Beschreibung:

An Arts and Crafts machine made carpet retailed by Morris & Co., probably designed by John Henry Dearle, in four strips and a border all stitched together, with a floral design on a pale and shaded blue ground, 404cm (13ft 4in) x 357cm (11ft 6in) Lots 75 to 220 are from the collection of Laurence W. Hodson (1863-1933) and thence by descent. LAURENCE WILLIAM HODSON (1864-1933) Laurence W. Hodson was a discerning art collector with a passionate interest in the private presses of the late 19th and early 20th centuries. He was also an important patron of William Morris and other leading artists of the English Arts & Crafts Movement. His philanthropy extended to his involvement in the foundation and running of The University of Birmingham between 1898 and 1906; his Chairmanship of the Fine Art Committee for the Wolverhampton Art and Industrial Exhibition in 1902, and his financial support of the Guild of Handicraft. Following the death of his father in 1890, Laurence W. Hodson became a partner of the Springfield Brewery in Wolverhampton. He also inherited his father’s estate, Compton Hall near Wolverhampton. Laurence W. Hodson commissioned Morris & Co. to refurbish Compton Hall in 1895-6, which included several significant pieces. The three Holy Grail tapestries, designed by Edward Burne-Jones and J.H. Dearle, from the drawing room at Compton Hall, are now owned by the Birmingham Museum and Art Gallery, following their sale back to Morris and Co. in 1906. The St George Cabinet, designed by Philip Webb for the stand of Morris, Marshall, Faulkner & Co. at the 1862 London International Exhibition, may have been acquired during the refurbishment of Compton Hall, but was subsequently sold in the 1906 Christie's sale of part of Laurence W. Hodson’s collection, and is now in the V&A. The commission for Compton Hall was so important that the final William Morris wallpaper design was named ‘Compton’. Following William Morris' death in 1896, Hodson negotiated with Morris' secretary, Sydney Cockerell, about the future of the library at Kelmscott House in Hammersmith and the Kelmscott Press. During these negotiations, Hodson was able to purchase four waterclour and pencil designs by Philip Webb for the 'Forest Tapestry' (lots 116 - 119 in this sale). The items offered in this sale include an interesting selection of sea green table glass by James Powell & Sons (Whitefrairs). Although this glass was made in significant quantities, its fragility has meant that it has not survived in large numbers - lot 103 is a part service, originally designed by Philip Webb for William Morris' Red House in the 1860s. Later designs by T. G. Jackson and Harry Powell, sold by Morris & Co., Liberty and others, are represented in lots 104 - 107. Laurence W. Hodson's patronage of local Arts and Crafts artisans covered all areas of artistic merit. For example Georgie Gaskin designed the Hodsons' Christmas cards between 1892 and 1905, and Hodson purchased jewellery designed by both Arthur and Georgie Gaskin. The Hodson collection of Gaskin jewellery was anonymously lent to the Arthur & Georgie Gaskin Exhibition held at the City Museum and Art Gallery, Birmingham and The Fine Art Society, London, in 1982. Five pieces from that exhibition will be offered for sale in Dreweatts' "Fine Jewellery" Sale on 20th March 2013. Another Birmingham artist favoured by Hodson was Jospeh Southall, the leading figure in the Birmingham group of artist-craftsmen and revivalist of painting in tempera in the late 19th century - lot 80 in this present sale is a mirror designed and painted by Southall. The many artists and craftsmen and women patronised by Hodson included William Strang (1859- 1921), who painted a series of ten pictures for the library at Compton Hall depicting the Biblical story of Adam and Eve. The first of the series, entitled ‘The Temptation’, is now on display in Tate Britain (T07518). The collection will be offered in three sales at Dreweatts and Bloomsbury Auctions: "