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This work basket is typical of the small domestic products made of papier-mâché. It was made in sections by placing layers of paper, pasted on both sides, over moulds of the right shape. This part of the work was usually carried out by women and girls.
Bath towel Place of origin: Turkey (made) Date: 1849-1850 (made) Artist/Maker: Unknown (production) Materials and Techniques: Linen 2/2 twill with weft loops, embroidered with silk in double darning and double running in a line, with metal thread in musabak, double running in a line and slanted satin stitch, and with plate in slanted satin stitch and satin stitch filling in squares
The dressing case contains 17 pieces fitted into a very small space. Their arrangement is quite ingenious and would have been tricky to pack: it depends on inserting the items in the right order as well as in the right place. Undoubtedly many of the men who owned fitted cases like this would be used to having a servant pack for them and keep all the pieces clean when not in use.
Letter rack Place of origin: Mumbai (made) Date: ca. 1850 (made) Artist/Maker: Unknown (production) Materials and Techniques: Sandalwood, with inlays of metal, wood, ivory and horn (sadeli work)
Brooch Place of origin: Dublin (made) Date: 25/07/1849 (designed) ca. 1850 (made) Artist/Maker: G. & S. Waterhouse (maker) Materials and Techniques: Gilded silver and enamel
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Wallpaper Place of origin: Great Britain (made) Date: ca. 1850-1851 (made) Artist/Maker: Pugin, Augustus Welby Northmore (designer) Scott & Co. (manufacturer) John G Crace & Son (supplier)
Sweetmeat dish Place of origin: London (made) Date: 1849 (made) Artist/Maker: Morel, Jean-Valentin
Hot Water Jug As tea was served in the drawing room, often distant from the kitchen, jugs were used to carry and keep water hot until required to refresh the teapot. An oil burner in the stand could be lit to keep the water hot. Design & Designing The design of this hot water jug was very popular. From about 1800-1815, the model was made with slight variations of ornament. These variations may have reflected customers' taste or their ability to pay for more costly decorative additions. A drawing in the V&A attributed to Jean-Jacques Boileau (active 1787-1851) shows a more elaborate version of the hot water jug design.
The Beautiful Sky of Italy Object: Table Place of origin: Rome (made) Date: 1845 (made) Artist/Maker: Barberi, Michelangelo (maker)
Coffee pot Place of origin: London (made) Date: 1851-1852 (made) Artist/Maker: Angell, Joseph (the younger) (maker) Materials and Techniques: Silver, parcel gilt with coloured enamels; raised, chased, cast handle with ivory protective strips, cast spout
Rocking chair Place of origin: Birmingham (probably, made) Date: 1840-1850 (made) Artist/Maker: R. W. Winfield & Co.
Sugar basin Place of origin: London (made) Date: 1850-1851 (hallmarked) Artist/Maker: Angell, Joseph (the younger) (maker) Materials and Techniques: Silver, with enamel decoration, parcel gilt.
Teapot Place of origin: London (made) Date: 1850-1851 (hallmarked) Artist/Maker: Angell, Joseph (the younger) (maker) Materials and Techniques: Silver, with enamel decoration, parcel gilding and ivory
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The form, decoration and colour are combined with great verve in this piece from a tea and coffee service. The enamelled decoration is especially fine with inset medallions of purple and green translucent enamel, reminiscent of the work of leading Parisian goldsmiths of the time. The Parisians' success with the technique of enamelling was much admired and envied in England. People The designer of this piece, Joseph Angell, inherited the London silversmithing business founded by his father. In addition to the Prize medal awarded in 1851, he won prizes for his enamelled silver at the New York International Exhibition of 1853 and for work shown at the International Exhibition of 1862. Time A revival of interest in the use of enamelling had been championed in England by English designers and by silversmiths associated with the Medieval movement from the 1830s for use in the decoration of church plate. It was unusual to find enamel work on domestic metalwork. The influence of French manufacturers like J.V. Morel, who moved to London in 1849, may have stimulated the English use of enamelling on secular objects.
This cup and saucer are from a service designed by Henry Cole (1808-1882) in 1846, which was subsequently produced for his own Felix Summerly's Art Manufactures. The teapot in this service, where the spout is in the form of a medieval water spout (museum no. 2741&A-1901), is an example of early Victorian design especially promoted by Cole, in which the decoration describes the function of the object. Yet the forms of other parts of the service, such as this cup and saucer, incongruously enough, were said to be based on Cole's studies of Greek pottery in the British Museum. Historic Associations In response to the Society of Arts' offer, made in 1845, of a prize for designs for a tea service, Henry Cole (under the pseudonym Felix Summerly) produced a design that was executed by Minton. This won a silver medal in the competition held in 1846, and the experience led Cole to believe that it would 'promote public taste' if well-known painters and sculptors could be persuaded to produce designs for manufactured articles for everyday use. Accordingly, in 1847 he founded 'Summerly's Art Manufactures', which lasted for about three years, until Cole's preoccupation with the Great Exhibition of 1851 brought it to an end. However, for some years afterwards individual firms continued to produce objects originally made for Summerly's Art Manufactures. Design In 1847 Henry Cole noted that 'RR [Richard Redgrave] and Bell [John Bell] thought Artists ought not to design for Manufacturers: apart from Art Manufactures'. But later Redgrave himself observed that fine artists were actually to blame for committing the prime error, which was 'rather to construct ornament than ornament construction'. The separate parts of the tea service designed by Cole himself remained in production for some years, the cup especially. It was given the factory code of FS (for Felix Summerly) and became a Minton standard. It continued to be made into the 20th century, often decorated with patterns.
Dense, tightly woven woollen and mohair pile fabrics of this type, although suitable for use as upholstery on chairs, footstools and sofas, were not appropriate for curtains or any other domestic purpose where draping or fullness of cloth was required. Woollen pile upholstery textiles were very popular in the mid-19th century. This example and the two with which it is displayed depict highly fashionable floral subjects shown in popular colours. These include dispersed rose sprigs and morning glory in the shades of royal blue, drab and brown. This was part of a group of examples exhibited in Class XIX (no. 79) of the Great Exhibition of 1851 by Robert Lees of Cheapside in London. The exhibition catalogue described Lees' products as 'printed mohair tapestry; Utrecht mohair velvet; mohair velvets; printed Chinese velvets of mohair etc.' These samples have not been displayed since the 1851 exhibition and their condition is as new. This clearly shows the brightness and clarity of colour used in furnishing the home at this time.
This sideboard was designed by Ferdinand Rothbart (1823-1899) and a now-unknown collaborator called Th. Kolb and was manufactured by Thomas Hoffmeister and Thomas Behrens in Coburg, Germany in about 1851. It was part of a group of objects, including four chairs, commissioned by the Duchy of Saxe-Coburg. The group was shown in London at the Great Exhibition of 1851 and was acquired by Prince Albert, an appropriate acquisition as he was a member of the house of Saxe-Coburg and was brought up in Coburg. Described in 1851 as being ‘in the German-Gothic style of the middle ages’, the gothic features used include pointed arches and repeated motifs similar to the tracery of windows found in gothic cathedrals. The carving on the panels on the doors have a hunting theme: the central two doors, each showing a group of deer in a woodland setting, are flanked by figures of men with spears, knives and bugles. The carved panels on the left and right sides of the sideboard show a boar and a bear in similar woodland settings. The sideboard may have been intended finally for the furnishing of Balmoral, the royal holiday house in the Highlands of Scotland. It was almost immediately sent to the Palace of Holyroodhouse in Edinburgh, where it is shown (with two chairs by the same makers, now in the collections of the V&A, W.10-1967) in the Evening Drawing Room. It remained there until 1923, when it was given to the University of Edinburgh who gave it to the Museum in 1967
This fashionable printed cotton is a typical example of the most expensive and popular form of summer furnishing available in the mid-19th century. It would have been used for curtains and loose covers on chairs and beds. Historical Association The cotton was printed by one of the leading Lancashire printers and exhibited in the Great Exhibition of 1851 by one of the top London furnishing shops, such as Jackson & Graham. In 1852 it was exhibited by Henry Cole in his 'False Principles in Design' exhibition (catalogue no.16) at the Museum of Ornamental Art at Marlborough House, London, and the sample still retains part of its original label for the exhibition. Design & Designing This particular design was singled out as bad decoration by Henry Cole because of the 'imitation of ribbon upon chintz, direct imitation of moss roses, want of symmetrical arrangement'. In the introduction to the section on chintz in the exhibition catalogue Richard Redgrave (1804-1888), one of Cole's colleagues, warned that 'the use of imitative floral ornament is peculiarly unsuitable on account of the folds ... The present mode of ornamenting these fabrics seems to have arisen from the false spirit of imitation - a desire to rival the richness of silk.'
Wallpaper--Perspective Representation of the Crystal Palace and Serpentine
In 1851, this chair was described as a drawing room chair. The shaped back and 'cabriole' legs indicate that it was inspired by French furniture styles of the 18th century, which were very fashionable for drawing rooms in the 1840s and 1850s. The pale colours and delicate embroidery on the original seat cover also show that the chair was intended for a feminine interior. People Henry Eyles, who designed and made this chair, was an upholsterer in Bath with premises at 31 Broad Street, in 1851 and subsequently at 7 Margaret's Buildings. He may have been connected with T.G. Eyles, a cabinetmaker, of 13 James Street, and George Eyles, a carver, of 4 Chandos Buildings. Both were listed in Bath street directories in 1860. Historical Associations This chair was exhibited by Henry Eyles in Class XXVI (Furniture) in the Great Exhibition of 1851. The unconventional use of the porcelain plaque with the image of Queen Victoria, and the Royal Arms embroidered on the seat, demonstrated his creative skills as well as offering a form of homage to the monarch. This technical ingenuity and combination of unusual materials was typical of much of the furniture shown in 1851.
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![This cup and saucer are from a service designed by Henry Cole (1808-1882) in 1846, which was subsequently produced for his own Felix Summerly's Art Manufactures. The teapot in this service, where the spout is in the form of a medieval water spout (museum no. 2741&A-1901), is an example of early Victorian design especially promoted by Cole, in which the decoration describes the function of the object. Yet the forms of other parts of the service, such as this cup and saucer, incongruously enough, were said to be based on Cole's studies of Greek pottery in the British Museum. Historic Associations In response to the Society of Arts' offer, made in 1845, of a prize for designs for a tea service, Henry Cole (under the pseudonym Felix Summerly) produced a design that was executed by Minton. This won a silver medal in the competition held in 1846, and the experience led Cole to believe that it would 'promote public taste' if well-known painters and sculptors could be persuaded to produce designs for manufactured articles for everyday use. Accordingly, in 1847 he founded 'Summerly's Art Manufactures', which lasted for about three years, until Cole's preoccupation with the Great Exhibition of 1851 brought it to an end. However, for some years afterwards individual firms continued to produce objects originally made for Summerly's Art Manufactures. Design In 1847 Henry Cole noted that 'RR [Richard Redgrave] and Bell [John Bell] thought Artists ought not to design for Manufacturers: apart from Art Manufactures'. But later Redgrave himself observed that fine artists were actually to blame for committing the prime error, which was 'rather to construct ornament than ornament construction'. The separate parts of the tea service designed by Cole himself remained in production for some years, the cup especially. It was given the factory code of FS (for Felix Summerly) and became a Minton standard. It continued to be made into the 20th century, often decorated with patterns.](http://media-cache-ec0.pinterest.com/upload/273523377338225983_axJZzenJ_b.jpg)
