Covered Bowl
1899-1900 (hallmarked)
| Artist/Maker | |
| Place of origin |
Object Type
This bowl and cover have all the essential characteristics of Charles Robert Ashbee's mature metalwork. The design is a harmonious combination of a few simple elements: the broad expanse of enamel on the lid, the lightly hammered surface on the underside of the bowl and the plain, looped legs on ball feet combine to give sophistication to an object designed in a thoroughly contemporary idiom.
People
Ashbee and his fellow guildsmen sought to promote a natural and ethical approach towards craftsmanship. They adopted the aesthetic principles of the Arts and Crafts Movement in which the transformational potential of creativity was re-integrated into daily life through art. Their social orientation was towards equality and co-operation beyond the workshop. This was manifest, for instance, in profit-sharing and communal activities such as sport and music making.
Materials & Making
Ashbee and his Guild reacted against the mechanical, highly finished silver products manufactured on production lines in large-scale factories. They attempted to re-assert the role of the individual craftsman who could oversee the creation of an item from start to finish. Hammer marks are clearly visible on the surface of this bowl, a deliberate finish to emphasise that it was handmade.
This bowl and cover have all the essential characteristics of Charles Robert Ashbee's mature metalwork. The design is a harmonious combination of a few simple elements: the broad expanse of enamel on the lid, the lightly hammered surface on the underside of the bowl and the plain, looped legs on ball feet combine to give sophistication to an object designed in a thoroughly contemporary idiom.
People
Ashbee and his fellow guildsmen sought to promote a natural and ethical approach towards craftsmanship. They adopted the aesthetic principles of the Arts and Crafts Movement in which the transformational potential of creativity was re-integrated into daily life through art. Their social orientation was towards equality and co-operation beyond the workshop. This was manifest, for instance, in profit-sharing and communal activities such as sport and music making.
Materials & Making
Ashbee and his Guild reacted against the mechanical, highly finished silver products manufactured on production lines in large-scale factories. They attempted to re-assert the role of the individual craftsman who could oversee the creation of an item from start to finish. Hammer marks are clearly visible on the surface of this bowl, a deliberate finish to emphasise that it was handmade.
Object details
| Categories | |
| Object type | |
| Parts | This object consists of 2 parts.
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| Materials and techniques | Silver and red enamel, the lid set with a semi-precious stone |
| Brief description | Silver and enamel set with a semi-precious stone, London hallmarks for 1899-1900, mark of C.R. Ashbee. |
| Physical description | Bowl and cover of silver, the lid largely covered in red enamel, the knop in the sentre of the lid set with a semi-precious stone. The bowl supported on six legs of arcaded silver wire, the feet a series of spherical balls. |
| Dimensions |
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| Marks and inscriptions |
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| Gallery label |
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| Credit line | Given by Mary Adam |
| Object history | Designed and made by Charles Robert Ashbee (born in Isleworth, near London, 1863, died in Godden Green, Kent, 1942) for the Guild of Handicraft Ltd., London |
| Summary | Object Type This bowl and cover have all the essential characteristics of Charles Robert Ashbee's mature metalwork. The design is a harmonious combination of a few simple elements: the broad expanse of enamel on the lid, the lightly hammered surface on the underside of the bowl and the plain, looped legs on ball feet combine to give sophistication to an object designed in a thoroughly contemporary idiom. People Ashbee and his fellow guildsmen sought to promote a natural and ethical approach towards craftsmanship. They adopted the aesthetic principles of the Arts and Crafts Movement in which the transformational potential of creativity was re-integrated into daily life through art. Their social orientation was towards equality and co-operation beyond the workshop. This was manifest, for instance, in profit-sharing and communal activities such as sport and music making. Materials & Making Ashbee and his Guild reacted against the mechanical, highly finished silver products manufactured on production lines in large-scale factories. They attempted to re-assert the role of the individual craftsman who could oversee the creation of an item from start to finish. Hammer marks are clearly visible on the surface of this bowl, a deliberate finish to emphasise that it was handmade. |
| Bibliographic references |
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| Collection | |
| Accession number | CIRC.77-1953 |
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| Record created | March 27, 2003 |
| Record URL |
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