8.5"H * 7"W
Rare Christopher Dresser moon vase 1878,made by Royal Worcester for J.E.Caldwell, the Philadelphia dept store.Probably originally a pair.Singles and pairs of this rare work, which is considered to be a scarce example of a work by an important designer by a major English porcelain firm, for what was at the time in the 3rd quarter of the 19th century a signifcant American retailer,often sell between 3000.00 and 20,000.00.

Similar examples of this piece are on display at the Metropolitan Museum in their English porcelain section.

Christopher Dresser (4 July 1834 - 24 November 1904) was a British designer and design theorist, now widely known as one of the first and most important, independent designers. He was a pivotal figure in the Aesthetic Movement and a major contributor to the allied Anglo-Japanese or Modern Style (British Art Nouveau style), both of which originated in England and had long-lasting international influence.

From this early date his design work widened to include carpets, ceramics, furniture, glass, graphics, metalwork, including silver and electroplate, and textiles printed and woven. He claimed to have designed as much as any man at the International Exhibition London 1862. As early as 1865 the Building News reported that in the early part of his career he had been active as a designer of wallpapers, textiles and carpets, and the most active revolutioniser in the decorative art of the day.[2] He wrote several books on design and ornament, including The Art of Decorative Design (1862), The Development of Ornamental Art in the International Exhibition (1862), and Principles of Design (1873), which was addressed in the preface to "working men". In 1899 The Studio magazine found it was possible to quote this book "page after page and not find a line, scarcely a word, that would not be endorsed by the most critical member of the Arts and Crafts Association today." In effect Dresser set the agenda adopted by the Arts and Crafts movement at a later date.[3]In 1873 he was requested by the American Government to write a report on the design of household goods.[3]En route for Japan in 1876 he delivered a series of three lectures in the Philadelphia Museum and School of Industrial Art and supervised the manufacture of wallpapers to his design for Wilson Fennimore. He was commissioned by Messrs Tiffany of New York to form a collection, whilst in Japan, of art objects both old and new that should illustrate the manufactures of that country.

In 1876, the British Government appointed Dresser as an emissary to Japan and sent him to visit Japan after he became associated with Japanese art in 1862, and made a number of Japanese business associates such as Kiritsu Kosho Kaisha, in the years following. In four months in 1876 - 1877 Dresser travelled about 2000 miles in Japan, recording his impressions in Japan, its Architecture, Art and Art-Manufactures. He represented the South Kensington Museum whilst in Japan, and was received at court by the Emperor, who ordered Dresser to be treated as a guest of the nation – all doors were open to him. He was requested by the Japanese Government to write a report on 'Trade with Europe'. His pioneering study of Japanese art is evident in much of his work which is considered typical of the Anglo-Japanese style.From 1879 to 1882 Dresser was in partnership with Charles Holme (1848-1923) as Dresser & Holme, wholesale importers of Oriental goods, with a warehouse at 7 Farringdon Road, London.[5]Christopher Dresser. Soup Plate, Persia Pattern, 1886 Brooklyn MuseumBetween 1879 and 1882, as Art Superintendent at the Linthorpe Art Pottery in Linthorpe in Middlesbrough he designed over 1,000 pots. If his ceramic work from the 1860s onwards (for firms such as Mintons, Wedgwood, Royal Worcester, Watcombe, Linthorpe, Old Hall at Hanley and Ault) is considered, he must be amongst the most influential ceramic designers of any period. Much of his other work remains to be identified, although wallpaper designs for American, and textiles for French and German manufacturers have recently been located. A significant Dresser collection is held by the Dorman Museum in Middlesbrough. A Heritage Lottery Funded project draws attention to this.Some of Dresser’s metalwork designs are still in production, such as his oil and vinegar sets and toast rack designs, now manufactured by Alessi. Alberto Alessi goes so far as to say Dresser 'knew the techniques of metal production better than any designer who has come to Alessi'.

One of his Old Hall designs is thought to have inspired Alan Garner's 1967 novel The Owl Service.[8]Partial bibliographyBotany diagram, about 1855, Christopher Dresser V&A Museum no. 3968Unity in Variety, as Deduced from the Vegetable Kingdom. London: James S. Virtue. 1860.The Rudiments of Botany, Structural and Physiological. London: James S. Virtue. 1859.Popular manual of Botany. 1860.The Art of Decorative Design. Day & Son. 1862.Development of Ornamental Art in the International Exhibition (1862)General Principles of Art, Decorative and Pictorial, with hints on colour, its harmonies and contrasts (1868)Principles of Decorative Design (1873)Studies in Design (1875)Japan, its Architecture, Art and Art-Manufactures (1882)Modern Ornamentation (1886)References "Kramer, Elizabeth (Autumn 2006). "Master or Market? The Angl

J.E. Caldwell & Co. was a major jewellery retailer and one-time silversmith in Philadelphia, Pennsylvania.The company was founded at 163 Chestnut Street, Philadelphia, by watchmaker James Emmot Caldwell in 1839. In 1843 the firm became the partnership of Bennett & Caldwell, then in 1848 was renamed J.E. Caldwell & Co. It produced its own silverware until the early 1850s, but subsequently the word "manufacturer" disappeared from its advertising. The firm experienced rapid growth from the start, and repeated enlargements and removals were made necessary from time to time to gain the greater facilities demanded. The Marble Building located at 822 Chestnut Street was inaugurated in December 1858. Before its ten-year lease expired, the company moved in 1867 to its main location, 902 Chestnut Street. That store was destroyed during a fire in 1869. Caldwell went to work, and, before the smoke lifted from the ruins of the destroyed building, he had the present palatial structure contracted for.[citation needed]J.E. Caldwell & Co. acquired a national reputation through its silver services presented to battleships and cruisers of the US Navy. It exhibited at The Centennial Exposition in 1876, representing the American Jewelry Maker. By the late 19th century richly decorated table china by Spode and Mintons was being produced bearing underglaze backstamps indicating that they were made expressly for J.E. Caldwell & Co., Philadelphia.After Caldwell's death in 1881, his son James Albert Caldwell became head of the company. In 1952 Austïon Homer became president, and the following year began an ambitious store expansion program. After a decline in fortune, however, Caldwell & Co. was purchased by Henry Birks & Sons of Montreal, and then in August 1992 acquired by Carlyle & Co. of Greensboro, North Carolina. Its flagship Philadelphia store at 1339 Chestnut Street closed in 2003, followed by the remaining branches in 2009. As of 2019 a succeeding company had revived the J. E. Caldwell name with a single store on Jewelers' Row in Philadelphia.

Good condition overall; minor nick to one handle (see photo)