of Bornholmin by Herman Sonne Wolffsen (1811-1887) and Edvard Christian Sonne,. The factory has a long and rich history, and its products have been collected by enthusiasts around the world.

In the early 20th century, Soholm began to produce a new style of ceramics that was inspired by the Art Nouveau movement. These pieces were characterized by their bold colors, organic shapes, and intricate patterns. Some of the most famous Art Nouveau designers who worked for Soholm include Michael Bang, Gunnar Nylund, and Per Rehfeldt.

In the mid-20th century, Soholm continued to produce innovative and stylish ceramics. This period is often referred to as the "golden age" of Soholm, and it saw the creation of some of the factory's most iconic pieces. These include the Blue Series, which was designed by Einar Johansen, and the Black Series, which was designed by Gunnar Nylund.

Over the years, the business underwent many changes in ownership over the years, with Keramisk Forbund purchasing the factory in 1933. Soholm continued to produce ceramics until 1996, when the factory closed.

View further examples of Soholm Keramic

Solido

Solido is a French manufacturing company which produces die-cast scale models of cars, military vehicles, and commercial vehicles. The company was founded in 1932 by Ferdinand de Vazeilles, who was then the director of a foundry in Nanterre. The first Solido models were made of white metal, but the company switched to die-cast metal in the early 1950s. Solido models were initially sold in France, but the company began exporting its products in the 1960s.

Solido models were known for their high quality and realism. The company's models were often praised for their attention to detail, and they were often used as reference models by professional modelers. Solido also produced a wide range of models, including cars, trucks, buses, motorcycles, and military vehicles.

In the 1980s, Solido was bought by Majorette. The company continued to produce die-cast models under the Solido brand, but its output declined in the 1990s. In 2003, Solido was bought by Smoby, which also owned the Norev brand.

In 2006, Smoby closed the Solido factory in Oulins, France. Production of Solido models was relocated to China. In 2015, Simba-Dickie, a German toy company, bought Solido from Smoby.

Under Simba-Dickie, Solido has been revived. The company has introduced a new line of high-quality die-cast models, and it has also expanded its range of products to include plastic models and radio-controlled vehicles. Solido is now one of the leading manufacturers of die-cast models in the world.

View further examples of Solido

Solomon Islands Artefacts

The Solomon Islands, located in the South Pacific, is home to a rich and diverse collection of tribal artifacts. These artifacts reflect the cultural and artistic traditions of the various indigenous peoples who have inhabited the islands for centuries. A few examples of tribal artifacts from the Solomon Islands follows:

•    Malaita Figures: These are carved wooden figures that come from the Malaita Province of the Solomon Islands. They are known for their elongated, slender forms and stylized facial features. They were often used in ceremonial contexts and were believed to embody spiritual power.

•    Shell Money: Shell money is a traditional form of currency used by many indigenous peoples in the Solomon Islands. It consists of small, circular shells that have been strung together to form a necklace or bracelet. Different types of shells were used to create different denominations of currency.

•    Canoe Prow Figureheads: These are carved wooden figures that were attached to the front of canoes. They were believed to provide protection and guidance during sea voyages. They often depict human or animal figures and are highly stylized.

•    War Shields: War shields are wooden shields that were used in battle. They were often decorated with intricate designs that reflected the beliefs and traditions of the people who made them. The designs could also serve a practical purpose, helping to camouflage the warrior in the dense jungle environment.

•    Lava-Lava Cloth: Lava-lava cloth is a type of traditional fabric that is worn by many people in the Solomon Islands. It is made from woven plant fibers and is often decorated with intricate designs or patterns. It is used for a variety of purposes, including clothing, bedding, and ceremonial items.

Each artifact reflects the unique cultural and artistic traditions of the people who created it.

View further examples of Solomon Islands Artefacts

Sommerso

A method of making cased glass developed in Murano in the 1930s, where one or more layers of transparent coloured glass is encased within a layer of thick clear colourless glass.

View further examples of Sommerso

Song Dynasty

The Song Dynasty was a ruling dynasty in China from 960 to 1279 AD. It was divided into two periods, the Northern Song (960–1127) and the Southern Song (1127–1279). The emperor was the ultimate authority, but he relied on officials who were selected based on their merit and skills rather than their family background or social status. The Song Dynasty was a period of great artistic and cultural achievements, particularly in the areas of poetry, painting, and calligraphy. The Chinese invented the printing press during this period, which revolutionized the spread of knowledge and ideas. During the Song Dynasty, China had a prosperous economy and was a centre of international trade, particularly in luxury goods such as silk, tea, and porcelain. The use of paper money became more widespread during this period, facilitating commerce and trade.  

View further examples of Song Dynasty

Sonia Rykiel

Sonia Rykiel (née Flis) (1930 - 2016) was a French fashion designer and writer. She was known for her knitwear designs, which were often comfortable and loose-fitting, and for her use of bold colours and prints. She was also known for her rebellious attitude and her willingness to challenge traditional notions of beauty.

Rykiel was born in Neuilly-sur-Seine, France, to Jewish parents. Her mother was from Poland and her father was from Romania. She was the eldest of five sisters. She showed an early interest in fashion, and she began designing her own clothes as a teenager. In 1953, Rykiel married Sam Rykiel, the owner of a boutique called Laura. The couple had two children, Nathalie and Jean-Philippe. In 1962, while pregnant with her second child, Rykiel was unable to find comfortable maternity clothes. She decided to design her own sweaters, which she made with a loose, flowing fit and bold colors and prints.

Rykiel's sweaters were a hit, and she soon began selling them through Laura. In 1968, she opened her own boutique on the rue de Grenelle in Paris. The boutique was an instant success, and Rykiel quickly became one of the most famous fashion designers in the world. Rykiel's designs were known for their comfort, their use of bold colours and prints, and their rebellious attitude. She often challenged traditional notions of beauty, and she was known for her willingness to use unconventional materials and techniques.

Rykiel was also a successful writer. She published several books, including "Sonia Rykiel: A Fashion Manifesto" (1979) and "Rykiel Woman" (1987). Rykiel remained active in fashion until her death in 2016.

View further examples of Sonia Rykiel

Sorø Stolefabrik

Sorø Stolefabrik (Sorø Chair Factory) was a Danish furniture company that was founded in 1908 by Hans Hansen in the town of Sorø. The company initially produced chairs and other furniture for the local market, but it soon expanded its production to include a wider range of furniture, including dining tables, sofas, and bedroom furniture. In the 1950s and 1960s, Sorø Stolefabrik established a reputation for its production of high-quality, Danish mid-century modern furniture.

Some of the most notable Danish mid-century furniture designers who collaborated with Sorø Stolefabrik and their most notable designs for the company included:

•    Poul Volther, (1923-2001) one of the most important Danish furniture designers of the 20th century - the Corona chair and the J16 chair.

•    Arne Hovmand-Olsen, (1919-1996 another leading Danish furniture designer of the 20th century - the Model 351 chair and the Model 352 chair.

•    Henning Kjærnulf (1915-1981, Danish furniture designer and architect known for his simple, elegant designs and his use of natural materials - the Model 62 dining table and the Model 63 dining chair.

The company's furniture was characterized by its simple, elegant designs, its use of high-quality materials, and its careful craftsmanship. The company's furniture was also known for its durability and functionality and was exported worldwide. It became particularly popular in the United States and Japan. The company's furniture was also featured in many design magazines and exhibitions of the time.

In the 1970s, Sorø Stolefabrik began to experience financial difficulties due to increased competition from other furniture companies and closed down in 1983.

View further examples of Sorø Stolefabrik

Sorrento Ware

Sorrento ware is a type of inlaid wooden object that originated in the town of Sorrento, Italy. It is characterized by its intricate designs, which are typically made from different types of wood, ivory, and mother-of-pearl.

The history of Sorrento ware dates back to The first known examples of Sorrento ware were small boxes and other objects that were made for the local market in the 18th century. However, the popularity of Sorrento ware soon spread to other parts of Italy and Europe.

In the 19th century, Sorrento ware became a popular souvenir for tourists visiting the Amalfi Coast. The objects were often decorated with scenes of local life, such as fishing boats, lemons, and churches.

Sorrento ware continued to be produced in the 20th century, but the popularity of the craft declined somewhat. However, there has been a resurgence of interest in Sorrento ware in recent years, and there are now a number of workshops in Sorrento that produce the objects.

Some of the most common types of Sorrento ware include small boxes inlaid with intricate designs; trays, often decorated with scenes of local life or with floral motifs; clocks typically made from wood and ivory, often decorated with scenes of the Amalfi Coast and jewellry boxes which are typically small and circular, and they are often decorated with flowers or other motifs.

Sorrento ware is a beautiful and unique craft that is still practiced in Sorrento and the objects are a popular souvenir for tourists, and are also prized by collectors.

View further examples of Sorrento Ware

Sottsass, Ettore

Ettore Sottsass, the most eminent designer of the 20th century, was born in Innsbruck, Austria, in 1917, and studied architecture in Turin, graduating in 1939. During World War II he served in the Italian military, spending much of his time in a prisoner of war camp in Yugoslavia. After returning home, he opened his first studio in Milan in 1947.

Ettore Sottsass become a creative consultant to Polotronova, a furniture manufacturer near Florence in 1957, and then worked as a design consultant for Olivetti from 1958 to 1980. He designed the Elea 9003 calculator and the popular portable red 'Valentine' typewriter, released on Valentine day 1970, and whose features included a carriage that dropped to the level of the keyboard and a storage case

In the 1970s, Ettore Sottsass was hired by Alessi and he designed various items for the company, such as cutlery, condiment sets, plates and other kitchen equipment. He also designed a vase and a decanter for Baccarat; several collections of tables and chairs for Knoll, and a number of silver-plated geometric design candlesticks for Swid Powel.

In the late 1970s, Ettore Sottsass was working with Studio Alchymia, a group of avant garde furniture designers, but he split with them in 1980 to become a founder and a leading member of Memphis, the Milan design group. Memphis exhibited its brightly coloured postmodern furniture, lighting and ceramics made of acrylic, aluminium and tropical wood from 1980 to 1988.

Ettore Sottsass had departed the group in 1985 and formed Sottsass Associati, an architecture and design group where he worked with former Memphis members and younger designers.

He returned to architecture in the mid 1980s when he was commissioned to design a chain of shops for Esprit, a series of private houses and public buildings, including Malpensa 2000 airport near Milan.

Sottsass Associati has also worked for Apple, NTT, Philips and Siemens.

Towards the end of his life a number of museums and galleries presented retrospectives of his work, including the Los Angeles County Museum of Art in 2006, and the Design Museum in London, the Philadelphia Museum of Art and the Friedman Benda Gallery in Manhattan all in 2007.

View further examples of Sottsass, Ettore

Soumak Weave Rug

A Kazak soumak weave rug is a type of flat-woven rug that is made using a technique known as soumak weaving. Soumak weaving is a traditional technique that involves wrapping weft threads around the warp threads to create a strong and durable weave.

These rugs are typically made in the Caucasus Mountains of Central Asia, in a region that includes present-day Armenia, Azerbaijan, and Georgia. They are known for their bold and colourful designs, which often feature geometric motifs, tribal symbols, and stylized flowers.

The soumak technique used in making Kazak rugs results in a flat, reversible weave that is known for its durability and strength. The carpets are typically made using high-quality wool, which is hand-spun and hand-dyed using natural dyes.

View further examples of Soumak Weave Rug

Spandrel

An architectural term that in horology refers to the triangular ornamental decoration in the corners of of the dial plate. The spandrels are usually of cast brass and may be additonally chased and engraved. On painted dial clocks the spandrels are also usually painted.

View further examples of Spandrel

Spartan Pottery

Spartan Pottery was a short-lived pottery company in New Zealand that was active from 1946 to 1951. It was founded by three former employees of Ambrico Pottery: Norman Stevens, David Stewart, and Jack Aberly. The company was located in Glen Eden, West Auckland.

The pottery produced a variety of ceramic items, including figurines, vases, bowls, and plates. Their pieces were known for their simple, geometric designs and their bright, cheerful colours. They also produced a line of Santa Claus figurines that were very popular at Christmas.

Spartan Pottery was a relatively small company, and it only operated for a few years. However, their pieces are still highly sought-after by collectors today.

View further examples of Spartan Pottery

Spelter

Spelter was the name given to an alloy of zinc and brass or copper used in the 19th century for statuary and lighting. It is a brittle bluish-white metal. It was used as a cheap replacement for bronze, but being brittle easily breaks and can't be repaired. When finished it can often be mistaken for bronze, but if discreet a scratch on the base displays shows a greyish colour, the metal is spelter, if a golden colour the metal is most likely bronze.

View further examples of Spelter

Spill Vase

Popular in Victorian times, a spill vase was a vessel for holding thin slips of wood or spills of paper with which to light a candle or pipe from a fire. For ease of access to the fire, they usually sat on the mantlepiece or had a hole in the back, so they could be hung from a wall. Their use declined with the with the evolution of heating through use of electricity and the use of safety matches in the late 19th century.

View further examples of Spill Vase

Spindles

Short turned pieces, used as stretchers or back supports mainly in cottage chairs, couches and day beds. Turned shelf supports and the railings used in the backs and arms of day beds during the late 19th century are also referred to as spindles. Until the coming of the industrial age, spindles, like all turned pieces, were made by hand, and should show some slight variation. With the introduction of the factory lathe, spindles and turned legs became quite uniform and standard.

View further examples of Spindles

Splat

The central back support between the top rail and the seat in chairs and couches. They may take a variety of forms, and run either horizontally or vertically.

View further examples of Splat

Spode

Spode was first produced at the Stoke-on-Trent factory established by Josiah Spode (1733 - 1797) in 1770. Josiah Spode Junior made the first type of English bone china. Spode ware was distinctive for its Willow pattern and for its floral and Japanese design tableware.

View further examples of Spode

Spoon Back

A term to used to describe the shape of the back of a chair, either upholstered or wooden, that is shaped like a spoon, with a rounded top, and curved back made so that the whole of the sitter's back is cocooned within the back of the chair. This type of back was popular in Victorian dining and occasional chairs.

View further examples of Spoon Back

Spot-On Toys and Models

Spot-On models, was a brand name for a line of diecast toy cars made by Tri-ang, owned by Lines Bros. from 1959 through about 1967. They were manufactured in 1:42 scale in Belfast, Northern Ireland.

Lines Bros Ltd, at its peak in 1947, was claimed by the company to be the largest toy maker in the world. At their peak they had 40 companies world-wide, including the famous Tri-ang, Hornby, Meccano and Dinky brands,

Lines Bros had a well established factory in Belfast, Northern Ireland making other toys and by May 1959 only 3 months after Spot On Toys was incorporated the first diecast models were produced for what was known as their ‘Vehicle & Highway System range. Unique to Spot-On was that each model whatever their casting size was produced to a 1/42 scale meaning a Double Decker bus was considerably larger than a saloon car and more realistic in size comparison, this had not been a design goal by Dinky or Corgi.

Each of the Lines Bros. brands led at different times with innovations but Spot On were the first to introduce interiors which were introduced in May 1959 from outset. Corgi followed in July 1959 and Dinky not until April 1960. They were also the first main diecast producer to introduce electric lights in August 1961 when Corgi waited a further year to October 1962 and Dinky not until January 1964.

Production of Spot-On models made in the UK ceased in 1967.

View further examples of Spot-On Toys and Models

Spyglass

A spyglass is a small, portable, handheld telescope that was used for nautical and terrestrial observation. They were commonly made of brass and had a magnification of around 3x to 10x. Spyglasses were first invented in the early 17th century and were quickly adopted by sailors and explorers. They were used to scan the horizon for ships, land, and other objects. Spyglasses were also used for hunting and for military purposes. The name "spyglass" comes from the fact that they were often used for spying on enemy ships and positions. Spyglasses were eventually replaced by binoculars and other optical devices, but they are still used today by some sailors and enthusiasts.

View further examples of Spyglass

Squab

A loose cushion that fits onto the seat of a chair or settee, and can be removed. Originally the squab was constructed from horsehair, then later coconut fibre.

View further examples of Squab

St Ives Pottery

St Ives Pottery, England was founded in 1920 by Bernard Leach and Shoji Hamada in St Ives, Cornwall. Leach was a British potter who had studied in Japan, and Hamada was a Japanese potter who had studied in England. The two men shared a passion for traditional pottery, and they wanted to create a pottery that would combine the best of British and Japanese traditions.

The pottery was initially located in a former cowshed, and it was run by Leach and Hamada with the help of a few apprentices. The pottery quickly gained a reputation for its high-quality work, and it soon became one of the leading studios in the UK.

In 1923, Leach's wife, Dorothy, joined the pottery, and she helped to manage the business side of things. Dorothy was a talented potter in her own right, and she helped to develop the pottery's distinctive style.

In the years that followed, the pottery continued to grow and evolve. Leach and Hamada continued to experiment with new techniques and glazes, and they attracted a number of talented potters to the studio. The pottery also began to sell its products internationally, and it soon became one of the most respected pottery studios in the world.

Leach and Hamada continued to work at the pottery until their deaths in the 1970s. However, the pottery continued to operate under the leadership of Dorothy Leach and other talented potters. Today, the pottery is still in operation, and it continues to produce high-quality pottery that is inspired by the traditions of both Britain and Japan.

The St Ives Pottery has had a significant impact on the development of studio pottery in the UK. The pottery's focus on traditional techniques and glazes has helped to shape the style of studio pottery in the UK, and its high-quality work has helped to raise the profile of studio pottery around the world. The St Ives Pottery is a valuable part of the UK's cultural heritage, and it continues to produce beautiful and inspiring pottery.

View further examples of St Ives Pottery

Staffordshire Figures

Perhaps the most famous pottery figures of the last hundred years or so, are the Staffordshire flat backs, the description "flat back" indicating they were not detailed on the reverse as they were designed to stand against a wall, not be seen in the round.

The numerous large and small Staffordshire potteries, estimated at over 1,000 by the end of the 19th century, produced a vast range of coloured and glazed earthenware figures.

The range included rustic, allegorical and biblical scenes, as well as famous people, such as Queen Victoria and Prince Albert, or Bonnie Prince Charlie and Flora McDonald, which were made either as separate pieces or as pairs on one stand.

Sometimes the characters were mounted like Lord Raglan and Marshal Arnaud. There were also representations of The Soldier's Farewell and The Soldier's Return, and there were many portrayals of dogs, especially King Charles spaniels, greyhounds, pugs, and Pekingese.

These Staffordshire figures were made right up to 1900 or so. Most Staffordshire is unmarked, and as they were produced in vast quantities, the figures do not command high prices in the marketplace unless the details are good or if it is known that only a limited number were made. As well, recent copies have been made which has depressed the price.

View further examples of Staffordshire Figures

Standish

Although the word is little used nowadays, a standish is an inkstand on feet and usually in silver or silver plate, containing some of the following: inkwells, a pounce pot, a sealing wax container and a pen rest. Standishes are also found in less common materials including boulle, marble, brass and wood.

View further examples of Standish

Standish (ink Stand)

A standish (more commonly called an inkstand) is a small container or case that was historically used for holding writing materials such as pens, ink, and paper. The term "standish" comes from the Middle English word "stand-dich," which means "stand for writing."

A typical standish would consist of a box or case with compartments for holding pens, inkwells, and sometimes other writing materials such as sand for blotting ink. The standish was often made from wood, metal, or ceramic materials, and could be decorated with intricate designs or motifs.

Standishes were commonly used in the 18th, 19th and early 20th centuries, when writing was an important and widespread activity. They were particularly popular among wealthy and upper-class individuals, who would use them as part of their writing desk or set. However, with the advent of ballpoint pens and other modern writing tools, standishes have largely fallen out of use, and are now mostly considered decorative antique objects or collector's items.

View further examples of Standish (ink Stand)

Stanhopes

Early bone Stanhope miniature binoculars with a view of the Statue of Liberty New York. Length 2 cm

Stanhopes are small, often utilitarian, objects that have been set with a tiny lens, which, when held to light and close to the eye, reveals a tiny photograph. The microphotograph itself is no bigger than the size of a full stop, but is magnified when viewed through the lens.

Three people contributed to the development of Stanhopes – J.B. Dancer, inventor of microphotography, Lord Stanhope, inventor of the lens and Frenchman Rene Dagron, who first combined the two and set the result into novelty items, thereby popularising the technique.

Mass-produced on a rapidly increasing scale from the early 1860s onwards, most were sold as inexpensive souvenirs of places or as commemorative objects for events and exhibitions. From the mid-1860s, Dagron exported thousands of lenses from his factory.

People could send him photographs, which he would miniaturise and mount on a lens making them ready for insertion into any object. Exported lenses were marked ‘Made in France’ or with Dagron’s company name. The objects into which the lens was inserted are usually made from inexpensive materials such as bone, vegetable ivory, bog oak or base metals. Plastic was used after the 1920s. Sewing items, charms and penholders predominate.

Scenic views are more common than dated historical personalities and events, which tend to have higher values. Erotic subjects fetch higher prices still. The 20th century saw a decline in inventiveness and range but Stanhope novelties were still produced for commemorative events, such as the accession of Queen Elizabeth II in 1953 and for advertising purposes.

Demand declined in the 1960s and production ceased completely in 1972. Condition is important. Primarily, the lens must be present and the novelty should not be damaged. The image should be visible and sharp – crazing, bubbling of the gum or scratches reduce value. Never immerse examples in water as this can destroy the adhesive between the image and lens. Also avoid sharp knocks which can also separate the image from the lens.

View further examples of Stanhopes

Staunton Chess Set

How should the king, queen, rooks and other pieces be depicted? Why is the king always the tallest piece and have a cross on his head. And why is the knight depicted as a horse head?

Until the adaption of a standard design, the designs of the pieces in every set varied. The Staunton chess set set a standard design for each piece used in the game of chess, and was the style adopted for use in chess competitions.

The Staunton designs were developed in 1849 and sold by sports and games manufacturers Jaques & Son of London, and were either designed by the proprietor of the firm, John Jaques or his his brother in law, Nathaniel Cook.

The design was named after Howard Staunton, an English chess player who was regarded as the leading player in the 1840s to 1850s.

The style has been popular for more than 160 years, and is still the standard today in tournament chess games and competitions.

View further examples of Staunton Chess Set

Stc (standard Telephones and Cables) Australia

STC (Standard Telephones and Cables) Australia was a leading manufacturer of radios, telecommunications equipment, and other electronic devices in Australia from the early 1900s until the 1980s. The company was a subsidiary of the British firm, Standard Telephones and Cables, which was established in London in 1883 and from 1925 to mid 1982 was owned by ITT of the USA.

STC Australia was founded in Sydney in 1913, and the company's early products included telegraph equipment and early radio receivers. During World War I, the company supplied radio communication equipment to the Australian and British military forces.

In the 1920s, STC Australia became a major manufacturer of radios, and the company's radios were particularly popular in rural areas where they provided access to news and entertainment. During the 1930s, STC Australia expanded its product line to include televisions and other consumer electronics, and the company continued to grow through the 1940s and 1950s.

In the 1960s, STC Australia faced increasing competition from Japanese electronics manufacturers, and the company began to struggle financially. In 1970, the Australian government took over the company's defense-related operations, and in 1991, the company's remaining consumer electronics operations were sold to Nortel.

Despite its eventual decline, STC Australia played a significant role in the development of Australian radio and electronics manufacturing. The company's radios were particularly important in the early years of radio broadcasting in Australia, and STC Australia also developed advanced telecommunications equipment that helped to modernize the country's communications infrastructure.

View further examples of Stc (standard Telephones and Cables) Australia

Steam Engines and Models

A live steam scale model of a traction engine, late 19th/20th century, with a front roller, spoked wheels and boiler chimney, finished in maroon and black with yellow trim, 75 cm long, 33 cm high

Steam has been used to power models and toys from the late 19th century onwards, as an alternative to clockwork. It was largely replaced by battery or electric power in the 20th century, although some toys are still being sold and some models (usually scratch built by amateurs) are still being built.

There are three primary types of steam engine driven items: stationary toys built for children, moving steam-powered models such as engines, trains and boats and demonstration models made to show how a machine works.

Stationary engines were made by many of the leading German tinplate manufacturers such as Gebruder Bing, Marklin, Ernst Plank and Carette. In England, Mamod is the best known maker. They also made moving steam engines. Most stationary steam engines drove flywheels that would be attached to other accessories with belts, driving the workings on the accessory. Factories, windmills and other novelty movements can be found. Tinplate toys are desirable to tinplate collectors who collect names such as Marklin and Bing.

Original paintwork or lithography is important, and damage, often caused by the water and oil used, reduces value. Look for original burners and components. Larger demonstration models fetch large sums if sophisticated, well engineered and of a large size. Any finely made ‘live steam’ pieces such as trains that can be ‘ridden’ or are larger than a toy will also usually be desirable and valuable.

View further examples of Steam Engines and Models

Stefano Canturi

Stefano Canturi is an Italian-born, Australian-based jewellery designer. He was born in Sicily, Italy, in 1963, and moved to Australia with his family when he was four years old. Canturi began his career as a jewellery designer at the age of 17, working in his father's jewellery store in Sydney.

In 1986, Canturi established his own jewellery design studio, Canturi Jewels, in Sydney. He gained a reputation for his unique and innovative designs, which were inspired by art, architecture, and the natural world. Canturi's jewellery is known for its geometric shapes, clean lines, and bold use of colour.

One of Canturi's most famous creations is the "Cubism" collection, which he launched in 1991. The collection was inspired by the art movement of the same name, and it featured geometric shapes, sharp angles, and bold colours..

View further examples of Stefano Canturi

Steiff

Steiff is a German company that is widely recognized for its production of high-quality teddy bears and soft toys. Founded in 1880 by Margarete Steiff, born in 1847, who had a childhood illness that left her legs paralyzed. Despite her physical challenges, she had a strong entrepreneurial spirit. In 1877, she started a small felt clothing business in Giengen an der Brenz, Germany.

In 1902, Margarete's nephew, Richard Steiff, designed a revolutionary toy—a jointed bear made of mohair plush fabric with movable arms and legs. It was the world's first teddy bear. The bear's design was inspired by a trip Richard made to the Stuttgart Zoo, where he observed bears' movements. The bear was initially named "Bear 55 PB" but later became known as the "Teddy bear" after a widely circulated story involving U.S. President Theodore "Teddy" Roosevelt. The Steiff Teddy bear gained immense popularity and soon became a global sensation. In 1903, the company began exporting teddy bears to the United States, establishing Steiff as one of the world's leading toy manufacturers.

Steiff continued to innovate and expand its product range. In 1904, they introduced the iconic "Button in Ear" trademark, a small metal button attached to each Steiff toy's ear. This trademark served as a symbol of quality and authenticity. Over the years, Steiff expanded its offerings to include a wide variety of animals, both realistic and imaginative, along with other soft toys and collectibles.

Steiff faced challenges during World War I and World War II, as resources were scarce and production was limited. However, the company persevered and managed to survive and rebuild after the wars. In 1953, the company introduced its first washable stuffed animals, making their toys even more practical and durable.

Steiff has continued to thrive and the company remains family-owned and is currently led by the fourth generation of the Steiff family. They continue to produce a wide range of teddy bears, plush animals, and other toys, combining traditional craftsmanship with contemporary designs.

View further examples of Steiff

Steiner, Henry

J. Henry Steiner was a German-born silversmith and jeweller who lived from 1835 to 1914. He immigrated to Adelaide, Australia, in 1858 and set up his own business in 1860. Steiner was a prolific silversmith and exhibited his work at many major exhibitions in Australia and overseas. His work was popular with both the wealthy and the middle classes, and he produced a wide range of items, including jewelry, silverware, and objets d'art.

Steiner's work was influenced by both European and Australian design traditions. He was particularly known for his use of Australian native flowers and animals in his designs. He also experimented with new techniques, such as electroplating and enamelling.

Steiner's business was successful, but he suffered a number of personal setbacks in the late 1880s. These included the death of his wife and two children in a typhoid epidemic, the collapse of several Australian banks in which he had invested, and a severe economic downturn. As a result, Steiner sold his business in 1884 and returned to Germany. He returned to Adelaide in 1887, but left again two years later and returned to Germany, where he lived until his death.

Steiner was a talented silversmith and jeweller who made a significant contribution to the development of Australian decorative arts. His work is still highly regarded by collectors today.

View further examples of Steiner, Henry

Stelton Ware

Stelton is a Danish company known for its sleek and minimalist designs in tableware and home accessories. The company's history is closely tied to the modernist movement of the 1960s and its innovative approach to functional design. Here is an overview of the history of Stelton Ware from the 1960s and beyond:

Stelton was founded in 1960 by Danish army officer Niels Stellan Hom and business manager Carton Madelaire. The company's initial focus was on stainless steel tableware and kitchenware. They aimed to bring functional, high-quality products with a modern aesthetic to the market.

In the early years, Stelton collaborated with renowned Danish designers and architects to create its product line. One of the pivotal collaborations was with designer Arne Jacobsen, who designed the iconic "Cylinda Line" in 1967. This series of stainless steel tableware, including coffee and tea sets, pitchers, and trays, became an instant classic and a symbol of Stelton's design philosophy. The Cylinda Line was characterized by its cylindrical shapes, clean lines, and satin-polished stainless steel finish. It exemplified the minimalist and functional design principles of the time and set the tone for Stelton's future design language.

Throughout the following decades, Stelton continued to collaborate with renowned designers, expanding its product range and cementing its position as a leading design company. Notable collaborations included partnerships with Erik Magnussen, Peter Holmblad, and Klaus Rath, among others.

Stelton expanded beyond tableware and ventured into other home accessories, including kitchenware, barware, and home décor items. The company maintained its commitment to high-quality materials, functional design, and timeless aesthetics. In addition to stainless steel, Stelton began incorporating other materials into its designs, such as glass, plastic, and wood. This allowed for greater versatility and exploration of new forms and textures while staying true to its design ethos.

 Stelton continues to thrive as a design-oriented company. Its product range has expanded to include a wide array of kitchenware, tabletop accessories, and home goods. Stelton products are sold in high-end stores and design boutiques globally, and the brand remains synonymous with contemporary Danish design and timeless elegance.

View further examples of Stelton Ware

Stem

In drinking glasses the stem is that section of the glass that joins the bowl to the foot. In mass produced glasses is usually solid and of cylindrical shape, but in antique drinking glasses it may be long and short and in various styles or with decoration, such as air twist, baluster, collared, faceted, hollow, knopped, teardrop, twisted or incised.

View further examples of Stem

Stephen Bowers

Stephen Bowers is a self-taught Australian potter who is known for his intricately decorated and highly skilled work. He was born in Katoomba, New South Wales in 1952 and now lives and works in Norwood, South Australia.

Bowers' interest in pottery began in the late 1970s when he was looking for a challenge while teaching in a country town in South Australia. He did a traineeship in the Jam Factory's ceramic workshop in Adelaide in 1982, and spent the next five years as an art teacher during the day and a potter at night.

Bowers' work is inspired by a wide range of sources, including indigenous art, textiles, wallpapers, comic strips, and natural history illustrations. He is also influenced by the work of historical ceramic traditions, such as blue and white porcelain.

Bowers' pottery is distinguished by its intricate and detailed underglaze decoration. He uses a variety of techniques to create his designs, including brushwork, sponging, and transfer printing. His work is often humorous and playful, but it also explores deeper themes such as identity, culture, and the environment.

Bowers' work has been exhibited in galleries and museums all over Australia and internationally. He has also received numerous awards for his work, including the FSL George Lieschke Award for Service to Australiana Publications in 2018.

Bowers is a highly respected figure in the Australian ceramics community. He is known for his technical skill, his creativity, and his sense of humor. His work is a unique and important contribution to Australian contemporary ceramics.

View further examples of Stephen Bowers

Sterling Silver

Sterling silver is a mixture of 92.5% pure silver and 7.5% of another metal, usually copper. Fine silver is 99.9% pure silver, and is relatively soft and the addition of the very small amount of copper gives the metal enough strength and hardness to be worked into jewellery, decorative and household objects.

View further examples of Sterling Silver

Steuben Glass Works

American glassware company Steuben Glass Works was founded in 1903 by Frederick Carder, an English glass designer. The company is known for producing high-quality art glass, crystal glass, and other decorative glass items.

Frederick Carder had previously worked for the prominent English glass company, Stevens and Williams, before migrating to the United States in 1903. He settled in Corning, New York, which was a centre for glass production at the time, and founded Steuben Glass Works with the financial backing of Thomas G. Hawkes, a prominent New York businessman.

The company became known for producing high-quality glass items, especially art glass. Carder was known for his innovative designs, which often incorporated unusual shapes, colours, and textures. He also developed new glassmaking techniques, such as the use of coloured glass overlays to create intricate designs.

In 1918, Steuben was acquired by Corning Glass Works and became the Steuben Division.

During the 1920s and 1930s, Steuben Glass Works became particularly known for its engraved glassware, which was commissioned by wealthy individuals and corporations. The company also produced a range of other glass items, including tableware, vases, lamps, and figurines.

After Carder retired in 1932, the company experienced some financial difficulties and was eventually sold to Corning Glass Works in 1933. However, Steuben Glass Works continued to produce high-quality glass items under the new ownership, and the company's reputation continued to grow.

In the 1950s and 1960s, Steuben Glass Works expanded its product line to include more modern designs and decorative items, such as paperweights and animal figurines. The company also collaborated with a number of famous designers, including Donald Pollard and George Thompson.

Despite facing increased competition from cheaper imported glassware, Steuben Glass Works continued to produce high-quality glass items throughout the 20th century. The company was known for its dedication to craftsmanship and quality, and many of its glass items are now highly sought after by collectors.

In 2008, however, Corning Inc sold the Steuben Glass Works division to Schottenstein Stores, due to declining sales and changing consumer tastes. In 2011 Steuben Glass Works was sold back to Corning who announced that they would resume production of classic Steuben designs.

View further examples of Steuben Glass Works

Steve Fullmer

Steve Fullmer is a New Zealand potter who was born in Portland, Oregon, USA in 1948. He studied pottery at Long Beach Junior College in California, and he worked as a potter in the United States for several years before moving to New Zealand in 1973.

Fullmer has been living and working in Nelson, New Zealand since 1976. He has a studio workshop where he produces a range of functional and sculptural ceramics. His work is known for its distinctive forms, often inspired by the natural world, and its use of bold, colorful glazes.

Fullmer has won numerous awards for his work, including the Fletcher Brownbuilt Pottery Award, the Supreme Award at the New Zealand Crafts Council Awards, and the Te Waka Toi Award. His work is held in the collections of the Museum of New Zealand Te Papa Tongarewa, the Auckland Museum, and the Christchurch Art Gallery Te Puna o Waiwhetu.

View further examples of Steve Fullmer

Steve Waugh

Steve Waugh is a former Australian cricketer who is widely considered to be one of the greatest captains and players in the history of the game. Born on June 2, 1965, in Canterbury, Sydney, he grew up in a family of cricketers and showed an early talent for the sport.

Waugh made his first-class debut for New South Wales in 1984 and quickly established himself as a reliable middle-order batsman. He made his Test debut for Australia in 1985 against India and soon became a regular in the team. Waugh was known for his gritty batting style, and he was equally adept at playing spin and pace. He also developed a reputation for being a great fielder and an astute captain.

In 1999, Waugh took over as the captain of the Australian cricket team from Mark Taylor. Under his leadership, Australia became one of the most dominant teams in the history of the sport, winning the World Cup in 1999 and 2003 and reaching the top of the Test rankings.

Waugh was known for his aggressive and uncompromising style of leadership, and he was a master at getting the best out of his players. He was also a great ambassador for the sport and was highly respected by his peers and opponents.

Waugh retired from international cricket in 2004, having played 168 Test matches and scored 10,927 runs at an average of 51.06. He also played 325 one-day internationals and scored 7,569 runs at an average of 32.90. Waugh's career was filled with memorable moments, including his famous century against England in the 1997 Ashes series, which he played with a broken nose.

After retiring from cricket, Waugh became involved in charity work and set up the Steve Waugh Foundation, which supports children and young adults with rare diseases. He also worked as a commentator for various television networks and wrote several books, including his autobiography "Out of My Comfort Zone".

View further examples of Steve Waugh

Stevengraphs

Victorian Stevengraph, "The Perfect Time", with original label verso. The pictures were a standard size of 5 1/2 inches x 2 1/2 inches.

Coventry was the centre of silk weaving in the mid 19th century, but after the introduction of a free trade agreement in 1860 that removed import duties on silks, brocades and ribbons, and a change in fashions, the silk ribbon industry in Coventry was no longer competitive. This led to financial difficulties for the weaving factories, and they looked for ways to diversify.

About 1862, one of the weavers, Thomas Stevens was able to complete modifications to his ribbon weaving Jacquard looms to produce multi-coloured woven silk pictures, which he called Stevengraphs. As well as pictures often featuring horse racing, foxhunting, or portraits, he produced woven silk bookmarks, greeting cards and postcards. The pictures were a standard size of 5 1/2 inches x 2 1/2 inches.

Stevens was able to successfully market his products and he dominated the woven silk market from the 1860's until 1940 when "The Stevengraph Works" were destroyed by German bombing during World War II. Other manufacturers followed Stevens lead, but regardless of manufacturer, all woven silk items are known as Stevengraphs.

View further examples of Stevengraphs

Stevenson Brothers

Walter H. Stevenson was born in Melbourne in 1855 and began his journey in the world of jewellery by serving his apprenticeship under Phillip Wing of Little Collins Street. Mr. Wing, a pioneering goldsmith and jeweller, had established his workshop in Royal Lane in 1859.

After completing his apprenticeship and earning his papers, Walter ventured as a journeyman to work with P. Falk and Co. in their Adelaide factory. In 1878, alongside his brother William, who was a watchmaker, Walter co-founded their own jewellery business in Gawler Place. The business later relocated to 6 Rundle Street, Adelaide, in 1881.

As the years went by, the Stevenson brothers' business flourished, becoming a well-known and reputable jewellery house in Adelaide by the end of the 19th century. They offered an extensive range of gold and silver jewellery, all proudly adorned with their distinctive mark, 'Stevenson'.

Their business endured and prospered well into the 1920s, during which time Walter's son, Malcolm, joined the family trade, contributing to the continuation of their esteemed legacy.

Throughout the first half of the 20th century, the Stevenson family maintained their presence in Rundle Street, steadfastly serving their clientele and leaving a lasting impact on Adelaide's jewellery industry. Their dedication to craftsmanship and artistry solidified their position as respected artisans in the world of jewellery design and retail.

View further examples of Stevenson Brothers

Stewart Dawson & Co.

Stewart Dawson & Co. was a silversmith and retail business that was founded in 1871 by David Stewart Dawson in Liverpool, England. The company quickly became successful, and by the late 1800s, it had branches in London, Melbourne, Sydney, Auckland, and Dunedin.

Stewart Dawson was born in Aberdeenshire, Scotland, in 1849. He apprenticed as a silversmith in Dufftown, and then moved to Liverpool in 1871 to set up his own business. Dawson was a talented silversmith, and his work was soon in demand by both the wealthy and the middle class. The company's products were known for their high quality and their stylish design.

In 1886, Dawson moved to Australia and opened a branch of his business in Sydney. The Australian branch was an immediate success, and it quickly became one of the leading silversmiths in the country. Dawson also opened branches in Melbourne and Auckland, and by the early 1900s, Stewart Dawson & Co. was one of the most successful silversmiths in the British Empire.

The company continued to grow and expand in the early 20th century. In 1907, it was incorporated as a limited liability company. In 1910, the company opened a branch in Dunedin, New Zealand. And in 1920, the company opened a branch in London's Regent Street.

The firm was converted into a limited liability company in 1907 under the name of Stewart Dawson & Co Ltd. The business was sold in 1931 to R.H.O. Hills of Blackpool and continued its activity until around 1935.

Stewart Dawson also invested and traded in inner city properties in Sydney and Melbourne, from which he became very wealthy, so much so that by the time of the Great Depression in the 1930s he had converted his properties to cash, and was holding in excess of 1 million pounds. At the time of his death in 1932 at the of 82 he had homes in Potts Point and Palm Beach in Sydney, Springwood in the Blue Mountains, Monte Carlo and Hatton Garden, London.

Stewart Dawson & Co. continued to be successful throughout the 20th century. However, in the 1970s, the company began to face increasing competition from foreign manufacturers and was by acquired by the James Pacoe Group. All the stores in Australia have been closed, but there remain 15 Stewart Dawsons stores throughout New Zealand.

View further examples of Stewart Dawson & Co.

Stile

A cabinetmaker's term that refers to the vertical end members of the framework in a panelled item of furniture. The vertical mid-members are known as muntins.

View further examples of Stile

Stilnovo

Stilnovo was a company founded in Milan, Italy in 1946 by Bruno Gatta. It was one of the first companies to specialize in the production of innovative, functional lighting. Stilnovo worked with a number of Italy's leading designers, including Gae Aulenti, Joe Colombo, Ettore Sottsass, and the Castiglioni brothers.

The company's early work was characterized by its use of simple, geometric forms and its focus on functionality. Stilnovo lamps were often made from metal and glass, and they often featured innovative light-diffusing techniques.

In the 1950s and 1960s, Stilnovo became one of the most important lighting companies in the world. Its lamps were featured in major design exhibitions, such as the 1951 Milan Triennale and the 1964 New York World's Fair. Stilnovo lamps were also used in important architectural projects, such as the Olivetti showroom in New York City (1958) and the Pirelli Tower in Milan (1960).

Stilnovo continued to produce innovative lighting designs throughout the 1970s and 1980s. However, the company faced financial difficulties in the 1990s and was eventually acquired by Linea Light Group in 2019.

Stilnovo is a leading manufacturer of LED lighting. The company continues to produce iconic designs from its past, as well as new designs from a new generation of designers.

View further examples of Stilnovo

Stinkwood

A common name given to the timber from the Black Stinkwood tree that is native to the high forests of South Africa. Because of the depletion of the species due to the use of its timber for furniture manufacture and its bark in traditional medicines, the tree is now protected, and the timber no longer available.

The name comes from the unpleasant odour that is emitted when the tree has just been felled.

The wood was much sought by cabinet makers and is dark walnut or reddish brown to black with a yellow sap-wood, and the grain is extremely fine, close, dense and smooth.

View further examples of Stinkwood

Stirrup Cups

Stirrup cups were for the pre-hunt drink, usually a port or sherry, offered to a member of the hunt mounted on horseback and about to depart for the hunt. As they were held in the hand they did not require a flat base Most of the cups are made of silver, although less expensive ceramic examples were also made, and they are usually in the form of a fox’s head or, more rarely, the head of a stag, greyhound or hare, or in the form of a hoof.

Most silver examples date from the early 1700s to mid 19th century. Many stirrup cups survive from the peak period of their production, the late 18th and early 19th centuries, and their popularity as collector’s items has led to their continued production by modern silversmiths.

View further examples of Stirrup Cups

Stokes & Son

Stokes & Son, Medal Makers, is a Melbourne-based company that specializes in the design and production of high-quality medals, trophies, and awards. The company has a rich history that dates back to the 19th century and is closely tied to the life of its founder, Thomas Stokes.

Thomas Stokes was born in Birmingham, England, in 1831. As a young man, he was apprenticed to a diesinker and gained valuable experience in the art of metalworking. In the 1850s, Stokes decided to migrate to Australia in search of gold and other opportunities.

After arriving in Melbourne, Stokes found that his skills as a diesinker were in high demand. He quickly established himself as a skilled craftsman and began to build a reputation for the quality of his work. In 1863, he founded his own business, Thomas Stokes, Medalist, which would eventually become Stokes & Son, Medal Makers.

Over the years, Stokes & Son became known for its high-quality medals, trophies, and awards. The company's products were used by a wide range of organizations and institutions, including sports clubs, schools, and military organizations. The company also produced medals and awards for important events, such as the 1956 Melbourne Olympics. As well, in the early and mid 20th century the company produced silver and silverplated household wares, such as trays, jugs, tea sets, baskets, napkin rings and flasks.

Stokes & Son, continues to be a leader in its field. The company is still based in Melbourne and is run by members of the Stokes family. The company's commitment to quality and innovation remains strong, and it continues to produce some of the finest medals, trophies, and awards in Australia.

View further examples of Stokes & Son

Stokes (australasia) Ltd

Thomas Stokes a diesinker and electroplater was born in Birmingham in 1831, and arrived in Victoria in the 1850s, to join the search for gold. Soon after, presumably being unsuccessful in his quest or gold he established a business in Melbourne as a “Die Sinker and Medallist, Stamper and Token Maker”, and soon after added electroplating to the services he was able to supply.

By the 1880s he was employing 30 tradesmen and apprentices. The company's specialty was badges and at about this time they were producing coat and collar badges for schools, colleges, lodges and associations, the Victorian Railways, Salvation Army and the Australian Army. The business became a proprietary concern in 1911, re-named Stokes & Son Pty Ltd., and in 1962 Stokes became a public company, renamed Stokes (Australasia) Ltd

In the 1950s the company diversified into manufacturing components for the automotive and domestic appliance industries, and became one of Australia's leading suppliers to these industries.

Today, Stokes is a publicly listed company, with offices and representatives throughout Australia, Asia and the Pacific. As well as being the Australia's leading independent distributor of appliance spare parts, the industry leader in the supply of badges, medallions and associated products it is also the country's major manufacturer of electrical elements.

View further examples of Stokes (australasia) Ltd

Stone's Bristol Pottery

Stone's Bristol Pottery was a pottery factory located in Coorparoo, Queensland, Australia. It was founded in 1914 by English immigrant Arthur Stone, who had previously worked at the Bristol Pottery Company in England. It quickly became one of the most successful potteries in Australia and produced a wide range of products, including tableware, vases, lamps, and figurines. The pottery's distinctive style was characterized by its use of bright colors and bold designs.

Some of Stone's Bristol Pottery's most popular products included the "Kangaroo" teapot, the "Koalas" vase, and the "Wattle" vase. These products were often decorated with Australian native animals and plants. The pottery also produced a number of unique and innovative designs, such as the "Musical Mug" and the "Whistling Teapot." These products were popular with tourists and collectors alike.

Stone's Bristol Pottery remained in operation until 1975. During this time, it produced a vast quantity of pottery, much of which is still collected and admired today.

In 2018, Griffith University Art Gallery, Queensland held an exhibition titled "With Heart & Hand: Art Pottery in Queensland 1900-1950." The exhibition featured a number of works by Stone's Bristol Pottery, including the "Kangaroo" teapot and the "Koalas" vase. The exhibition catalog included an essay by Tim Roberts on the history of Stone's Bristol Pottery. The essay provides a comprehensive overview of the pottery's history and production.

Stone's Bristol Pottery is an important part of Australian cultural heritage. Its products are a reminder of a time when Australia was developing its own unique identity.

View further examples of Stone's Bristol Pottery

Stoneware Crocks

Stoneware crocks have a long history dating back to the 17th century in Europe. They were first made by German potters in the Rheinland region, and were known for their durability and resistance to thermal shock. These early stoneware crocks were typically made from a mixture of clay, feldspar, and flint, and were fired at high temperatures to make them strong and non-porous.

The popularity of stoneware crocks quickly spread to other parts of Europe and eventually to America, where they were used by early settlers for food storage and preservation. They were particularly popular in the colonial period, where they were used for pickling and preserving food, as well as for fermenting and storing beverages like beer and cider.

During the 19th century, stoneware crocks became even more popular in America, as they were used in the growing industry of commercial food preservation. Many potteries were established in the United States, making stoneware crocks for commercial use and for households.

Stoneware crocks remained popular throughout the 20th century, but with the advent of modern food preservation methods, their use has diminished. However, they are still used today by many people who prefer traditional methods of food preservation and fermentation.

View further examples of Stoneware Crocks

Stools

There are two distinct types of stools. The earliest is the simplest type of seat furniture probably devised by human beings, consisting of a short wooden bench standing either on four legs or sometimes a flat-shaped support at either end. The legs may be square or turned, and in primitive versions simply sticks cut from a tree. Round milking stools usually had only three short legs.

The second more sophisticated type of stools, were constructed with a frame joined by mortice and tenon joints. Using this construction method, padded or upholstered stools for use in the drawing room have been made since the 17th century, following the trends in stylistic design over the years.

View further examples of Stools

Stouby

Stouby is a Danish furniture manufacturer that was founded in 1934. The company is known for its high-quality, mid-century modern furniture. Stouby furniture is characterized by its simple, elegant lines and its use of natural materials, such as wood and leather.

The company was founded by Hans Stouby, who was a skilled cabinetmaker. Stouby began his career working for other furniture manufacturers, but he soon decided to start his own company. Stouby's first workshop was located in a small village in southern Denmark.

The company quickly grew, and Stouby soon moved his workshop to a larger facility in the town of Skanderborg. Stouby began to collaborate with some of the leading Danish designers and architects, including Arne Jacobsen, Børge Mogensen, Hans Wegner and Ib Kofod-Larsen. These partnerships resulted in the creation of iconic furniture pieces that have become synonymous with mid-century Danish design.

Stouby furniture was an instant success, and the company soon became one of the leading producers of mid-century modern furniture in the world. Stouby furniture was exported to countries all over the world, and it was featured in some of the most prestigious design magazines and exhibitions. The company continued to grow and prosper throughout the 1950s and 1960s. However, the popularity of mid-century modern furniture began to decline in the 1970s. Stouby furniture was still produced, but it was no longer as popular as it once was.

In the 1990s, there was a renewed interest in mid-century modern furniture. Stouby furniture began to be rediscovered by collectors and designers, and the company experienced a resurgence in popularity. Stouby is still a leading producer of mid-century modern furniture and the company continues to collaborate with some of the leading Danish designers. Stouby furniture is exported to countries all over the world.

View further examples of Stouby

Stourbridge

Stourbridge in Worcestershire was an important glass-making centre from the 17th century, but production declined from 1745 with the introduction of the Glass Excise Acts which raised the price of raw materials for the English glass makers. The glass tax was abolished in 1845,

enabling the factories to compete with the long-established glassworks of Bohemia, many of the products of which were copied by the English manufacturers. Products included vases, scent-bottles, candle-sticks, plates, drinking vessels, and paper-weights, as well as large exotic one-offs reflecting the interest in the past, and prestige pieces, such as cameo glass. Manufacturers based in Stourbridge included Thomas Webb & Sons, Stevens & Williams and H. G. Richardson & Sons.

View further examples of Stourbridge

Straw Work

Straw work refers to the art and craft of creating decorative and functional objects using straw as the primary material. It involves weaving, plaiting, and manipulating dried stalks of various cereal crops, most commonly wheat, rye, or oats. The resulting creations can be simple or intricate, utilitarian or purely artistic, depending on the techniques used and the artist's vision. Utilitarian items include baskets, hats, bags and mats, while decorative pieces include sculptures, wall hangings, and figurines. The techniques include weaving by interlacing strands of straw in various patterns to create a flat or three-dimensional structure, plaiting and coiling. While traditional straw work has faced competition from synthetic materials, there is a renewed interest in the craft.

View further examples of Straw Work

Stretcher

A horizontal rail which connects the legs of stools, chairs, tables and stands, to provide stabilisation of the legs. A stretcher table is any table with a stretcher base. The term is usually applied to substantial farmhouse tables, although many cabinetmaker's pieces, such as sofa tables, also have turned stretchers.

View further examples of Stretcher

Stringing

Fine inlaid lines, in contrasting colour to the carcase timber, found mainly on furniture made in the styles of the later 18th and early 19th centuries. Stringing, which may be of satinwood, pine, ebony, horn, brass or occasionally ivory, is found principally on drawer fronts, around the outer edges of usually tapered legs and French bracket feet, around the edges of inlaid panels and between the joint of the cross banding and carcase timber on table tops, chests of drawers, cabinets etc. The effect is to emphasize the line of the piece and add to the impression of lightness and elegance. Stringing also occurs in Sheraton-revival-style furniture of the later 19th and early 20th centuries.

View further examples of Stringing

Stuart Crystal

Stuart Crystal was a prestigious English glassware manufacturer with a history dating back to the 19th century. The company was established in 1827 by Frederick Stuart, a skilled glassmaker, in the city of Stourbridge, England. Stuart Crystal gained a reputation for producing high-quality, handcrafted crystal glassware. During its early years, Stuart Crystal focused on manufacturing a wide range of glass products, including tableware, stemware, decanters, and decorative pieces. The company's exquisite craftsmanship, attention to detail, and use of high-quality materials set them apart from other glassware manufacturers of the time.

In the early 20th century, Stuart Crystal became a purveyor to the British royal family. The company received the Royal Warrant, a mark of recognition for supplying goods or services to the royal household, which further enhanced its reputation and prestige.

Stuart Crystal continued to evolve and adapt to changing tastes and market demands throughout the 20th century. The company embraced new design trends while maintaining its commitment to traditional craftsmanship. They introduced innovative techniques, such as cut, engraved, and etched designs, which added depth and intricate patterns to their crystal creations.

One of Stuart Crystal's notable achievements was the development of a new glass formula known as "Stuart Glass." This formula, introduced in the 1930s, enhanced the brilliance, clarity, and strength of their glassware, further solidifying their reputation for exceptional quality.

In 1995, Stuart Crystal became part of the Waterford Wedgwood group, a luxury brand specializing in crystal, porcelain, and ceramics. In recent years, the Waterford Wedgwood group faced financial difficulties and went through several ownership changes and restructurings. The company continued to produce crystal under the Stuart Crystal brand until 2001, when it was discontinued.

View further examples of Stuart Crystal

Stuart Devlin

Stuart Devlin was an Australian-born British silversmith who was born in Geelong, Victoria, Australia, in 1931. Devlin was interested in metalworking from an early age, and after finishing school, he enrolled at the Royal Melbourne Institute of Technology, where he studied goldsmithing and silversmithing. Stuart achieved the highest marks ever awarded and gained a travel scholarship for the Royal College of Art in London (1958-60). He was subsequently awarded a Harkness fellowship to pursue silversmithing and sculpture at Columbia University, New York (1960-62). This ended with a one-man sculpture show at the Thibaut Gallery on Madison Avenue.

Winning the competition to design Australia’s decimal coinage in 1964 changed his life. He supervised the cutting of the dies at the Royal Mint in London; and broke with tradition by making his designs an integral part of the blank. In 1965, using his prize money, he bought a small house in Clerkenwell with a basement workshop where he started a goldsmithing and silversmithing business. This was the first of seven workshops where he employed and trained many highly skilled craftsmen.

Devlin's designs were often inspired by nature, and he was particularly fond of incorporating animals and plants into his work. He also experimented with unusual materials, such as resin and aluminium, and was known for his innovative techniques, such as using lasers to create intricate patterns on silver.

Devlin's work was highly acclaimed, and he was awarded. He was appointed CMG in 1980, granted a royal warrant in 1982 and in 1996-97 served as prime warden of the Goldsmiths’ Company. He was also integral to the foundation of the Goldsmiths’ Centre, which opened in 2012, aimed at addressing shortcomings in the creative education and training of goldsmiths.his career. He was also awarded the Royal Designer for Industry (RDI) in 1986. Devlin was also the goldsmith and jeweller to Queen Elizabeth II from 1982 to 2001.

Devlin continued to work into his 80s and was still creating beautiful silverware until his death in 2018. He was a true master of his craft, and his innovative and beautiful designs continue to be highly prized by collectors and enthusiasts today.

View further examples of Stuart Devlin

Studio Anna

Studio Anna, makers of souvenir ware and art pottery was founded by Karel Jung-Virt, (1927-2000) who had trained as a sculptor and ceramist in Munich and Prague.

He arrived in Australia in 1951; in 1952 he was asked by Diana Pottery to make moulds for them. Quickly, he established his own pottery, in Neural Bay in 1952 and then in Marraickville in 1954. He won the Diplome D'Honneur and a gold medal at the 1955 Cannes International Exhibition of Modern Ceramics.

Studio Anna produced a huge variety of shapes & sizes of pottery pieces decorated with landscapes, landmarks, flora, fauna and aboriginal motifs.

In its peak years in the mid 1950's, Studio Anna employed over 30 staff and their ceramic ware was not only distributed widely in Australia, but was also being exported to such places as Tahiti, New Zealand, Fiji, the United Kingdom, Canada and the United States.

In 1957 a trade agreement was signed with Japan, which allowed the import of cheap mass produced ceramics. The competition put many of the local potteries who employed hand production techniques out of business, although Studio Anna was able to continue on a reduced scale.

Karel Jungvirt was able to adopt the production of Studio Anna to cater for the evolving tastes of the times. In the early 1960's he produced a range of cookware and in the late 1960's opened a series of stores in the Sydney area selling Australiana including Studio Anna. In the 1970's Studio Anna moved into production of lamp bases.

Studio Anna was sold in 1999, and Karel Jung-Virt moved back to Czechoslovakia where he died the following year.

View further examples of Studio Anna

Studio of ....

In the opinion of the cataloguers, a work possibly executed under the supervision of the artist.

View further examples of Studio of ....

Sturt Pottery

Sturt Pottery in Mittagong, New South Wales, Australia was

founded in 1941 by Winifred West, who had just retired as headmistress of

Frensham, an independent secondary school for girls. West was interested in the

value of relationships between individuals and communities, the links between

hand and mind, and the "development of individual talents and

personalities." She wanted to provide further education in crafts, music,

and drama for children who had left Mittagong Primary School, and for adults

seeking useful and creative skills.



The first pottery workshop at Sturt was established in 1952,

with Ivan McMeekin as the potter. McMeekin had been working with Michael Cardew

in England, and he brought with him a deep knowledge of pottery and a

commitment to using local materials. He developed a new porcelain clay from the

Nattai River area, and he also experimented with different glazes.



Sturt Pottery attracted some of the best potters in the

country, including Les Blakebrough, Shigeo Shiga, and Mitsuo Shoji. These

potters helped to develop new techniques and styles, and they also inspired a

new generation of potters.



In the 1960s, Sturt Pottery commenced courses and workshops open

to the public. This made the pottery more accessible to people of all ages and

skill levels. Sturt Pottery remains a thriving arts and crafts centre, offering

a wide range of courses, workshops, and exhibitions.

View further examples of Sturt Pottery

Subsidiary Dial

The face of a 19th century continental mantel clockwith three subsidiary dials.

On a clock or watch, a subsidiary dial, also called an auxiliary dial, is a dial that is secondary to the main dial and may show seconds, day of the week or month, or strike silent. A subsidiary dial may be within our outside the main dial, and a clock or watch may have several subsidiary dials.

View further examples of Subsidiary Dial

Sulphide

A sulphide is a small opaque white medallion, usually depicting a figural group or a bust, made of china clay or glass paste and enclosed within transparent glass. Sulphides are found in paperweights, glass dumps (similar to paperweights) and jewellery.

View further examples of Sulphide

Sumerian Empire

The Sumerian Empire was a civilization that flourished in the region of southern Mesopotamia, between the Tigris and Euphrates rivers, (now south-central Iraq), from around 4100 to 1750 BCE. It was never a single, unified political entity, but rather a collection of independent city-states, each with its own ruler and government.

The Sumerians are credited with many important inventions and innovations, including the first system of writing, the first code of law, the first wheeled vehicles, the first irrigation systems and the first use of mathematics and astronomy.

The Sumerians also made significant contributions to art, architecture, and sculpture. Their temples and ziggurats were some of the most impressive buildings of their time.

The Sumerian Empire declined in the 18th century BCE, due to a combination of factors, including internal conflicts and external threats. It was eventually conquered by the Akkadian Empire, but its legacy continued to influence the cultures of the region in the succeeding centuries.

View further examples of Sumerian Empire

Sunderland

Sunderland Ware is lustre-decorated earthenware that was made by several potteries that were active between about 1800 and 1880. Large bowls and jugs were characteristic pieces decorated, usually with pink lustre, often splashed with white to give a marbled effect. The designs were transfer-printed and included religious and rustic subjects, animals, topical personalities and local views especially the cast-iron bridge over the River Wear at Sunderland.

View further examples of Sunderland

Surfboards

Surfing is an ancient Polynesian sport that has been practiced for centuries. It was first introduced to the Western world in the late 18th century when British explorers discovered the Hawaiian Islands. However, it wasn't until the early 20th century that surfing began to gain popularity outside of Hawaii.

The first surfboards were made of solid wood and were extremely heavy and cumbersome. In the 1920s, surfboard design began to evolve, with lighter and more maneuverable boards being developed. This led to the introduction of the hollow wooden surfboard, which was lighter and faster than the solid wood boards that preceded it.

In the 1950s and 60s, the development of foam and fiberglass technology revolutionized surfboard design, making it possible to create lighter and more durable boards. This led to the creation of the modern surfboard, which is made from a foam core covered with fiberglass and resin.

Vintage surfboards that are now collectible include early wooden surfboards from the early 1900s, particularly those made by Hawaiian surfboard builders such as Duke Kahanamoku and Tom Blake. Hollow wooden boards from the 1930s and 40s are also highly sought after. In addition, surfboards from the 1950s and 60s, particularly those made by legendary shapers like Hobie Alter and Dale Velzy, are highly collectible due to their historical significance and unique designs.

View further examples of Surfboards

Surfing Memorabilia

Surfing memorabilia is highly collectable and includes a wide range of items that reflect the history and culture of the sport. Vintage surfboards are highly collectable, particularly those made by famous shapers or that represent significant milestones in the history of surfboard design, but not everyone has space to store and display multiple surfboards. Other examples of collectable surfing memorabilia include:

•   Surfing posters and artwork: Posters advertising surfing contests or promoting the sport's lifestyle and culture are popular among collectors. Original artwork by well-known surfing artists is also highly sought after.

•   Surfing magazines and books: Vintage surfing magazines, such as Surfer and Surfing, as well as books on surfing history and culture, are collectable items.

•   Surfing equipment: Collectors often seek out vintage surfing equipment, such as old wetsuits, surfboard bags, and other accessories.

•   Autographed items: Memorabilia signed by famous surfers, such as surfboards, posters, or photographs, are highly sought after by collectors.

•   Surfing medals and trophies: Medals and trophies won by famous surfers at competitions, such as the World Surfing Championships, are highly collectable.

•   Vintage surfing apparel: Vintage surf shirts, shorts, and other clothing items are popular among collectors who appreciate the unique designs and patterns of earlier eras.

Surfing memorabilia is a diverse and fascinating category of collectables that reflects the rich history and culture of the sport.

View further examples of Surfing Memorabilia

Sutherland Table

A Victorian gateleg table, it is notable for its long side flaps, sometimes reaching almost to the floor, with a very narrow central section, rarely more than 15cm wide. They are popular because they take up little space when the flaps are down. They are usually veneered in a fancy timber such as burr walnut, figured walnut or rosewood.

Apparently named after the Duchess of Sutherland, a Mistress of the Robes to Queen Victoria.

View further examples of Sutherland Table

Svend Middelboe

Svend Middelboe (1917-2002) was a Danish lighting designer who was active in the late 20th century. He is best known for his simple, elegant designs that often featured geometric shapes and natural materials. Middelboe's work was inspired by the Nordic design aesthetic of simplicity, functionality, and beauty.

Middelboe was born in Copenhagen, Denmark in 1917. He studied cabinetmaking at the School of Applied Arts in Copenhagen before working as an apprentice to Danish furniture designer Kaare Klint. In 1950, Middelboe founded his own design studio, where he began to design lighting.

Middelboe's early designs were influenced by the work of American lighting designer George Nelson. However, Middelboe quickly developed his own unique style, which was characterized by its simplicity, elegance, and use of natural materials. Middelboe's lighting designs often featured geometric shapes, such as spheres, cubes, and cones. He also used a variety of natural materials, such as wood, metal, and glass.

Some of Middelboe's most famous lighting designs include the Boomerang lamp (1955), the Cobra lamp (1963), and the Casablanca lamp (1969). The Boomerang lamp is a simple yet elegant lamp that features a curved metal shade that resembles a boomerang. The Cobra lamp is a table lamp with a distinctive cobra-shaped shade. The Casablanca lamp is a pendant lamp with a large spherical glass shade.

Middelboe's work was exhibited at major design museums around the world, including the Museum of Modern Art in New York and the Victoria and Albert Museum in London. He received numerous awards for his work, including the Danish Design Award in 1969 and the Lunning Prize in 1981.

Middelboe's lighting designs are still popular today and are considered classics of Scandinavian design.

View further examples of Svend Middelboe

Swan Fountain Pen Company

The Swan Fountain Pen Company, founded by brothers George and James Mabie in 1884, played a significant role in the history of fountain pens in both the United States and Britain. The company was originally established in New York City, and it quickly gained a reputation for producing high-quality writing instruments.

In 1889, the Mabie brothers formed a partnership with the English businessman Charles Todd, and the company became known as Mabie Todd & Co. This partnership marked the beginning of Swan fountain pens, which would become one of the most recognized and respected brands in the industry.

The Swan brand gained popularity in both the United States and Britain, and the company expanded its operations to include a manufacturing facility in London. The British arm of Mabie Todd, based in England, focused on the production of Swan pens for the European market. The collaboration between the American and British branches of the company allowed Swan to establish a global presence and cater to a diverse range of customers.

Throughout the late 19th and early 20th centuries, Swan fountain pens became known for their innovation and craftsmanship. The company introduced various models, filling mechanisms, and nib designs, contributing to the evolution of fountain pen technology. Swan pens were well-regarded for their reliability and quality, making them popular among writers, professionals, and pen enthusiasts.

In the 1920s and 1930s, Swan pens continued to thrive, adapting to changing trends and consumer preferences. However, like many other pen manufacturers, Mabie Todd & Co. faced challenges during the mid-20th century due to the rise of ballpoint pens and other writing instruments. The company went through various ownership changes and reorganizations.

In the latter part of the 20th century, the Swan brand experienced a revival under different ownership. Various modern iterations of Swan fountain pens have been produced, often catering to collectors and enthusiasts who appreciate the heritage and craftsmanship associated with the brand.

View further examples of Swan Fountain Pen Company

Swan Neck Pediment

Most commonly found on clocks, cabinets and bookcases, a swan neck pediment is formed by two flattened "S" shapes which almost meet in the centre. The form was derived from classical architecure and popularised by Chippendale in the 18th century. A true pediment is triangular in shape, and as a swan neck pediment does not meet at the apex of the triangle it is known as a "broken pediment". Swan neck pediments are also known as scrolled pediments.

View further examples of Swan Neck Pediment

Swansea and Cambrian Pottery

Swansea Pottery was a pottery factory founded in 1764 by

William Miles in Swansea, Wales. Miles was a potter from Staffordshire, and he

moved to Swansea to take advantage of the local deposits of kaolin, a type of

clay used in porcelain. The pottery was originally called the Cambrian Pottery,

but it was renamed Swansea Pottery in 1776.



Swansea Pottery was one of the leading producers of

porcelain in England in the 18th century. The pottery was known for its high

quality and its innovative designs. Swansea Pottery was also one of the first

potteries to use transfer printing, a process that allowed for the decoration

of porcelain with designs that were printed from copper plates.



Some of the most famous designs from Swansea Pottery include

the Blue John jug (1775), the Chinese pagoda vase (1780), the Willow pattern

(1780), the Nymphenburg vase (1790) and the Frog service (1820).



In the 19th century, Swansea Pottery continued to be a

leading producer of porcelain. The pottery was known for its neoclassical

designs, which were inspired by the art and architecture of ancient Greece and

Rome. Swansea Pottery also produced a wide range of other types of pottery,

including earthenware, stoneware, and bone china. However in the mid 19th century new potteries were opening in Stoke-on-Trent and foreign

imports. became increasingly popular. The pottery finally closed in 1870.

View further examples of Swansea and Cambrian Pottery

Swarovski

Swarovski is an Austrian company founded in 1895 by Daniel Swarovski. The company is known for producing high-quality crystal jewelry, figurines, accessories, and lighting products.

Daniel Swarovski was born in 1862 in the Bohemian region of Austria-Hungary. He learned the art of glass cutting and polishing from his father and later attended a school for mechanical engineering in Vienna. In 1892, Swarovski patented an electric cutting machine that revolutionized the production of crystal glass. He later founded his own company in Wattens, Austria, in 1895, which specialized in the manufacturing of crystal glass.

Swarovski crystals became popular for their brilliance, precision, and high quality. The company expanded its product range to include jewelry, figurines, and other decorative items. In the 1920s, Swarovski began producing crystal jewelry and accessories for fashion designers such as Coco Chanel and Christian Dior. Swarovski also provided crystals for the costumes of the dancers in the 1952 film "Singin' in the Rain."

In the 1970s, Swarovski began producing crystal figurines, which quickly became a collector's item. The company also expanded into the lighting market, producing chandeliers and other decorative lighting fixtures, and into the United States jewellery market in 1977..

Swarovski is now a global brand with a presence in over 170 countries. The company is still family-owned and operates manufacturing facilities in Austria, the Czech Republic, and Thailand. In addition to its crystal products, Swarovski also produces precision optics and optoelectronics for a variety of industries. The company has a reputation for quality and innovation and has received numerous awards for its products and designs.

View further examples of Swarovski

Sweetmeat

A Sevres style rose pompadour figural sweetmeat dish, late 19th century.

Traditionally sweetmeats were Georgian sweets or desserts known as churchkhela. A churchkhela is a string of nuts, typically walnuts or hazelnuts, dipped in grape juice concentrate and dried in the sun, resulting in a chewy, sweet treat.

A sweetmeat glass was used to serve churchkhela during special occasions, such as weddings or holidays. The glass is typically filled with a handful of churchkhela, which are arranged in a decorative manner, and served alongside other Georgian sweets and treats. The sweetmeat glass is a small, ornate glass with a stem and a wide, shallow bowl. It is often decorated with intricate patterns and bright colours.

In the 18th and 19th centuries sweetmeats were presented on the table in a fancy basket, dish or bowl, in silver, glass or ceramics, which were sometimes made in pairs to be set at each end of a table.

Nowadays a sweetmeat is defined as a sweet delicacy such as candied fruit, gilded nuts, sugared comfits and crystallised flowers.

View further examples of Sweetmeat

Sydney Harbour Bridge

The Sydney Harbour Bridge is an iconic landmark and one of the most recognizable structures in Australia. The idea of building a bridge across Sydney Harbour was first proposed in the late 19th century, but it wasn't until the 1920s that plans for the bridge began to take shape.

Construction of the bridge began in 1924 and took almost a decade to complete. The bridge was designed by British engineer Sir Ralph Freeman and was built by a team of over 1,400 workers using over 52,800 tonnes of steel.

The bridge consists of two main parts: the steel arch, which spans the harbour, and the concrete pylons, which anchor the arch to the ground. The arch is 134 meters high and has a span of 503 meters, making it one of the largest steel arch bridges in the world.

The bridge was officially opened on March 19, 1932, by the Premier of New South Wales, Jack Lang, and the Governor of New South Wales, Sir Philip Game. The opening ceremony was attended by a crowd of around one million people, who lined the streets and watched as the first cars and pedestrians crossed the bridge. On the day of the opening, more than 2,000 people were allowed to walk across the bridge before it was opened to traffic. This included a number of dignitaries, such as the Governor of New South Wales and the Premier of New South Wales. In the evening there was a spectacular fireworks display was held to mark the opening which lasted for over 30 minutes and featured more than 7,000 individual fireworks.

The opening of the Sydney Harbour Bridge was a major event in Australia's history, and it was seen as a symbol of the country's progress and modernity.

View further examples of Sydney Harbour Bridge

Sylvac

The SylvaC name was first used by pottery company Shaw & Copestake in the 1930s, although the factory had been in operation since the late 1890s. Tableware, animal figures and ornaments were all part of the output, along with moulded and matt glazed earthenware vases and novelties.

Inexpensive and mass-produced in quantity, SylvaC has become quite popular; items showing a high quality, detailed moulding, plus animal figures and jugs featuring moulded animal handles are all collectable. Wall pockets decorated with fairies and elves are also sought after.

The most popular and valuable are the larger stylised figurines with unusual matt glazes, such as the koala and the sea monster cruet.

Production ceased in 1982, but reproductions continued to be made after this date.

View further examples of Sylvac

Szirer, Joseph

Joseph Szirer was born in 1939 in Hungary.

He arrived in Australia in 1956 and studied painting and ceramics at Caulfield Institute of Technology and was employed as a part-time lecturer from 1975. About this time he established his own studio in the Dandenongs near Melbourne.

His works are marked with an impressed 'JS'. Some are signed 'Szirer' and he also produced a line of works with an impressed 'Jo Szirer Studio' stamp.

From 1981, with assistance from the Crafts Board of the Australia Council, he engaged several trainee ceramicists.

Since his first exhibition at Gallery 99 in Melbourne, he has held ten solo exhibitions in Victoria, Queensland, New South Wales and Tasmania and has participated in major group exhibitions.

He is represented in the Australian National Gallery, Canberra, Museum of Applied Arts and Sciences, Sydney, National Gallery of Victoria, and the Tasmanian Museum and Art Gallery, Hobart

View further examples of Szirer, Joseph