Tag Archive | Jessie Marion King

Jessie M King, Arts and Crafts jewellery designer

Jessie Marion King (1875—1949) was a Scottish designer and illustrator. She is perhaps best known for her work as a book illustrator, mostly of children’s books, but her many and varied skills included bookbinding, the decoration of ceramics and tiles, and book cover, wallpaper, textile and jewellery design. I love her jewellery designs so decided to write a short piece about her: her Wikipedia page focuses solely on her book illustrating career so I thought I’d try to fill the gap a little. If you want to know more about her book illustrations, here is a good starting point. But I am here for the jewels!

Jessie M King by J. Craig Annan (autochrome, 1908).

Jessie M King by James Craig Annan (autochrome, 1908).

Jessie enjoyed a successful career teaching and illustrating books and book covers, but as multi-talented and artistic people are often wont to do, she worked just as successfully in several other disciplines. From what I can gather, she first worked for Liberty in the very early 1900s designing wallpaper and fabrics, with commissions to design jewellery and silverwork for Liberty’s Cymric range following soon afterwards. She designed the jewellery but did not make it – that was undertaken by jewellers employed by Liberty.

Jessie’s jewellery designs can be broadly split into two types: pieces made with silver and enamel, often in quite large panels, only very occasionally with a freshwater pearl dangle, and generally more “Art Nouveauy” in feel:

Jessie M King design: silver and enamel pendant necklace and chain, dating from 1905. Made for Liberty & Co, its design is in the Liberty Pattern Book, no 8809. In the collections of the National Museums of Scotland.

Jessie M King design: silver and enamel pendant necklace and chain, dating from 1905. Made for Liberty & Co, its design is in the Liberty Pattern Book, model 8809. In the collections of the National Museums of Scotland.

Pendant necklace of silver, enamel and mother of pearl, designed by Jessie Marion King for Liberty & Co, 1904-1906. Collection of Cheltenham Art Gallery & Museum, UK.

Pendant necklace of silver, enamel and mother of pearl, designed by Jessie M King for Liberty & Co, 1904-1906. Collection of Cheltenham Art Gallery & Museum, UK.

Silver and enamel buckle, designed by Jessie M King for Liberty & Co.

and those made with precious metals (often just gold, or gold with silver, or just silver), precious and semi-precious stones and/or pearls, and only small areas of enamel detailing, which are generally more “Arts and Craftsy” in feel:

Jessie M King brooch design for Liberty & Co. Gold, moonstone and enamel. Liberty model number 1800. Sold by Tadema Gallery.

Jessie M King design for Liberty & Co. Gold, moonstone and enamel brooch. Liberty model number 1800. Sold by Tadema Gallery.

Jessie M King design for Liberty & Co. Gold, silver, enamel and chrysoprase ring. Sold by Tadema Gallery.

Jessie M King enamel and blister pearl pendant. The drop is a later replacement. Sold by HomeFarmCottage on Etsy.

Jessie M King design for Liberty & Co. Gold, sapphire, moonstone and green enamel necklace. Sold by Van Den Bosch.

Jessie Marion King for Liberty & Co. Gold, enamel and amethyst pendant, c. 1900. H: 5.5 cm (2.17 in) W: 2.2 cm (0.87 in) British, c.1900 Fitted Case Minor repair to enamel Literature: cf. Liberty Jewellery sketch-book, page 290 Model number: 8603

Jessie M King design for Liberty & Co. Gold, enamel and amethyst pendant. Liberty model number 8603. Sold by Tadema Gallery. Shows both of her common enamel motifs, the bud and the ‘lily of the valley’/three pointed flower.

Jessie M King for Liberty & Co. Silver, pearl and enamel pendant. Liberty model number 9257. Sold by Tadema Gallery.

Jessie M King moonstone and enamel necklace, for sale at Tennants Auctions.

Jessie M King (attrib). Silver, citrine and enamel pendant. For sale at VictoriaSterling at Etsy (click on photo for details).

Jessie M King design (attrib). Silver, citrine and enamel pendant. For sale at VictoriaSterling at Etsy (click on photo for details).

Jessie M King for Liberty & Co. Moonstone, enamel and silver pendant. Sold at Tadema Gallery.

Jessie M King design for Liberty & Co. Moonstone, enamel and silver pendant. Sold at Tadema Gallery.

Jessie M King design for Liberty & Co. A Glasgow School gold and sapphire necklace, Liberty Pattern Book model 8498. Sold by Van Den Bosch.

Her colour palette is overwhelmingly blue, green and purple. I have to add this is my personal take on her jewellery and I am no expert!

The Liberty Pattern Book holds many of her original designs, each one numbered.

Some of Jessie M King's jewellery designs in the Liberty book.

Some of Jessie M King’s jewellery designs in the Liberty Pattern Book, with model number. Pattern 8605 (bottom right of the drawings) is shown in its realised form below.

Jessie M King design for Liberty & Co. Gold, amethyst and enamel pendant. Liberty Pattern Book 8605.

Jessie M King design for Liberty & Co. Gold, amethyst and enamel pendant. Liberty Pattern Book model 8605, shown above.

UPDATE 10 November 2015: Last Sunday’s Antiques Roadshow featured a necklace that I am 100% certain was designed by Jessie, although it was not identified as such. I grabbed a few screenshots and wrote a blog post on the necklace, with illustrations of other, similar design by Jessie.

A brief biography:

Jessie was born in New Kilpatrick, near Bearsden in Dunbartonshire, and studied at the Glasgow School of Art from 1892. Here she was influenced by, and later herself influenced the world famous Glasgow Style, a development of Art Nouveau and Arts and Crafts movements. While at the School she was a member of what was later known as the “Glasgow Girls” group of female artists, and met and formed lifelong friendships with artists such as Helen Paxton Brown and Mary Thew.

Jessie was an award-winning student, and in 1899, the same year that she graduated, she was appointed Tutor in Book Decoration and Design at the School of Art, where she continued to teach until 1908. Her first commissions were for book covers, with book illustrations following in 1902, and it was around 1904 that she started to design fabrics for the famous firm of Liberty & Co. of London and just a little later jewellery, also for Liberty.

She embarked on a study tour of Italy and Germany in 1902, and the next year became a committee member of the Glasgow Society of Artists. In 1905 she joined the Glasgow Society of Lady Artists. Her first solo exhibitions were at the Bruton Street Gallery in London in 1905 and at the studio of T and R Annan (Annan’s Gallery) in Sauchiehall Street, Glasgow, in 1907.

Glasgow School of Art, designed by Charles Rennie Mackintosh. Photo by Ad Meskens.

After a ten year engagement, in September 1909 Jessie married the artist E A (Ernest Archibald) Taylor, and moved with him to Salford where he worked designing for the firm of George Wragge Ltd. Here their only child, Merle Elspeth, was born. The family moved to Paris in 1910, again for Ernest’s career as he had gained a teaching position at Ernest Percyval Tudor-Hart’s studios. In 1911 Jessie and Ernest set up their own art teaching school, the Shealing Atelier. While in Paris Jessie met and was influenced by artists including Henri Matisse, Marie Laurencin, Théophile Steinlen, John Duncan Fergusson, and Samuel Peploe; she also learned the art of batik. The couple ran summer schools on the Isle of Arran in Scotland.

The progress of World War I meant that Jessie and her family had to return to Scotland in 1915, and they settled in Kirkcudbright, at Greengate, a house on the High Street Jessie had bought in 1907 before she was married, and where she was to live for the rest of her life.

Jessie M King and E A's house, Greengate, in Kircudbright. The entrance to the 'Greengate Close' is through the open gate on the right.

Jessie M King and E A Taylor’s house, Greengate, in Kirkcudbright. The entrance to the ‘Greengate Close’ is through the open gate on the right.

Jessie and Ernest gathered artists around them, and an artists’ colony known as the “Greengate Close Coterie” became established in the cottages along an alley behind their home. Friends and visiting artists would stay, sometimes for extended periods, and “according to Robert Burns, of Edinburgh College of Art, no student’s training was complete without a stay in one of the cottages at their home, Greengate.” The cottages in the Close were known by the colour of their front doors.

Jessie was an eccentric character. She dressed flamboyantly, with a fondness for wide-brimmed hats and buckled shoes, long after these had gone out of fashion. One woman, recalling her childhood in Kirkcudbright, remembered Jessie “riding through the streets on her bicycle … We all thought she was a witch!”. Jessie believed that she had second sight, and had been strongly influenced by Mary McNab (d. 1938), her devoted Gaelic-speaking nursemaid and later housekeeper who possessed a wealth of folk tales. Jessie was so connected with Mary that her ashes were scattered on Mary’s grave.

By the way, if you want a Greengate Close Coterie holiday, the house in which Jessie and Ernest lived in Kirkcudbright is now a B&B.

Portraits of Jessie:

Jessie M King.

Jessie M King painted by her husband E A Taylor. Undated.

Jessie M King.

Jessie M King by James Craig Annan.

Jessie M King by Ernest Archibald Taylor.

Portriat of Jessie M King by Helen Paxton Brown, undated. In the collections of the national Portrait Gallery of Scotland.

Portrait of Jessie M King by Helen Paxton Brown, undated. In the collections of the National Portrait Gallery of Scotland.

Portrait of Jessie M King by Helen Paxton Brown, undated. In the collections of the National Portrait Gallery of Scotland.

Jessie M King by Lena Alexander. (c) Dumfries and Galloway Council (Kirkcudbright); Supplied by The Public Catalogue Foundation

Jessie M King.

Sources: Jewelry and Metalwork in the Arts and Crafts Tradition by Elyse Zorn Karlin, 1993, 139-140; Oxford Dictionary of National Biography entry for Jessie Marion King by Jan Marsh; Jessie M King entry in the ExploreArt at Gracefield Arts Centre website; Jessie Marion King entry in Artists in Britain Since 1945—Chapter K by the Goldmark Gallery; the Jessie Marion King Papers at the University of Glasgow; Jessie Marion King entry in In the Artists’ Footsteps; Jessie M King page on Wikipedia.

This great blog has lots of photographs of Jessie’s illustrations, book covers, painted pottery and other artworks.

Further reading: The Enchanted World of Jessie M King by Colin White, Canongate Publishing Limited, 1989; Jessie M. King and E. A. Taylor: Illustrator and Designer. Sotheby’s Sale of 21 June 1977 at the Charles Rennie Mackintosh Society. Glasgow: Sotheby’s Begravia, 1977. No. 169; Glasgow Style by Gerald and Celia Larner, Paul Harris Publishing, Edinburgh, 1979; Glasgow Girls: Women in Art and Design 1880—1920 edited by Jude Burkhauser, Canongate, Edinburgh, 1990; Tales of the Kirkcudbright Artists by Haig Gordon, Galloway Publishing, Kirkcudbright, 2006; Glasgow Girls: Artists and Designers 1890—1930 by Liz Arthur, Kirkcudbright, 2010.

Mary Thew, Arts and Crafts jeweller

Jun22

Mary Russell Thew (1876—1953, née Mary Russell Frew) was a Scottish Arts and Crafts jeweller, perhaps best known for her free-flowing use of silver wire, with trails and beads, as well as using materials such as abalone and cabochon semi-precious gemstones. Her work is in the collections of the Victoria and Albert Museum in London.

Mary Thew. Partly gilded silver brooch with abalone, jade, turquoise and citrine. In the collections of the V&A.

Mary was born in Hillhead in Glasgow in 1876. She studied for a short time at the Glasgow School of Art in the mid 1890s, becoming friends there with Jessie Marion King and Jessie’s husband E.A. Taylor, before marrying her husband, James Mursell Thew, in 1903. James was an engineer, and enjoyed silversmithing as a hobby and making pieces for Mary; she soon began making designs herself. James died after only a few years of marriage, and with a young son to support, Mary decided to turn her hobby into her career. She took a short course of four lessons in jewellery making from famed Arts and Crafts jeweller Rhoda Wager, who had also studied at the Glasgow School. This must have been some time before 1913, as after that date Wager emigrated, first to Fiji and then to Australia, where she was to live for the rest of her life. Mary became a member of the ‘Greengate Close Coterie’, a group of friends and artisans who came to live for extended periods in the village of Kirkcudbright, where King and Taylor had settled in 1915. From 1911 Mary was a member of the Glasgow Society of Lady Artists, and she won the Society’s Lauder Award for a case of jewellery in 1925. She also exhibited at the Walker Art Gallery in Liverpool. An undated jewellery box of Mary’s is marked ‘Mary R. Thew, 704 Anniesland Road, Glasgow W.4.’ She also lived in Helensburgh at some point in her life.

Mary Thew. Silver brooch with a galleon design, set with freshwater pearls, amethysts and citrines. Sold by Tadema Gallery. Source: Zorn Karlin 1993, 143.

Mary Thew. Silver and abalone galleon brooch. Sold by Dukes Auctioneers.

Mary Thew. Silver and abalone galleon brooch. Sold by Van Den Bosch.

Mary took much inspiration from the jewellery of foreign countries whenever she travelled. She also designed Celtic-inspired pieces, as well as making jewellery with the popular Arts and Crafts galleon motif. Her freeform wirework pieces are perhaps her most iconic, though: trails and beads of wire wrapped to form a circular frame, on which are mounted cabochon semi-precious stones or abalone plaques or freshwater pearls.

Mary Thew. Silver and carnelian wirework brooch. Sold by Sworders Auctioneers.

Mary Thew. Silver, chalcedony and freshwater pearl wirework brooch. Sold by Tadema Gallery.

Mary Thew. Silver, chalcedony and moonstone wirework brooch. Sold by Bonhams.

Mary Thew. Brooch recently sold on eBay.

Mary Thew. Silver and amethyst wirework brooch recently sold on eBay.

Mary Thew. Silver and lapis lazuli wirework brooch. Sold by Van Den Bosch.

Attributed by the sellers to Sibyl Dunlop, but I am pretty sure this is by Mary Thew. Moonstone and Biwa pearls wirework brooch, with what looks like gilded silver (hard to tell as the photo isn’t the best). Sold by Dreweatts & Bloomsbury.

In 1939 Mary was living in Milngavie, a small town some 10 km (6 miles) north-west of Glasgow. Here Nan Muirhead Moffat, a newspaper reporter, described her workshop:

The desk is surmounted by shelves from which hang the numerous tools required for this complicated craft. The jeweller sits on a high Windsor chair … Within easy reach are her bottle of sperm oil and sulphuric acid, borax (used as a flux), a polishing lathe, a rolling machine, a vice, and a sandbag for hammering repousse. In the sketch, the artists is shown revolving a ring, on a wire ‘wig’, in a Bunsen-burner flame, while she uses foot bellows. While working, she always wears a leather apron and another is fixed under the desk to catch any jewels or pieces of metal which might be dropped.

Mary Thew at work in her studio in her garden.

The reporter then went to look at Mary’s jewellery:

Brooches, pendants, rings, ear-rings, chains, bracelets, buckles and links shimmered and glowed in the afternoon sunshine. I also saw beautiful crosses, showing Celtic influence, with characteristic inter-lacings and whorls, and I admired silver butter-forks, spoons and key-rings.

Mary Thew. Matirx turquoise and silver Celtic cross pendant, signed on the back with Mary's 'T' mark. Her signed pieces are very rare. For sale on Etsy: click on photo for details.

Mary Thew. Matrix turquoise and silver Celtic cross pendant, signed on the back with Mary’s punched ‘T’ mark. Her signed pieces are very rare. For sale on Etsy: click on photo for details.

Mary Thew opal and pearl-decorated Celtic cross. No mention in the description if it was signed on the back. Sold in 2006 by Lyon and Turnbull.

Mrs Thew told me that once she had to make silver hinges for an old book, belonging to Professor Latts, the cracked covers of which were made from the wood of an old battleship. Recently she had been making a great many hand-wrought silver tops for the fashionable embroidered handbags. She had also made copies, to order, of antique jewellery.

The artist has an instinct for creating a pleasing balance between space and decoration in her work, and she has a fine colour sense. She neither overloads with ornamentation nor allows her devotion to detail to detract from the general effect of her design.

Entrancing treasures

In the drawers a heterogeneous collection of gems from all over the world was mixed in an entrancing disorder—American jade from Salt Lake City, Scottish pearls, Connemara marble, New Zealand shells, Mexican fire opals, corals, malachite, crystals, moss-agates, green pebbles, and magic moonstones.

Mary Thew. Silver, abalone and freshwater pearl brooch. Sold by Tadema Gallery. Source: Zorn Karlin 1993, 143.

Mary Thew. Silver and abalone brooch, for sale at Tadema Gallery.

Mary Thew. Silver and abalone brooch. Sold at Bonhams.

Mary Thew. Silver and abalone brooch. Sold by Bonhams.

Mary Thew. Silver and Abalone brooch. Sold by Auction Atrium.

Mary Thew didn’t often sign her work, but when she did it was usually in the form of a ‘T’ punched on to the back of the piece.

Celtic cross pendant signed by Mary Thew: a ‘T’ made of punched dots, punched through from the other side before the matrix turquoise stone was set. Signed pieces are very rare. For sale on Etsy: click on photo for details.

Her work is now very sought-after, and is sold by specialist jewellery galleries in London such as Tadema Gallery and Van Den Bosch.

I was very lucky to find an unattributed Mary Thew brooch, which I sold in my Etsy shop. It wasn’t signed but had the characteristics of her work, including freeform wirework, trails and beads, as well as an abalone plaque. The Director of Decorative Arts at Lyon and Turnbull in Edinburgh corroborated my identification. The day I found that brooch was a very special one indeed, and for a short while I was the proud possessor of a Mary Thew masterpiece! I’m pleased to report that it has since returned to Scotland, its ancestral home.

The Mary Thew brooch I sold in my Etsy shop.

Another view of my Mary Thew brooch.

Mary Thew (attrib.) silver and abalone brooch, sold on eBay in November 2015 and a companion piece to my brooch.

Mary Thew silver and abalone brooch, sold on eBay in November 2015 and a companion piece to my brooch.

Another view, showing the trails and beads and flowers.

Another view, showing the silver trails and beads and flowers.

Given the wide range of jewellery types that Mary Thew made, as mentioned in the 1939 article, it would be wonderful to see more examples of her non-brooch jewellery. Tadema Gallery has sold a bracelet of hers, but apart from that, and the two Celtic cross pendants above, the only pieces of which I have seen records have all been brooches. (The pendant/necklace below was made recently, using a Mary Thew brooch.)

Mary Thew. Silver, jade, goshenite and peal pendant and necklace. Sold by tadema Gallery.

Mary Thew. Silver, jade, goshenite and pearl pendant and necklace, made using the original brooch below and sold by Tadema Gallery.

Mary Thew. Brooch from which the above pendant/necklace was made. Tadema Gallery ref 7172.

Mary Thew. Silver and opal doublet bracelet. Sold by Tadema Gallery. (Looks like lapis lazuli, but I assume that’s the colour reproduction).

An art glass faux turquoise and silver pendant, attributed to Mary Thew. For sale in my Etsy shop, Inglenookery: click on photo for details.

Mary was also a talented artist and musician. She died in 1953 in North Wales.

Sources: Jewelry and Metalwork in the Arts and Crafts Tradition by Elyse Zorn Karlin, 1993, 142-3; ‘Round the Studios: 7. Mrs Mary Thew – Jeweller’ by Nan Muirhead Moffat, The Glasgow Herald, 18 May 1939, 8; Mary Thew entry at the In the Artists’ Footsteps website; Mary Thew entry in Artists in Britain Since 1945—Chapter T by the Goldmark Gallery.

Further reading: Glasgow Style by Gerald and Celia Larner, Paul Harris Publishing, Edinburgh, 1979; Glasgow Girls: Women in Art and Design 1880—1920 edited by Jude Burkhauser, Canongate, Edinburgh, 1990; Tales of the Kirkcudbright Artists by Haig Gordon, Galloway Publishing, Kirkcudbright, 2006; Glasgow Girls: Artists and Designers 1890—1930 by Liz Arthur, Kirkcudbright, 2010.