Her Majesty's Furniture: The Thomas Hopper Wardrobe, 1820-30

Wardrobe
Thomas Hopper, 1820-30
From Gosford Castle
The Victoria & Albert Museum

While this wardrobe appears rather unusual, the interior is quite typical for what it is. Made between 1820 and 1830, this is the work of Thomas Hopper (1776-1856) who first trained as a surveyor. Hopper’s first major commission was the Gothic Conservatory which he added to Carlton House, London in 1807, for the Prince Regent, later King George IV.

Hopper established himself as a designer of grand country houses, working in various styles. The most admired of his designs, however, were his Norman-style castles of Gosford and Penryhn, for which he also designed the copious amounts of furniture which were required. Among them, was this handsome wardrobe.

This wardrobe was probably made for Gosford Castle, since it does not resemble any of the Penrhyn furniture. The contents of Gosford were all sold off in the 1920s, allowing this piece to be liberated to the V&A.

The front of the wardrobe is marked by concentric rounded arches which are decorated with variations on zig-zag carving and roll moldings. These are supported by columns with incised decoration. Animal figures grace the spandrels and figurative decoration appears underneath the main arch which is also surmounted by an overhanging cornice and deep pediment.

Sculpture of the Day: “Irish Peasant Woman” by Edward Onslow Ford, 1881

Irish Peasant Woman
Edward Onslow Ford, 1881
Bronze
Lady Lever Art Gallery
Liverpool

In the 1880’s art was finding a push toward realism. This was especially evident in the style of sculpture known as “New Sculpture.” One had to be careful, however. As an artist, it’s never a good idea to be too realistic when sculpting members of one’s own family.

Such was the case with sculptor Edward Onslow Ford who cast the bronze bust of an aged relative. He was quite proud of himself for showing the natural deterioration of old age. However, according to Ford’s daughter, the sitter “recoiled in horror” when she saw it for the first time.

The realistic trend didn’t last terribly long. Ford gave it up and focused on sculpting ideal busts of perfect young beauties. It’s just a pity that whomever this “Irish Peasant Woman” is, didn’t get the same treatment—at least for her sake.

Her Majesty's Furniture: The Thomas Hopper Wardrobe, 1820-30

Wardrobe
Thomas Hopper, 1820-30
From Gosford Castle
The Victoria & Albert Museum

While this wardrobe appears rather unusual, the interior is quite typical for what it is. Made between 1820 and 1830, this is the work of Thomas Hopper (1776-1856) who first trained as a surveyor. Hopper’s first major commission was the Gothic Conservatory which he added to Carlton House, London in 1807, for the Prince Regent, later King George IV.

Hopper established himself as a designer of grand country houses, working in various styles. The most admired of his designs, however, were his Norman-style castles of Gosford and Penryhn, for which he also designed the copious amounts of furniture which were required. Among them, was this handsome wardrobe.

This wardrobe was probably made for Gosford Castle, since it does not resemble any of the Penrhyn furniture. The contents of Gosford were all sold off in the 1920s, allowing this piece to be liberated to the V&A.

The front of the wardrobe is marked by concentric rounded arches which are decorated with variations on zig-zag carving and roll moldings. These are supported by columns with incised decoration. Animal figures grace the spandrels and figurative decoration appears underneath the main arch which is also surmounted by an overhanging cornice and deep pediment.

Object of the Day, Museum Edition: Burns and Highland Mary, 1851

Burns and "Highland Mary"
Copeland & Sons, Ltd., 1851
Parian
Purchased by Queen Victoria
and Prince Albert at
The Dublin Exhibition, 1853
Also included were two glass
lamp shades.
The Royal Collection

Ye banks, and braes, and streams around 
The castle o' Montgomery! 
Green be your woods, and fair your flowers, 
Your waters never drumlie: 
There Simmer first unfauld her robes, 
And there the langest tarry; 
For there I took the last Farewell 
O' my sweet Highland Mary. 
--Robert Burns, 1792


With the rise of Parian ware, in the 1850’s, sculpture was becoming something that even the middle classes of Britain could afford. This unglazed biscuit mimicked the look of marble without the expense and was the perfect medium to create both original figures and reproductions of famous artwork.


Queen Victoria and Prince Albert—who had access to all the marbles in the world—were keen collectors of Parian figures because they liked the intimacy of the pieces and the feel of the medium. They allowed makers of Parian ware such as Copeland & Sons to create Parian reproductions of several of their most beloved full-scale marble figures so that others could also enjoy their beauty.

While at the Dublin Exhibition in 1853, Queen Victoria and Prince Albert purchased two Parian figural groups by Copeland & Sons with the intention of making them into lamp bases. This is one of the two groups. Created in 1851, the group depicts the poet Robert Burns with his lady-love, Mary Campbell, who as known as “Highland Mary.” Not only were Victoria and Albert drawn to the medium, they also liked the romantic subject matter—being as they were similarly in love. 

Sculpture of the Day: “Irish Peasant Woman” by Edward Onslow Ford, 1881

Irish Peasant Woman
Edward Onslow Ford, 1881
Bronze
Lady Lever Art Gallery
Liverpool

In the 1880’s art was finding a push toward realism. This was especially evident in the style of sculpture known as “New Sculpture.” One had to be careful, however. As an artist, it’s never a good idea to be too realistic when sculpting members of one’s own family.

Such was the case with sculptor Edward Onslow Ford who cast the bronze bust of an aged relative. He was quite proud of himself for showing the natural deterioration of old age. However, according to Ford’s daughter, the sitter “recoiled in horror” when she saw it for the first time.

The realistic trend didn’t last terribly long. Ford gave it up and focused on sculpting ideal busts of perfect young beauties. It’s just a pity that whomever this “Irish Peasant Woman” is, didn’t get the same treatment—at least for her sake.

Object of the Day, Museum Edition: Burns and Highland Mary, 1851

Burns and "Highland Mary"
Copeland & Sons, Ltd., 1851
Parian
Purchased by Queen Victoria
and Prince Albert at
The Dublin Exhibition, 1853
Also included were two glass
lamp shades.
The Royal Collection

Ye banks, and braes, and streams around 
The castle o' Montgomery! 
Green be your woods, and fair your flowers, 
Your waters never drumlie: 
There Simmer first unfauld her robes, 
And there the langest tarry; 
For there I took the last Farewell 
O' my sweet Highland Mary. 
--Robert Burns, 1792


With the rise of Parian ware, in the 1850’s, sculpture was becoming something that even the middle classes of Britain could afford. This unglazed biscuit mimicked the look of marble without the expense and was the perfect medium to create both original figures and reproductions of famous artwork.


Queen Victoria and Prince Albert—who had access to all the marbles in the world—were keen collectors of Parian figures because they liked the intimacy of the pieces and the feel of the medium. They allowed makers of Parian ware such as Copeland & Sons to create Parian reproductions of several of their most beloved full-scale marble figures so that others could also enjoy their beauty.

While at the Dublin Exhibition in 1853, Queen Victoria and Prince Albert purchased two Parian figural groups by Copeland & Sons with the intention of making them into lamp bases. This is one of the two groups. Created in 1851, the group depicts the poet Robert Burns with his lady-love, Mary Campbell, who as known as “Highland Mary.” Not only were Victoria and Albert drawn to the medium, they also liked the romantic subject matter—being as they were similarly in love. 

Her Majesty's Furniture: The Thomas Hopper Wardrobe, 1820-30

Wardrobe
Thomas Hopper, 1820-30
From Gosford Castle
The Victoria & Albert Museum

While this wardrobe appears rather unusual, the interior is quite typical for what it is. Made between 1820 and 1830, this is the work of Thomas Hopper (1776-1856) who first trained as a surveyor. Hopper’s first major commission was the Gothic Conservatory which he added to Carlton House, London in 1807, for the Prince Regent, later King George IV.

Hopper established himself as a designer of grand country houses, working in various styles. The most admired of his designs, however, were his Norman-style castles of Gosford and Penryhn, for which he also designed the copious amounts of furniture which were required. Among them, was this handsome wardrobe.

This wardrobe was probably made for Gosford Castle, since it does not resemble any of the Penrhyn furniture. The contents of Gosford were all sold off in the 1920s, allowing this piece to be liberated to the V&A.

The front of the wardrobe is marked by concentric rounded arches which are decorated with variations on zig-zag carving and roll moldings. These are supported by columns with incised decoration. Animal figures grace the spandrels and figurative decoration appears underneath the main arch which is also surmounted by an overhanging cornice and deep pediment.

Sunday Morning Special: Punch and Judy from the Custard Pie Puppet Co.

Some of Conor Lambert's puppets.

Here we have some handsome puppets and an undoubtedly talented performer. Now, the problem is that Mr. Punch isn’t speaking with his proper voice. The puppeteer isn’t using a swazzle—the device which produces Punch’s distinctive squawking sound.


Now, I have been practicing the swazzle for several weeks and can tell you quite honestly that it’s a tricky thing to master. I’m far from being able to use it well. However, I’m a Punch purist and subscribe to the school of thought that a real Punch Professor can only be considered as such if he uses the swazzle.

So, I’ll leave you with this humorous clip and let you decide whether or not it’s lacking because of its lack of squawk. It is nevertheless enjoyable—the work of Irish puppeteer, Conor Lambert.

Sculpture of the Day: Burns and Highland Mary, 1851

Burns and "Highland Mary"
Copeland & Sons, Ltd., 1851
Parian
Purchased by Queen Victoria
and Prince Albert at
The Dublin Exhibition, 1853
Also included were two glass
lamp shades.
The Royal Collection

Ye banks, and braes, and streams around
The castle o' Montgomery!
Green be your woods, and fair your flowers,
Your waters never drumlie:
There Simmer first unfauld her robes,
And there the langest tarry;
For there I took the last Farewell
O' my sweet Highland Mary.
--Robert Burns, 1792


With the rise of Parian ware, in the 1850’s, sculpture was becoming something that even the middle classes of Britain could afford. This unglazed biscuit mimicked the look of marble without the expense and was the perfect medium to create both original figures and reproductions of famous artwork.


Queen Victoria and Prince Albert—who had access to all the marbles in the world—were keen collectors of Parian figures because they liked the intimacy of the pieces and the feel of the medium. They allowed makers of Parian ware such as Copeland & Sons to create Parian reproductions of several of their most beloved full-scale marble figures so that others could also enjoy their beauty.

While at the Dublin Exhibition in 1853, Queen Victoria and Prince Albert purchased two Parian figural groups by Copeland & Sons with the intention of making them into lamp bases. This is one of the two groups. Created in 1851, the group depicts the poet Robert Burns with his lady-love, Mary Campbell, who as known as “Highland Mary.” Not only were Victoria and Albert drawn to the medium, they also liked the romantic subject matter—being as they were similarly in love.

At the Music Hall: It’s a Long Way to Tipperary, 1912

It's a long way to Tipperary,
It's a long way to go.
It's a long way to Tipperary
To the sweetest girl I know!
Goodbye, Piccadilly,
Farewell, Leicester Square!
It's a long long way to Tipperary,
But my heart's right there.


One of the most popular songs of World War I, It’s a Long Way to Tipperary, was written as the result of a bet in 1912. On January 30, 1912, Jack Judge and Henry James “Harry” Williams of Stalybridge (Cheshire, England), were bet five shillings that they couldn’t write a song overnight. Judge did, in fact write the song (which was co-credited to Williams though he didn’t have anything to do with it) and it was performed the following day. The rousing song was inspired by Judge’s Irish family who hailed from Tipperary.

It’s a Long Way to Tipperary, like other songs of World War I, does not focus on the battles or even the “glory” of war, but rather about coming home and acts as a reminder of the reason to fight in order to protect a way of life.

The song was popularized in 1913 by Florrie Forde who made the anthem one of the most beloved music hall songs of the time. In fact, it’s still a celebrated song and one which quickly brings to mind the First World War.

Sculpture of the Day: “Irish Peasant Woman” by Edward Onslow Ford, 1881

Irish Peasant Woman
Edward Onslow Ford, 1881
Bronze
Lady Lever Art Gallery
Liverpool

In the 1880’s art was finding a push toward realism. This was especially evident in the style of sculpture known as “New Sculpture.” One had to be careful, however. As an artist, it’s never a good idea to be too realistic when sculpting members of one’s own family.


Such was the case with sculptor Edward Onslow Ford who cast the bronze bust of an aged relative. He was quite proud of himself for showing the natural deterioration of old age. However, according to Ford’s daughter, the sitter “recoiled in horror” when she saw it for the first time.

The realistic trend didn’t last terribly long. Ford gave it up and focused on sculpting ideal busts of perfect young beauties. It’s just a pity that whomever this “Irish Peasant Woman” is, didn’t get the same treatment—at least for her sake.