To Serve and Project: The Pugin Staffordshire Plate, 1848

Gothic Revival Plate
A.W.N. Pugin
The Victoria & Albert Museum

This plate was designed by the celebrated architect and writer A.W.N. Pugin, known for his association with the Palace of Westminster and as a leading figure in the Gothic Revival. This plate, with its trefoil and quatrefoil ornament, is a perfect example of Pugin's Gothic style sensibilities. According to the V&A, "Pugin had a long-standing relationship with Herbert Minton of Minton & Co. and produced many ceramic designs for the firm, including tiles as well as tableware."

The eight-lobed white plate feautures a rim decorated with raised quatrefoils in a buff color and gilding on blue ground. The playe's center shows raised vine leaves and grapes in gilding and green on a buff ground around a central circle containing a  green tudor rose surrounded with a band of trefoil shapes in gilding on blue.

It was made in Staffordshire, England around 1848.

Gifts of Grandeur: The Pugin Headband, 1848

Headband
A.W.N. Pugin, 1848
The Victoria & Albert Museum

We have previously looked at a brooch which comprises partof this suite by famed architect (of Palace of Westminster fame) A.W.N. Pugin. Let’s, now, take a look at another piece from this same parure dating to 1848.

Designed by Pugin and made in Birmingham, this headband of enameled gold is set with a ruby, brilliant-cut diamonds, turquoises and pearls, and is one of the few, rare pieces of jewelry designed by the architect. Like the other pieces in the larger parure (suite) of jewels, the headband is created in the Gothic style that Pugin favored. Pugin was inspired by medieval ecclesiastical decoration in almost everything he set his mind to.

The headband bears the inscription “CHRISTI CRUX EST MEA LUX” (Christ's cross is my [guiding] light). Pugin designed this suite of jewels for the lady he proposed to make his third wife, but that marriage was not to be. A few months later, he met and married Jane Knill and offered the parure to her. The new Mrs. Pugin allowed for the suite to be shown at the 1851 Great Exhibition in London as part of the Medieval Court.

Sunday Sparkle: The Pugin Brooch, 1848

Brooch
Part of a Parure (see below)
A.W.N. Pugin
Gold, Enamel, Garnet, Rubies, Turquoise, Pearls
This, and all related images:
The Victoria & Albert Museum

If the V&A ever has a garage sale or “jumble,” I have dibs on this brooch of enameled gold, set with a ruby, cabochon garnets, turquoises and pearls
Not only is it extremely beautiful, but, it’s got an interesting provenance. It’s one of the few pieces of jewlery designed by the English architect A.W.N. Pugin (partially responsible for the Palace of Westminster). Part of a large parure of jewels by Puding, designed in the Gothic style that he favored, this delicious brooch is inspired by medieval ecclesiastical adornment.

Pugin had a motive for designing this brooch. He designed it for the lady whom he proposed to make his third wife. That marriage was not to be, however, and, in 1848, he offered the parure to one Jane Knill who not only accepted the big box of sparklies, but also agreed to be his third wife. Considered excpetionally spectacular—the jewels, not Jane--in 1851, the complete parure was displayed at the Great Exhibition in London as part of the Medieval Court.

Gifts of Grandeur: The Pugin Headband, 1848

Headband
A.W.N. Pugin, 1848
The Victoria & Albert Museum

We have previously looked at a brooch which comprises partof this suite by famed architect (of Palace of Westminster fame) A.W.N. Pugin. Let’s, now, take a look at another piece from this same parure dating to 1848.

Designed by Pugin and made in Birmingham, this headband of enameled gold is set with a ruby, brilliant-cut diamonds, turquoises and pearls, and is one of the few, rare pieces of jewelry designed by the architect. Like the other pieces in the larger parure (suite) of jewels, the headband is created in the Gothic style that Pugin favored. Pugin was inspired by medieval ecclesiastical decoration in almost everything he set his mind to.

The headband bears the inscription “CHRISTI CRUX EST MEA LUX” (Christ's cross is my [guiding] light). Pugin designed this suite of jewels for the lady he proposed to make his third wife, but that marriage was not to be. A few months later, he met and married Jane Knill and offered the parure to her. The new Mrs. Pugin allowed for the suite to be shown at the 1851 Great Exhibition in London as part of the Medieval Court.

To Serve and Project: The Pugin Staffordshire Plate, 1848

Gothic Revival Plate
A.W.N. Pugin
The Victoria & Albert Museum

This plate was designed by the celebrated architect and writer A.W.N. Pugin, known for his association with the Palace of Westminster and as a leading figure in the Gothic Revival. This plate, with its trefoil and quatrefoil ornament, is a perfect example of Pugin's Gothic style sensibilities. According to the V&A, "Pugin had a long-standing relationship with Herbert Minton of Minton & Co. and produced many ceramic designs for the firm, including tiles as well as tableware."

The eight-lobed white plate feautures a rim decorated with raised quatrefoils in a buff color and gilding on blue ground. The playe's center shows raised vine leaves and grapes in gilding and green on a buff ground around a central circle containing a  green tudor rose surrounded with a band of trefoil shapes in gilding on blue.

It was made in Staffordshire, England around 1848.

Her Majesty's Furniture: Pugin's Eaton Hall Chair, 1823

Armchair
from Eaton Hall
A. Pugin, 1823
This photo shows the replicated original upholstery.
The Victoria & Albert Museum

This magnificent chair is the work of Augustus Charles Pugin, painter, architect and father of A.W.N. Pugin (famous for his work on the Palace of Westminster).  The chair is covered in a contemporary red and gold upholstery which was made based on the pattern of the original scheme, using fragments of what remained and referring to illustrations of the chair made by John Buckler.  This new covering replaced a drab Twentieth Century upholstery (see picture below).

Buckler had drawn the chair when he was commissioned to create paintings which would record the newly decorated interiors of Eaton Hall in 1826.  This chair was one of a pair which was used in the drawing room of Eaton Hall in Cheshire, the home of Robert, Second Earl Grosvenor.  Lord Grosvenor was so enamored of this chair and its mate that he commissioned smaller copies to be made for use in Eaton Hall’s dining room.  The simplified set was covered in blue leather to match the blue and gold brocade draperies in the room.

This chair and its mate (and copies) was crafted of carved and gilded mahogany set with pierced gothic tracery and panels of carved and gilded gothic foliage.  They were made in Lancaster by Gillow & Co. based on Pugin’s designs, circa 1823.

Here we see the upholstery which was replaced.

Drawing of the Day: Record Drawing of the Royal Throne in the House of Lords, 1901

Record Drawing of the Royal Throne in the House of Lords
1901
The Victoria & Albert Museum

This is truly a rare treat. Here we see a drawing of the Royal Throne in the House of Lords. This drawing was made by the furniture manufacturers at Holland & Sons to use as a reference. After the death of his mother, Queen Victoria, King Edward VII prepared for his coronation, but wanted to make sure that his consort, Queen Alexandra, would also have a proper, if not smaller, throne. He ordered this drawing to be made of the original Gothic throne that was added to the House of Lords at the Palace of Westminster during its rebuilding. The original throne was designed by A.W.N. Pugin who was responsible for the interiors of the palace.


Pugin’s throne was partly modeled on the Coronation Chair (St. Edward’s Chair) and how it must have looked when still painted and gilded. Edward VII wanted Holland & Sons to make a diminutive version of the throne for Queen Alexandra. The furniture makers used this drawing as their reference, but later made minor changes to the design at the request of Edward VII.

Unusual Artifacts: The Hardman Powell Flagon, c. 1858

Flagon
John Hardman Powell
England, 1862
The Victoria & Albert Museum

A flagon such as this one would have been used to hold the communion wine in a church—either Catholic or Protestant. This example, dating to 1848, was designed by John Hardman Powell—Chief Designer for Hardman’s of Birmingham since 1852. Powell had the distinction of being a student of as well as the son-in-law of the famed designer A.W.N. Pugin. Like Pugin, Powell was a proponent of the Gothic Revival style and was adamant that it was the only appropriate style for ecclesiastical design. This flagon of ruby glass was made in 1862 to be shown at the International Exhibition of 1862. The glass is mounted in silver gilt and set with cabochon gemstones and enamels.

Drawing of the Day: Pugin's Carpet Design, 1846

Design for Carpet for the Throne at the House of Lords
Palace of Westminster
A.W.N. Pugin, 1847
The Victoria & Albert Museum

Augustus Welby Northmore Pugin (1812-52) will always be considered one of the Nineteenth Century’s most significant and influential architects, designers and theorists.  He is, perhaps, almost single-handedly responsible for the Gothic Revival.  Despite his many triumphs, Pugin will remain best remembered for his work on the Palace of Westminster.

This design by Pugin shows his concept for the carpet for the throne of the House of Lords Chamber. The rose, labeled white, is actually shown colored red as it was in the finished carpet which was in place for the opening of the House of Lords in 1847.   The carpet design in place remained unchanged until 1980.

Her Majesty's Furniture: Pugin's Eaton Hall Chair, 1823

Armchair
from Eaton Hall
A. Pugin, 1823
This photo shows the replicated original upholstery.
The Victoria & Albert Museum

This magnificent chair is the work of Augustus Charles Pugin, painter, architect and father of A.W.N. Pugin (famous for his work on the Palace of Westminster).  The chair is covered in a contemporary red and gold upholstery which was made based on the pattern of the original scheme, using fragments of what remained and referring to illustrations of the chair made by John Buckler.  This new covering replaced a drab Twentieth Century upholstery (see picture below).

Buckler had drawn the chair when he was commissioned to create paintings which would record the newly decorated interiors of Eaton Hall in 1826.  This chair was one of a pair which was used in the drawing room of Eaton Hall in Cheshire, the home of Robert, Second Earl Grosvenor.  Lord Grosvenor was so enamored of this chair and its mate that he commissioned smaller copies to be made for use in Eaton Hall’s dining room.  The simplified set was covered in blue leather to match the blue and gold brocade draperies in the room.

This chair and its mate (and copies) was crafted of carved and gilded mahogany set with pierced gothic tracery and panels of carved and gilded gothic foliage.  They were made in Lancaster by Gillow & Co. based on Pugin’s designs, circa 1823.

Here we see the upholstery which was replaced.

To Serve and Project: The Pugin Staffordshire Plate, 1848

Gothic Revival Plate
A.W.N. Pugin
The Victoria & Albert Museum

This plate was designed by the celebrated architect and writer A.W.N. Pugin, known for his association with the Palace of Westminster and as a leading figure in the Gothic Revival. This plate, with its trefoil and quatrefoil ornament, is a perfect example of Pugin's Gothic style sensibilities. According to the V&A, "Pugin had a long-standing relationship with Herbert Minton of Minton & Co. and produced many ceramic designs for the firm, including tiles as well as tableware."

The eight-lobed white plate feautures a rim decorated with raised quatrefoils in a buff color and gilding on blue ground. The playe's center shows raised vine leaves and grapes in gilding and green on a buff ground around a central circle containing a  green tudor rose surrounded with a band of trefoil shapes in gilding on blue.

It was made in Staffordshire, England around 1848.

Unusual Artifacts: The Great Exhibition Chalice, 1851

Chalice
Pugin and Hardman, 1851
The Victoria & Albert Museum

A magnificent chalice of silver, parcel gilt, set with amethysts and garnets and champleve enamel plaques, though it looks liturgical, was never used in a church. This unusual artifact was acquired from the Great Exhibition of 1851, and as was the case of all of the items there displayed, represents what was considered as the best in British design and workmanship in the mid Nineteenth Century.


At the time of its creation, the chalice cost £30, and was described as being “remarkable for the beauty of the forms and the delicacy of the ornamented portions.” This was the work of John Hardman and the famed A.W.N. Pugin.

Object of the Day: Record Drawing of the Royal Throne in the House of Lords, 1901

Record Drawing of the Roya. Throne in the House of Lords
1901
The Victoria & Albert Museum

This is truly a rare treat. Here we see a drawing of the Royal Throne in the House of Lords. This drawing was made by the furniture manufacturers at Holland & Sons to use as a reference. After the death of his mother, Queen Victoria, King Edward VII prepared for his coronation, but wanted to make sure that his consort, Queen Alexandra, would also have a proper, if not smaller, throne. He ordered this drawing to be made of the original Gothic throne that was added to the House of Lords at the Palace of Westminster during its rebuilding. The original throne was designed by A.W.N. Pugin who was responsible for the interiors of the palace.


Pugin’s throne was partly modeled on the Coronation Chair (St. Edward’s Chair) and how it must have looked when still painted and gilded. Edward VII wanted Holland & Sons to make a diminutive version of the throne for Queen Alexandra. The furniture makers used this drawing as their reference, but later made minor changes to the design at the request of Edward VII.

Painting of the Day: The Coronation of King George IV at Westminster Abbey, 1821

Coronation of King George IV
A.C. Pugin, 1821
The Victoria & Albert Museum

The opulent coronation of King George IV took place on July 19, 1821 and was concluded by a lavish banquet at Westminster Hall. George IV took great pains in making sure that the celebration was a fitting tribute to his tastes and what he considered to be his tremendous importance. No one can be sure what George IV was thinking when he approved the huge expense of the coronation. Perhaps he wasn’t thinking at all. Perhaps he only considered the satiation of his own wants. Or, maybe—possibly—he hoped that allowing the people of Britain to see such a spectacle in his honor might convince them to raise their opinions of him. It didn’t. Throughout his reign, he was largely loathed and vilified with good reason.

Here, we see a watercolor painting of the coronation at Westminster Abbey in 1821. The painting by Augustus Charles Pugin (relative of A.W.N. Pugin—one of the designers of the Palace of Westminster—and member of the famed Pugin family) serves not only to record the coronation, but also as a topographical drawing of the Abbey as it was in 1821. This view of the event depicts the moment when Archbishop of Canterbury placed the Crown on the King's head, and is seen from the vantage point of looking down the choir and nave of the Abbey.

Gifts of Grandeur: The Pugin Headband, 1848

Headband
A.W.N. Pugin, 1848
The Victoria & Albert Museum

A few weeks ago, we looked at a brooch which comprises part of this suite by famed architect (of Palace of Westminster fame) A.W.N. Pugin. Let’s, now, take a look at another piece from this same parure dating to 1848.

Designed by Pugin and made in Birmingham, this headband of enameled gold is set with a ruby, brilliant-cut diamonds, turquoises and pearls, and is one of the few, rare pieces of jewelry designed by the architect. Like the other pieces in the larger parure (suite) of jewels, the headband is created in the Gothic style that Pugin favored. Pugin was inspired by medieval ecclesiastical decoration in almost everything he set his mind to.

The headband bears the inscription “CHRISTI CRUX EST MEA LUX” (Christ's cross is my [guiding] light). Pugin designed this suite of jewels for the lady he proposed to make his third wife, but that marriage was not to be. A few months later, he met and married Jane Knill and offered the parure to her. The new Mrs. Pugin allowed for the suite to be shown at the 1851 Great Exhibition in London as part of the Medieval Court.

Saturday Sparkle: The Pugin Brooch, 1848

Brooch
Part of a Parure (see below)
A.W.N. Pugin
Gold, Enamel, Garnet, Rubies, Turquoise, Pearls
This, and all related images:
The Victoria & Albert Museum

If the V&A ever has a garage sale or “jumble,” I have dibs on this brooch of enameled gold, set with a ruby, cabochon garnets, turquoises and pearls
Not only is it extremely beautiful, but, it’s got an interesting provenance. It’s one of the few pieces of jewlery designed by the English architect A.W.N. Pugin (partially responsible for the Palace of Westminster). Part of a large parure of jewels by Puding, designed in the Gothic style that he favored, this delicious brooch is inspired by medieval ecclesiastical adornment.

Pugin had a motive for designing this brooch. He designed it for the lady whom he proposed to make his third wife. That marriage was not to be, however, and, in 1848, he offered the parure to one Jane Knill who not only accepted the big box of sparklies, but also agreed to be his third wife. Considered excpetionally spectacular—the jewels, not Jane--in 1851, the complete parure was displayed at the Great Exhibition in London as part of the Medieval Court.

Masterpiece of the Week: A Gothic Revival Armoire by Pugin and Crace

The Victoria and Albert Museum in London boasts an amazing collection of furniture from antiquities to modern pieces. While browsing their online catalog, I came across this cabinet. Designed by A.W.N Pugin in 1850 and crafted by John Gregory Crace, this cabinet (which they referred to as an armoire) was created for the Medieval Court in the Great Exhibition of 1851.

Pugin and Crace were frequent collaborators and had a vast understanding of one another’s working styles. Designed in a Gothic Revival Style, this monumental piece sports hand carved crests which Pugin painted with the symbols of the carpenters’ trade and their initials. With its delicately carved Corinthian capitals, spindles, tracery, and pierced frieze, this was considered one of the grandest works at the 1851 Exhibition, and certainly, can be considered one of Crace and Pugin’s finest masterpieces.