Living with antiques: A collection of Victorian decorative arts

Magazine Antiques, June, 2000 by Martin Levy

(15.) See Theodore Deck, p. 12, a. 21.

(16.) Illustrated ibid., No. 11.

(17.) For a full account of the tiles by the firm, see Richard and Hilary Myers, William Morris Tiles: The Tile Designs of Morris and His Fellow-Workers (Richard Dennis, Shepton Beauchamp, Somerset, 1996).

(18.) See National Art-Collection Fund Review (1990), p.185. Descendants of Birket Foster sold an armchair designed by J.P. Seddon and shown at the London International Exhibition of 1862 at Sotheby's (London), September 29, 1999, Lot 390.

(19.) Fashionable Furniture: A Collection of Three Hundred and Fifty Original Designs... Including One Hundred Sketches by the Late Bruce J. Talbert. Architect (London, [1881]), p. 35.

(20.) Another cabinet based on a plate in Fashionable Furniture is in the collection of the Museum of Fine Arts, Boston. See ibid., p. 36, bottom.

(21.) See Pugin: A Gothic Passion, ed. Paul Atterbury and Clive Wainwright (Yale University Press, New Havan, in association with the Victoria and Albert Museum, London, 1994), Fig. 455.

(22.) Journal of Design and Manufactures..., vol. 3 (1850), p. 88.

(23.) Pugin's watercolor of this design was used as the front cover of the reprint of Floriated Ornament (Richard Dennis, Shepton Beauchamp, Somerset, 1994).

(24.) John S. Reynolds, "Alfred Reynolds and the Block Process," Journal of the Tiles and Architectural Ceramics Society, vol. 5(1994), pp. 20-96.

(25.) I am grateful to Megan Aldrich for this information.

(26.) See Building News, vol. 12 (December 15, 1865), p. v. The chair advertised was made by Marsh and Jones of Leeds. Gillows is also known to have made this model.

(27.) E. W Godwin: Aesthetic Movement Architect and Designer, ed. Susan Weber Soros (Yale University Press, New Haven, 1999); and Susan Weber Soros, The Secular Furniture of E. W Godwin: With Catalogue Raisonn[acute{e}] (Yale University Press, New Haven, for the Bard Graduate Center, New York City, 1999).

(28.) Paul Atterbury, "A Major Victorian Collection," Connoisseur, March 1981, Fig. 11.

(29.) See Max Donnelly, "Cottier and Company (1864-1915): Establishing a Context for the Second Glasgow School" (master's thesis, Sotheby's Institute, 1998), p. 58, Fig. 52.

(30.) See Max Donnelly, "Daniel Cottier. Pioneer of Aestheticism," Decorative Arts Society Journal, vol. 23 (1999), Fig. 18a, for one of the four-door cabinets now in an American private collection.

(31.) For another example of this design, see Inspired by Design. The Arts and Crafts Collection of the Manchester Metropolitan University, ed. Ruth Shirgley (Manchester City Art Galleries, Manchester, England, 1994), No. 156.

(32.) Many fine pictures are visible in the room views that are beyond the scope of this article. There are works by Edward Burne-Jones. Food Maddox Brown. Dante Gabriel Rossetti and their Pre-Raphaelite followers. Also to be seen is the work of such illustrators as Fred Walker, George Powell, and Boyd Houghton. Finally, there are watercolors by J. W North, Albert Goodwin, Alfred Williams Hunt, and others.