The Home Beautiful: Pochoir Furnishing Fabric, 1925

Click on image to see a pink spaniel.
Furnishing Fabric, c. 1925
The Victoria & Albert Museum

Made in Manchester, England, around 1925 by Tootal, Broadhurst, Lee & Co, this furnishing fabric was designed by George Sheringham. The repeat of the material depicts a couple attired in Eighteenth Century court costume. Their companion is a pink spaniel. 

Such fairytale-inspired scenes were popular in the 1920s. This one borrows its theme from a series of Italian fashion plates which were made by with pochoir stencils.

The Home Beautiful: Crane's Lily and Rose Wallpaper, 1894

Wallpaper by Walter Crane, 1894
The Victoria & Albert Museum

The celebrated Walter Crane was known for his wallpaper designs. Crane’s papers lined the wall of many a Victorian parlor. Here, we see a design for one of Crane’s papers. This woodblock print on paper is an original sketch for Crane’s “Lily and Rose” paper. A pattern of lilies and roses is set upon foliage against a dark red ground. Made in 1894, this is an excellent example of the color scheme which was popular a the time. The paper was designed to be surmounted by a corresponding frieze or border. 

The Home Beautiful: A Minton Tile, 1880

Tile
Minton, 1880
The Victoria & Albert Museum

Made circa 1880 by Minton, this earthenware tile was stenciled with a design before being glazed and fired.  The stenciled pattern depicts four scenes: a sunrise, a balloon, a toad and a rooster.

It was made at Minton’s Stoke-on-Trent, England, Factory and was part of a large set of tiles depicting similarly bucolic scenes predominantly in browns and blues.  

To Serve and Project: The Summer Tile, 1881

Tile of "Summer"
Kate Greenaway, 1881
The Victoria & Albert Museum

In the late Nineteenth Century, ceramic wall tiles were considered quite fashionable and the demand for them grew considerably, especially to be used in conjunction with fireplaces since the new cast-iron grates that began to appear during this period were specifically designed to be set with tiles. The tiles were fitted to metal panels that bolted onto the frame. At the start of this trend, pictorial tiles with pastoral scenes were especially popular and, often, tiles with series of different scenes were used.

The invention of “dust-pressing,” which developed in the 1840s, aided the mass production of tiles. The process allowed tiles to be formed by compacting powdered clay under high pressure in a screw-press. As many as 1,800 tiles a day—of a consistently high quality--could made on a single press, operated by two people. The result was tiles which were much less prone to warping than earlier examples.

Here, we see a tile made in such a manner—in 1881. It is one of a set of four tiles of the seasons. In this example, a woman is in her garden watering flowers, wearing a Japanese hairstyle and clothing. The style of the figure on this tile is close in appearance to figures drawn by one Kate Greenaway (1846-1901)-- one of the most celebrated children's book illustrators of the period. It is highly likely to have been her work since she often lent her talents to especially commissioned tile pieces.

Masterpiece of the Week: The Kitchen at Elmswell Hall, York

Click image to enlarge
The Kitchen at Elmswell Hall, York
Mary Ellen Best, 1834
The Victoria & Albert Museum

Mary Ellen Best (1809-1891), a watercolorist, excelled in creating views of domestic interiors and tender genre paintings. She often created the interiors which she painted and was famous for some of the makeshift details in her scenes which were accurate representations of a typical home. She didn’t glamorize her scenes and took great pains in beings a true to life as possible, making sure that the furnishings matched the setting. For example, in this scene, Eighteenth Century chairs are shown, neatly depicting the fact that, in most great homes, the servants’ halls were furnished with pieces which were considered too out of fashion for the main house.

Here, we see one of Best’s creations—a watercolor view of the kitchen of a great country house, showing a woman inspecting bread dough as it is rising in a dough trough which is humorously supported by a chair. The piece was painted in Little Driffield, England in 1834.

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.

The Home Beautiful: A Dinner Party, 1725

A Dinner Party
Marcellus Laroon, the Younger
French, 1725
First recorded in The Royal Collection, 1818,
but probably purchased by King George I earlier.
Crown Copyright
Image Courtesy of Her Majesty Queen Elizabeth II

Elegance and opulence weren’t just the stuff of our Victorian and Edwardian forebears. No. In fact, many a historical figure from many a century was known to “glitz it up” quite often. In this 1725 painting by French painter Marcellus Laroon, the Younger, we see the conclusion of a posh dinner party. Many have conjectured as to the identities of the subjects, but I think that’s irrelevant. What is important is the representation of the antics of an upper class household.


The dinner guests have retired from the main dining room after consuming a meal which probably consisted of a lot of peculiarly stuffed birds, gammon and organ meats. They’ve moved on to the fashionable “Banquet House.” It was in the banquet house that ladies and gentlemen enjoyed sweets, wine and succulent cheeses. Take a look at the background. It would appear that one of the gardeners is trying to convince a servant to slip him a little wine. It’s just a lovely, fun painting and it makes me smile.

During this time period, the French often complained of the blandness of the English, stating that “in England one can hardly tell the servants from the masters” because they considered British fashions to be too reserved. I see nothing at all reserved about this scene. Considering we presently live in a world in which people wear shorts to the opera, I think this scene is all sorts of opulent.

Painting of the Day: Minding Baby, 1857

Minding Baby
Alfred Provis
English, 1857
The Victoria & Albert Museum

This 1857 painting by Alfred Provis depicts the wholly Victorian concept of “the respectable poor”—members of the lower class who were perceived as industrious and thrifty, and who were applauded for making the best of their situations.

Provis has represented this idea by showing us the interior of a humble cottage and its plain but well-maintained contents. A young woman watches over an infant while she’s knitting. Unlike wealthier women, this woman is not knitting as a hobby, but most likely as a means of bringing in extra income or to make durable clothing for her family. Odds are, this is an older daughter of the family watching a sibling, and not the child’s mother. In families such as this, a mother would have to go back to work immediately to help keep food on the table. An older child or sometimes a neighbor would be charged with watching the smaller children. She is barefooted and her clothes show signs of having been mended. Still, she’s clean and well-groomed and carries a dignified expression.

The cottage is depicted as being hewn of rough stone with few furnishings. A large book is prominently placed on the window ledge. Provis likely means for us to assume that this is a bible—probably the only book owned by most families and the book from which most learned to read, if at all. The only other visible items are those of pure necessity. A kitchen grate is visible in the distance up the stairs.

This is not the painting’s original frame, but rather a modern reproduction for the original which was too badly damaged to maintain.

Print of the Day: "Hush," by Charles West Cope, 1878

Hush
Charles West Cope
England, 1878
The Victoria & Albert Museum

No one loved sentimental images of children more than a Victorian audience. While they were popular with the people, art critics often were quick to dismiss these sorts of paintings and prints, deeming them “intellectually undemanding.” Still, prints of children and scenes of motherhood proved to be big sellers.

The artist Charles West Cope was described as the “Poet Laureate of the nursery.” Cope was applauded by art lovers (but not so much by art critics) for his depictions of mothers with babies. The artist was always able to capture the intimacy of motherhood and excelled at showing tender moments between mother and child. 

Take this image from 1878, for example. In this etching after Cope, we see a woman cradling her child. All of the emotions inherent in motherhood are clearly felt in this simply, yet, effective scene. 

The Home Beautiful: Crane's Lily and Rose Wallpaper, 1894

Wallpaper by Walter Crane, 1894
The Victoria & Albert Museum

The celebrated Walter Crane was known for his wallpaper designs. Crane’s papers lined the wall of many a Victorian parlor. Here, we see a design for one of Crane’s papers. This woodblock print on paper is an original sketch for Crane’s “Lily and Rose” paper. A pattern of lilies and roses is set upon foliage against a dark red ground. Made in 1894, this is an excellent example of the color scheme which was popular a the time. The paper was designed to be surmounted by a corresponding frieze or border. 

The Home Beautiful: A Cowtan & Sons Wallpaper Frieze, c. 1830

Click image to frieze in place.

Frieze
Cowtan & Sons
London, c. 1830
The Victoria & Albert Museum

Cowtan & Sons, a celebrated early-to-mid Nineteenth-Century producer of wallpaper, created this frieze to augment the crown molding in a room. The border, printed with woodblocks, depicts various fruit and cereal crops. The design is framed by an edge which duplicates beaded trim. It dates to about 1830. This specimen would have served as a showroom example and is one of fifty-five such pieces which remain from the stock of Cowtan & Sons.

The Home Beautiful: Pochoir Furnishing Fabric, 1925

Click on image to see a pink spaniel.
Furnishing Fabric, c. 1925
The Victoria & Albert Museum

Made in Manchester, England, around 1925 by Tootal, Broadhurst, Lee & Co, this furnishing fabric was designed by George Sheringham. The repeat of the material depicts a couple attired in Eighteenth Century court costume. Their companion is a pink spaniel. 

Such fairytale-inspired scenes were popular in the 1920s. This one borrows its theme from a series of Italian fashion plates which were made by with pochoir stencils.

The Home Beautiful: The Parlor from 11 Henrietta Street, 1727-32

Drawing Room from 11 Henrietta Street
James Gibbs, 1720
This and all related images from:
The Victoria & Albert Museum

Here we have another interior which was salvaged from a grand English home and erected in the V&A.  This interior was built as the drawing room of No. 11 Henrietta Street.  It’s quite an interesting design.

Of the three doors opposite the windows, the central one is a false door which was designed solely to create a sense of symmetry.  The room’s frieze is adorned with mythological heads of Ceres (the goddess of the harvest) and Bacchus (the god of wine)--appropriate since the room was used for festive gatherings.  The house was built in the mid 1720s and this room is a great example of the sort of architect-designed reception rooms which dominated the town houses of this era.  Furthermore, it is the only surviving example of a town house interior designed by the architect James Gibbs.

Henrietta Street was named after Henrietta, wife of Edward Harley, 2nd Earl of Oxford, since the Marylebone estate where the house was built was acquired through this marriage. James Gibbs, the architect of the house, had also worked for the 2nd Earl's father, Robert Harley. According to the V&A, “Gibbs took leases out on four sites in Henrietta Street, nos. 5, 9, 10 and 11 and actually lived in no. 5 from 1731 until his death in 1754.”

The five inset paintings in the ceiling that we see from the V&A’s photos (taken as the room was  being re-assembled) have been attributed to Vincenzo Damini and the surrounding plasterwork was made by a team of Italian craftsmen. The door frames and over-mantel are carved in wood which has been painted a clean white. The door entablature, Gibbs admitted, was taken from the published designs of the Italian architect Andrea Palladio (1508-1580).

Drawing of the Day: Windsor Castle: The King's Bedroom (west elevation), 1827

Design for the Bath at the King's Bedroom, Windsor Castle
More & Seddon, 1827
Crown Copyright
The Royal Collection

Image Courtesy of Her Majesty Queen Elizabeth II

This drawing was returned to the Royal Collection when Queen Elizabeth II purchased it at an auction in 1971. The drawing was created by the Office of Morel & Seddon, decorators who were contracted to redecorate Windsor Castle in 1827 during the reign of King George IV.

The watercolor depicts a view of an alcove with a bath cabinet in the center. The recess is framed by curtains and backed with a mirror. It was part of the new private suite which King George IV has envisioned for himself in the central part of the east front of the castle. This part of the suite was to be hidden behind a cabinet with doors of pietra dura.

The blue silk hangings were based on some made by Grand Frères of Lyons in 1823 for the Salon des Princes at the château of Saint-Cloud. Despite the room’s handsome décor, King George IV didn’t like the finished product. He found the room unsuitable and moved to an adjacent room in 1829. The suite, however, was used by Queen Victoria and, it was in the bedroom in which Prince Albert died in 1861. 

Painting of the Day: Cardplayers in a Sunlit Room, 1658

Cardplayers in a Sunlit Room
Pieter de Hooch, 1658
Acquired by King George IV
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Pieter de Hooch (Rotterdam 1629-Amsterdam 1684), the great Dutch master produced this painting in 1658. Typical of Dutch painting of the era, and also demonstrative of de Hooch’s body of work, the finely rendered composition gives us a glimpse at an interior scene frozen in time.

The piece was acquired by King George IV (1762-1830) in 1825. The painting is notable because it’s illustrative of that brief moment in time when de Hooch and Vermeer were working simultaneously on similar subjects. While similar in approach and style, the two artists—when comparing respective works of this same year—clearly tackled their pieces with different spirits.

De Hooch’s masterful exploration of the quality of light is evident here. The fall of the filtered light on the detailed floor almost gives the composition a sense of being a landscape. This comparison is reinforced by the presence of a landscape on the wall.

This is one of two de Hooch paintings which were recorded in the inventory of King George IV’s personal residence, Carlton House. 

Unusual Artifacts: Devonshire Villas, 1900

Devonshire Villas No. 3
England, 1900
This and all related images from:
The Victoria & Albert Museum

This isn’t a dollhouse. It’s actually a replica of an actual house that stood in Kilburn, North London in the Devonshire Villas. The house, No. 3—now long gone—was once the home of Mr. Samuel Loebl who commissioned this model as a gift for his daughter, Cecy, so that she would have a record of her childhood home. The model was made in 1900 and it passed from Cecy to her own daughter who donated it to the V&A in 1972.

The model, like the real house on High Road in Northwest London had been, is decorated in the height of early Twentieth Century fashion—much in the Art Nouveau style--and includes a host of “modern” amenities, including a fitted bathroom with a double sink in the kitchen. The bathroom walls are outfitted with "sanitary" wallpaper—paper coated with a special material which allowed it to be washed, a new concept at the time. The nursery, almost an exact replica of the real thing, was filled with miniature toys and a colorful frieze.

The most interesting thing, perhaps, is that the model contains a small telephone. The six room replica also depicts the house’s conservatory (separated from the drawing room by a beaded curtain). The hallway of the model also replicates the handsome stained glass window of the original house.

Cecy Loebl even had a hand in the decorating of the model. She made the carpets, lampshades and furniture upholstery to match those of the real house’s bedroom and drawing room.

The replica was exhibited at a 1925 Toy Fair in Frankfurt where it was wholly praised for the fine replication of the original house.

The Home Beautiful: The “Flora's Train” Tiles, 1900-1901

Set of Six Tiles called "Flora's Train"
Walter Crane, 1900-1902
This and all related images from:
The Victoria & Albert Museum

Circa 1900, Victorian artist and illustrator, Walter Crane (1845-1915) designed this set of six tiles which, while similar to the style he used for book illustrations, also shows the influence of the rising Art Nouveau. The tiles have been molded so that the outlines of the patterns are raised in relief. Obviously, the design for the tiles was created before they were fired, allowing this relief to have been made. Each pale blue tile depicts a female figure.

On each tile, the gown worn by the woman depicted has been colored to match the flower with which she has been posed. The flowers depicted are: cornflower, blue-bell, columbine, anemone, poppy and daffodil

Made in Clifton Junction, (near Manchester) England at Pilkington's Tile and Pottery Company, the set of earthenware tiles was called "Flora's Train.”

The Home Beautiful: The William Morris "Fruit" Wallpaper, 1862

Sketch for Fruit Wallpaper
William Morris, 1862
The Victoria & Albert Museum

Designer and famous socialist William Morris (1834-1896) is known for his handsome designs and patterns. His style developed over the decades. Here’s a look at an early wallpaper pattern which is known both as “Fruit” and “Pomegranate” and dates from around 1862.

Morris used visual motifs from his medieval-style tapestry work, relying on the historical look which his earlier work shared with the Pre-Raphaelite Brotherhood. We see, however, the awakenings of Morris’ interest in naturalism and plants.

This sketch varies from the finished wallpaper. The olives were replaced with peaches in the finished product. Morris deemed the olives too delicate and difficult to see. The pattern forms the basis for the original wallpaper which was used for the V&A's Green Dining Room, circa 1866—now long gone.