Hanging pictures from a picture moulding in a c1910 house

Homeowners were always wary about damaging plaster, with the attendant cost and mess of effecting repairs to walls that may also have wallpaper applied on them. So, methods of hanging pictures were used to prevent wall damage.

Picture spikes were sold through mail order catalogues such as the Russell and Irwin catalogue of 1865

Homes of the 1860’s and 1870’s used picture spikes to hang their paintings. These were rather clever bits of hardware. Made like a large nail - sometimes round and sometimes square-cut - the tops of the spike had a threaded top. The spike was pounded into place with a hammer, and after it was safely positioned, a decorative, and usually fragile, ‘head’ was screwed on to the threaded top of the spike.

A porcelain-headed picture spike. This spike is small. Picture spikes varied in size from 2 1/2” to 4” in length, depending on the weight of the item being supported. The brass-collared porcelain head unscrews from the spike itself, and is put back on after the spike is hammered into position.

These heads could vary widely in design. They could be a brass button, or made of silver, or glass. White porcelain - like many doorknobs in period houses - was another popular choice for a decorative ‘head’ of a picture spike.

Decorative heads of picture spikes. The ‘heads’ on the spikes range from plain white porcelain to fancy glass and brass concoctions. Available from specialist antique dealers online.

The position on a wall for a picture spike was usually unvarying. They were almost always placed at the top of a wall, so the spike would go into the solid wood top plate of the wall framing behind the plaster, to ensure a solid support for a painting. As well, the spikes were almost always positioned in the centre of short walls - on either side of, or over a mantelpiece - for example. On long walls, there could be three or more picture spikes hung along the length of a wall, but evenly spaced.

The pictures were then hung on wires from the painting to the spike in an inverted “V” shape.

Fairfield Tulip wallpaper c1908. From Historic Style.

Wallpaper is synonymous with heritage homes. Old photographs show a wealth of pattern peeking out from behind paintings, showing a rich background for stiff family portraits, and generally giving another-world atmosphere redolent of an earlier age.

Decorating with wallpaper has a long history, back to the Renaissance or earlier, but that form of decoration was rare and expensive. That early wallpaper was not printed on the rolls that we know today, but was hand-painted or block-printed onto small squares of paper that were then applied to the walls with overlapped edges, giving an overall pattern.

The first imports of wallpaper in North America generally came from England or France as early as 1700, and would have been relatively expensive, coming first in sheets and rolls soon after. This paper was only seen in more expensive homes, leaving pioneer and early farm dwellings unadorned. American wallpaper was manufactured by block printing from around 1790. Around 1840 machine-made wallpaper made its debut in the United States. Advances in new machinery made it possible for continuous rolls of paper to be printed at inexpensive pricing.

Once established, the new wallpaper industry in both Europe and North America grew relatively quickly, and adapted to changing tastes and fashions through the following decades. Well-known English designers such as William Morris and C.F.A. Voysey were prolific in their output of distinctive wallpaper patterns. North American designers were generally more anonymous, but manufacturers wrote, “the best of our artists were employed” for their designs.

Poppy Field wallpaper - Canadian 1890’s - Historic Style Wallpaper

A ceiling paper from the 1890’s - A non-directional design with gilt and silver

By the 1890’s, wallpaper manufacturing was a major industry, primarily centred in the eastern manufacturing areas of both Canada and the United States. Mail order wallpaper suppliers ensured a wide distribution of their designs across North America through small wallpaper sample catalogues . In the United States mail order suppliers included Sears Roebuck, Montgomery Ward, and Larkin Wallpapers. Eaton’s and David Spencer were two of the suppliers in Canada. Small original wallpaper sample books from these distributor/manufacturers can still be found at garage sales and junk stores, and give glimpses to the bright colours and intricate designs popular in earlier time periods.

Wallpaper was thought to be a good class of decoration, and was produced at all price levels. Even the very cheapest papers were considered a civilized improvement on original pioneer construction of rough logs or plank walls, where it was hung on a layer of muslin, which was tacked up and then shrunk with water to provide a tight, smooth base to hang the wallpaper. The wallpaper applied a gilded and colourful veneer of gentility to the humblest homes.

William Morris

It is almost presumptuous to try to write a short article about William Morris (1834 - 1896). His many talents defy easy summary. He is generally acknowledged as the father of the Arts & Crafts movement in both Britain and America, and his work still influences people today.

Born into a well-off family, William Morris was a designer of carpets, wallpapers, and fabrics. He taught himself to weave tapestries. He was a poet, and was asked by Queen Victoria to be the Poet Laureate, an honour he declined. He was both a businessman and a socialist, speaking at meetings and rallies. And he also was the founder of the Society for the Protection of Ancient Buildings, an organization that continues in England today. All in all, he was an astounding personality. If this short article intrigues you at all, I would encourage you to read one of the many, many superb books on his life and work.

I will try to contain myself to some observations about his wallpapers and fabrics, and where in England you can see them.

When Morris started designing wallpapers, in the early 1860’s, most wallpapers at that period were generally formal in design, in a repeating pattern.

Morris introduced naturalistic patterns to wallpaper and fabric. Some of his designs were inspired – or copied – from historic designs he found in the Victoria and Albert Museum. But mostly, Morris designed from nature, using as a basis the plants and flowers found in his own gardens or in the woods and fields close to his homes.

A typical formal American wallpaper from 1865 – designer unknown

Fruit by William Morris designed in 1864

The design names speak to these designs: Pink & Rose; Marigold; Rose; Wild Tulip; Daisy; Fruit; Michaelmas Daisy; and others. Other designs were named after nearby rivers: the Wandle; Medway. Evenlode and Cray – all with meandering, diagonal designs.

Pink & Rose – designed by Morris in 1891. Available from Historic Style.

An American paper typical of the 1890’s – A contrast to Morris’ flatter designs

The main distinction of his designs was the flat, stylized nature of his patterns. Other wallpaper and fabric of the Victorian period would have tried to imitate the full-blown roundness of a rose for example, with careful shading and colouring. Morris dispensed with all that, and drew patterns that were more like Japanese wood-block designs, with a certain formality in structure, but with an informal subject matter. Morris’ designs were also carefully worked out to make a visually pleasing repeat when covering a wall.

Trellis Detail wallpaper from 1864. Available from Historic Style

Previously, “Trellis” had only been available as a hand blocked design – using 11 hand-carved pearwood blocks - at great expense. Now available printed on Surface Print machines, this design is a triumph of the art of surface printing. (For more information on this subject, please see our article on the art of Surface Printing.)

“Trellis” was designed by Morris, and drawn in collaboration with his good friend (and architect) Philip Webb in 1862 (who did the birds - Morris thought himself incapable of drawing birds). “Trellis” was inspired by the rose trellis that ran along the garden at Morris’ own “Red House”, which was designed by Philip Webb, and built in 1859. Privately owned for many years, the National Trust in England has recently purchased it to preserve it and open it to the public. They are actively researching how they will restore this iconic residence.

Red House, Bexleyheath, near London, England. Built 1859 for William Morris, designed by Philip Webb, architect 1831-1915

“Red House” where Morris lived from 1859 to 1865, was actually known for its white walls, which were regarded as remarkably bare by the tastes of the 1860’s.

Morris’s interiors, usually designed by his firm of Morris, Marshall, Faulkner & Co. - “Fine Art Workmen” which was established in 1861 with six partners. The “Firm” was to produce high quality decorative work by hand on a commercial basis. Stained glass, furniture, frescoes and embroideries were produced during this period. In 1874, the firm was reorganized and Morris & Co. was formed. A prolific period of designing took place in the 1870’s and 1880’s with Morris’ designs appealing to enthusiasts of the Arts & Crafts movement. Simpler interior design was becoming fashionable, based on natural patterns and materials.

The interiors that were designed by Morris’ firm were simpler than most interiors of the period. Where most Victorian houses were full of swagged fabrics, and gilt and ruffles, Morris’s interiors were simpler. The curtains were plainly sewn, although the fabrics were patterned with Morris’ distinctive designs. In fact, if you stand in one of Morris’ interiors, you can often count as many as seven different Morris wallpaper and fabric designs in one room. Yet, there is a similarity of style that binds them all together, and unifies the design of the room. The result is a restful, cozy room, that still looks fresh to today’s eyes.

Two other houses owned by the National Trust in England are available today to visit that have extensive William Morris interiors. Regrettably, The National Trust does not allow photography in its properties now, after some security issues, so we can only show exterior views.

Standen – built 1894 –East Grinstead, Sussex, England. Owned by The National Trust

Daffodil fabric. Used in the Morning Room at “Standen”. Available from Historic Style

“Standen” in East Grinstead, Sussex, was also designed by Philip Webb in 1894, in the English Queen Anne style of brick, tile-hanging and wood. It is a delightful place to visit, set on a light-filled hillside, with wonderful gardens, a fern grotto and a conservatory. (and a tea room and gift shop!) “Trellis” wallpaper can be seen in a hallway, and the Dining Room, with its green-painted wainscot and blue and white china on oak shelves, is a distinctive Webb design. Other rooms have Morris wallpapers, fabrics and wallpapers as well, and it is good to see them in the setting that they were originally chosen for. Designs to be seen at Standen include: Trellis wallpaper; Daffodil fabric; Tulip chintz and Willow Bough wallpaper, among others.

Wightwick Manor, near Wolverhampton. Built in 1887 and 1893. Now owned by The National Trust. One of the best Morris interiors available to visit, with Pre-Raphaelite paintings and Victorian gardens and woodlands.

Pimpernel – Handprint. Designed in 1876. Used in the Dining Room at Wightwick. Available from Historic Style

“Wightwick Manor” (pronounced “Wittick”) now owned by The National Trust, is a vast Tudor-revival house near Wolverhampton. Set in a garden of clipped topiary bushes, Wightwick gives a darker, richer version of Morris interiors. Filled with dark wood, nooks, beamed ceilings and stained glass windows, Wightwick is a medieval-revival house.

Morris designs to be seen at Wightwick Manor include: Pimpernel Handprint wallpaper in the Billiard Room; Cray cotton; Honeysuckle I (new from Historic Style for October 2005) in linen used as a wallcovering; and Wild Tulip wallpaper in the Dining Room.

Wild Tulip Wallpaper in the Dining Room at Wightwick. Designed in 1884. Based on an Italian cut velvet acquired by the Victoria & Albert museum in 1883. Now available in five colourways from Historic Style

William Morris, speaking at a lecture in 1882, said:
“ Whatever you have in your rooms, think first of the walls; for they are that which makes your house and home; and if you don’t make some sacrifice in their favour, you will find that your chambers have a kind of makeshift lodging appearance about them, however rich and handsome your movables may be.”

Morris wallpapers, though designed in England, were historically exported, and used around the world. There are extensive collections in Australia, Canada, and the United States. Today, one of the largest markets for Morris designs is in Japan.

After seeing real Morris interiors – or even photographs of them – one can understand why Morris’ designs have been in continuous production for over 130 years, which speaks to their enduring appeal. His designs were at the forefront of the development of the Arts & Crafts movement in England, and are just as appropriate for today’s restoration or construction of Arts & Crafts style homes in North America.

Historic Style is pleased to be able to present the widest range of Morris designs available in one place. Please look at our On-line catalogue at the full range of Morris’ designs available today.

Click here to see Morris’ Wallpaper and Fabric designs.

Wentworth wallpaper c 1880 from Historic Style

Planning a major wallpaper collection is fraught with potential problems – especially when you are specializing in historically designed wallpapers. There are countless possibilities to consider, endless choices of designs to choose from, and personal preferences to discount (although that always creeps in!).

Sources of original papers must be found, research on original colourings has to be done, and consideration of the potential market must be considered, of course.

Having said all that, the choices of historic designs are vast. Using the Charles Rupert Designs Archives for inspiration, many choices of wallpaper designs were considered. We tried to achieve a balance for the historic marketplace that we specialize in, and provide more choice in areas that our customers have asked for.

We also wanted to explore reviving some historic wallpaper printing techniques if possible, and printing some previously unavailable designs.

After much consideration, we narrowed our choices to nine designs to add to our five we printed last year, for a total of 14 exclusive wallpapers in 43 colourways. [We also put some amazing designs on side for our next collection – but they will have to wait for now].

One of the special wallpapers that we have reproduced is “Vine” by William Morris. This design was originally produced in 1873 by the method of hand-block printing. Even translating “Vine” to a machine printing process took nine rollers to achieve the colour nuances so important to this pattern.

We knew of a museum collection that had an original roll of Morris’s lavish “gold lacquer” colourway, which was first noted in Morris’ workbook of 1884. Morris’ firm listed it as able to be made to special order as late as 1913. Morris started his original “gold lacquer” paper with a metallic gold ground coat, which was then coated with a coloured lacquer to stabilize the gold, before printing the leaves and grapes of the design by hand, using nine wooden print blocks.

Stuart Stark, Design Director, researching the original 1884 colourway of Vine

We carefully recreated Morris’ artwork from an original piece of “Vine” wallpaper from 1897. Then we matched those colours to the 1884 original sample in preparation to printin
We, and the printers, had the same difficulties that Morris did in recreating his “gold lacquer” colourway. A gold ground layer had to be printed, and then sealed with a coloured lacquer, which tinted the paler gold to the richer colour required. After that we used a machine process to print the rest of the design in the deep olive greens of the original. The final result is a very close version to Morris’ “Vine” of 1884 – a rich, lavish wallpaper suited to a Dining Room perhaps, or a fine restaurant, or even the tasting room of a winery!

We also printed three other colourways of “Vine”. A version with an all-over soft reflective gold background; a lighter colourway with a cream background and golden grapes; and another documentary colourway – this time from 1897 – of deep browns, greens and golds in a true Morris tangle of foliage.

 

Stuart Stark, Design Director, watches the gold-lacquer Vine being printed.

Another William Morris design that Charles Rupert has included their new Collection was St. James’s Damask.

This design was created by William Morris in 1881 for St. James’s Palace in London. Originally produced as a woven silk damask fabric, and used to cover the walls (and make curtains for) St James’s Palace, Historic Style reprinted the design as a more affordable wallpaper, while keeping the original silk colour in one of the three colourways of this wallpaper.

St. James’s Damask wallpaper – in the original silk colourway

St. James’s Palace in London – Built 1531-1536

A surprising find!

Carrying on with the research side of a wallpaper collection, one usually does all the research before planning a new Collection. Occasionally however, one discovers historic information that one does not expect!

Working with The Land Conservancy of British Columbia, we have been cooperating on the restoration of Ross Bay Villa. This small house was built in a modest Gothic Revival style in 1865 in Victoria, Canada and is being beautifully restored primarily by volunteers.

Ross Bay Villa in 1889

Volunteers working on the interior under the direction of Simone Vogel-Horridge, a professional fine arts conservator, have documented over 120 wallpapers from this small house. It was decided to reproduce the original papers from both the Drawing Room and Dining Room for its new use as a small Visitor Centre for the historic Ross Bay Cemetery across the street. Both the Drawing Room and Dining Room will be restored to the period of 1865-1879 and will be able to host small receptions and meetings.

Ross Bay Villa as it steadily nears completion – Canada Day 2005

A sample of the Dining Room paper from Ross Bay Villa

Samples were carefully removed from the walls, artwork was reproduced and colours matched for reproduction. The paper was printed, and it was only after that the design’s origins were discovered.

While on the way to researching something else – the way most of the best research is done – a striking similarity was noted in a book that had old wallpaper illustrations.

Wallpaper design from the Houses of Parliament, London c1850

Wallpaper from Ross Bay Villa c 1865

The wallpaper from Ross Bay Villa, on the far west coast of Canada, happened to have been copied – and slightly adapted by an unknown hand – a short 15 years after it was made in London for the Houses of Parliament. Made originally by Samuel Scott for the well-known firm of English decorators J. G. Crace c.1850, the paper was originally printed in green flock on a gold ground paper.

On the Ross Bay Villa paper, the Royal crowns had been changed for more prosaic leaves, and the pattern scaled down to suit domestic interiors, but it was the same design. And one has to ask if the Victorians knew of this connection with the Houses of Parliament in London, as Mr. Roscoe, who lived in Ross Bay Villa from 1865 to 1879, became a Member of Parliament for Canada. Were there aspirations in the wallpaper?? Will we ever know?

Fleur de Lis & Rose wallpaper from Ross Bay Villa by Historic Style being printed from a roller. A percentage of each sale of this paper will go to support the restoration of Ross Bay Villa.

This article has introduced the planning of a Wallpaper Collection, and provided some insight into the considerations of preparing a wallpaper collection for printing. Wallpaper is the largest area of pattern in any traditional home, and it often looks best when the wallpaper matches the age of the house.

The staff at Historic Style is proud of the new HISTORIC WALLPAPERS COLLECTION. We hope that you will plan to use one (or more) of the papers in your home or project.

Please see the online catalogue at: www.historicstyle.com

A fireplace set of reproduction c1910 Art Nouveau Rose tiles - two five tile sets and a single tile, with plain field tiles finishing the design. From Historic Style

The more one learns about Victorian fireplace tiles, the more interesting they become. They became fashionable in England in the late Victorian period, and continued in popularity through the 1920’s.

This historic design article will give some background on Victorian fireplace tiles, some useful tips about appropriate tiles and some examples of new fireplaces using historic tiles.

Victorian Fireplace Tiles

Early Victorian fireplaces did not feature tiles. Homes of the 1860’s, even finely finished homes, frequently did not have tiles, but rather a fine rendering of mortar on top of bricks for a good finish and fire protection – to stop embers from falling between the cracks to vulnerable wood framing behind or below. With the rise of the industrial revolution, and the potteries in England’s “Satanic north’, tile production became more widely available by the 1870’s and were ubiquitous in the 1880’s and 1890’s, and beyond.

North American importers would bring in the latest designs from England, then acknowledged to be the premier suppliers in the world of fine tiles. Producers such as Royal Doulton; Mintons; and Craven Dunhill were three of the well-known English names in tile manufacturing during the Victorian period.

A Mintons Tiles catalogue cover c 1885

Mintons was well known for employing famous designers to produce designs for their tile factory.
John Moyr Smith (1839-1912) was perhaps the best known of these designers. An artist and designer in his own right, over a twenty-year period he designed many of Mintons’ ‘picture-tile’ series. The topics would vary, but would provide a variety of possibilities for artistic interpretation.
Some of the over 20 series that he designed include: Four Seasons; Sir Walter Scott’s Waverly Novel Series; The sporting scenes of Old England; Idylls of the King - Morte D’Arthur; Shakespeare tiles; and more.

‘The Antiquary’ tile from John Moyr Smith’s ‘The Waverly Novels’ 1878 series of fireplace tiles by Minton’s. An action- packed and not very restful series, with the book identified at top left, the characters at bottom right, and the Chapter [CH XXI] tucked at the bottom. This set came in both 6”x 6” and 8” x 8” sizes.

Many of these pictorial tiles were used in fireplaces, in appropriate settings. A literary series, such as the ‘Shakespeare’ tiles or possibly the ‘Waverly novels’ series would be used in a library; while the ‘English Sporting Scenes’ would be used in a gentleman’s bedroom or perhaps a billiard room. More romantic designs - such as the ‘Idylls of the King’, would be used in a lady’s bedroom. The ‘Four Seasons’, with appropriate floral tiles, were appropriate decoration for a front hall, where visitors were welcomed, and the ‘Aesop’s Fables’ series would have been used in a child’s nursery.

One of the tiles from John Moyr Smith’s ‘Idylls of the King’ series.

‘Aesop’s Fables’ series by John Moyr Smith for Minton’s

Another famous Victorian designer of tiles was William de Morgan (1839-1917), Britain’s most talented pottery and tile designer. A life-long friend of William Morris, he designed tiles, stained glass and furniture for Morris & Co. from 1863-1872. His tiles are often based on medieval designs or Persian patterns, and he experimented with innovative glazes and firing techniques. Galleons and fish were popular motifs, as were “fantastical” birds and other animals. Many of de Morgan’s tile designs were planned to create intricate patterns when several tiles were laid together.
Later in life de Morgan became a popular novelist – though by today’s standards, quite unreadable!

Left: ‘Stork and Fish’ two tile set designed by William de Morgan – available from Historic Style. Right: ‘Exotic Bird’ designed by William de Morgan

Aesthetic-style ‘BedfordPark Daisy’ tiles by William de Morgan Available from Historic Style

Sometimes Victorian tiles were moulded, and multi-coloured, to give a richly decorative effect, as in this 1892 example

By 1900, moulded tiles were very popular, and being made in England and shipped all over the world – as far as Australia.
Two similar looking tiles are made quite differently. There are ‘tube-lined’ tiles, and ‘moulded tiles’.
The first, ‘tube-lined’ tiles, are made by applying the design rather like piping icing onto a cake, and then hand-glazing colours between the ‘dams’ made by the piped decoration.

Hand-piping the decoration onto ‘tube-lined’ tiles; and a ‘Yellow Poppy’ tube-lined tile - available from Historic Style.

Even in Victorian times, this was a labour intensive and expensive process, as one slip of the hand – or a sneeze – could destroy a design.
Accordingly, an alternative method of forming the designs on the tile was invented. The second method of making these tiles involved moulds. Tiles were now moulded; making sure the raised design was uniform on each tile blank. Then the glazes could be applied by hand. The tiles sold by Historic Style – both in tube-lined or moulded variations - are still made in the same fashion as they were 100 years ago.

A ‘Margaret’ moulded tile – available from Historic Style

New Fireplaces using historic tiles

When building a new traditionally styled home, historic reproduction tiles can add an affective traditional feature to the house.
Below are five fireplaces that have been newly built in old houses, or have been retiled as part of a period renovation project.

Plain cream tiles laid like brick, with a border of moulded tiles in a remodeled 1910 house

Fireplace using dark green tiles, dark brown tiles and two moulded lemon tiles to give weight to a horizontal designed fireplace. Note how the grout lines add to the overall design.

Dark green tiles laid like brick, with three decorative moulded tiles - Available from Historic Style

This new fireplace has rich amber 3″ x 6″ tiles with two decorative moulded tiles in the corners. Available from Historic Style

A lavish and carefully-planned treatment, using two five-tile sets of roses, with contrasting dark green and burgundy field tiles and five ‘Companion Rose’ tiles. All from Historic Style.

Fireplace Tiles can add a pleasing and historically appropriate design element to an historic home, or to a new home built in a traditional style.
For reproduction tiles used in this article, please see Historic Style Online Catalogue: www.historicstyle.com

Sometimes seen as too ‘strong’ visually, or even gloomy, by its detractors, the enthusiasts of the Aesthetic design movement, on the other hand, enjoy the overall result of the meticulous attention to detail, and by the similar design motifs used throughout the Aesthetic Interior, which give a harmony to a room or house decorated in the style.

The Aesthetic movement had its early origins in 1854, when Japan was opened up to the world after more than 200 years of seclusion. In 1638, Japan had expelled all foreigners from its shores, and entered a period of near total seclusion. During that time, Japan had neither war nor poverty, and its arts reached a great zenith.

Not until 1854, when American naval Commander Perry negotiated his way into Japan by a combination of gunboat threats, and negotiation, did Japan finally end its seclusion. To suddenly be able to see Japanese trade goods was like opening a marvelous treasure chest of amazing examples of craftsmanship and design. In effect, it was as if a new world had become miraculously opened up, as no one alive outside of Japan had seen Japanese art and design.

Trade of Japanese goods to the west coast of North America started as early as 1860, with the importing of porcelain, artwork and furniture. Later imports made their way to England and Europe . The influence of Japan was prominent through the 1870’s and 1880’s. London stores such as “ Liberty ” stocked and popularized the new, fashionable Japanese goods.

An English Aesthetic 6” tile of the 1880’s. Private collection

English designers, always on the lookout for new inspiration, quickly adopted (and adapted) traditional Japanese design elements to their own products. By the early 1880’s fans, flying cranes, asymmetrical designs and sprays of plum blossoms and bamboo soon were found on a wide variety of English and North American consumer goods.

Three Aesthetic pieces of china – English early 1880’s. Private collection. Shown against a background of William Morris’ ‘Honeysuckle’ linen.

These motifs found their way onto china, tiles and fabrics. Aesthetic-style furniture was made in black ‘ebonized’ finishes with gold touches along edges and in cutwork decoration, simulating the lacquered finishes of real oriental furniture. Fine spindlework, many small shelves, turned fine pillars and inset mirrors were all commonly found on Aesthetic furniture.

An English ebonized Aesthetic Sideboard of the 1880’s, flanked by two original William Morris “Sussex” chairs with rush seats. Morris made these chairs from c1865 until the 1920’s.

English manufacturers began using their own interpretation of Japanese design elements, using them on their own manufactured products. The resulting Aesthetic-inspired design movement was sometimes also known as “Anglo-Japanese”.

The Aesthetic movement started in the late 1870’s, and hit its peak during the early 1880’s, and lingered through the 1890’s. The most endurable survivor of the Movement easily found today is china decorated with Aesthetic designs. The massive popularity of blue and white transfer print china during that period has ensured that many pieces survive to be found in antique shops today. Although Aesthetic china was made primarily in blue and white colouring, it can be found in other popular colours as well – green on white; red on white; and brown on white.

Two English “Anglo-Japanese” transferware plates of the early 1880’s. Note the flying birds, the asymmetrical design, and the Japanese fabric designs. Private collection.

Other Aesthetic designs are more rare and therefore harder to find. Original fabrics of the period, often with silk threads, have simply disintegrated over the years, and the few survivors are treasured.

Aesthetic curtains, English 1880’s Private Collection

Like any other popular craze, especially one embracing design, the general population could not fully understand the appeal of the Anglo-Japanese movement, though it indeed had wide popularity among the connoisseurs of the day in fabrics, wallpaper, tiles, hardware, book-binding and lighting.

American manufacturers were particularly adept at adapting the style to silver. The “Meridan” company was prolific in producing all sorts of tableware and decorative silver objects in the Aesthetic style.

Three Aesthetic tiles available in reproduction from Historic Style

As well as flying cranes, and birds in general, be sure to look for owls, aster flowers, apple blossoms, moons, sunflowers, sunbursts, and Japanese fans on items designed “in the Anglo-Japanese style”.

Birds and blossoms flow across four tiles. English 1880’s. From Historic Style.

Aesthetic tiles, though attractive singly, were frequently designed to join in an interconnecting pattern. English 1880’s from Historic Style.

William Morris wallpaper designs are often appropriate for Aesthetic Interiors, because of their “flat” natural designs, which are similar to Japanese wood-block prints. Here, “Chrysanthemum”, a Morris design of 1877, available from Historic Style provides a suitable background to an Aesthetic Interior

Peacock feathers were another popular symbol of the Aesthetic movement, and a vase of peacock feathers was “de rigeur” in the home of a fashionable Aesthete.

Cartoons of the day made fun of “the Aesthetes” – people who seemingly based their lives on how their teapots looked, or how much peacock feathers cost. Even sheet music poked fun at the Aesthetic movement.

“My Aesthetic Love” 1881 – Sheet Music Cover – “Sung with Immense Success by The Great Vance”. Showing typical items of the Aesthetic period including ‘bamboo’ furniture, blue and white china, and fans and feathers used as touches of decoration.

A doorbell push plate adapted from an original Aesthetic piece of hardware, features typical motifs: an owl; moon; sunburst; and simple flowers. Available from Historic Style.

William Morris’ “Trellis” wallpaper of 1864 has many similarities to Anglo-Japanese design: Flying birds, insects and flattened sprays of leaves and blossoms. Available from Historic Style in five colourways.

Regardless of the period satire directed at the movement, the Aesthetic interior has much to offer people restoring their homes to the correct look of the 1880’s and 1890’s. Many original Aesthetic pieces – whether furniture, hardware, china, or light fixtures - can still be found in antique shops today.

Easily recognized by the knowledgeable collector by their design and decorative motifs, Aesthetic objects harmonize with each other to make a powerful design statement in any interior space. Compared to more usual Victorian objects, Aesthetic objects do not have to be used in quantity to make a design statement, and once they become familiar, can become favourite items in your home.

For Aesthetic Movement Tiles, please see:
http://historicstyle.com/historictiles/victorian1.html

For Aesthetic doorbells, please see:
http://historicstyle.com/hardware/doorbells.html

For Aesthetic fabrics, please see:
http://historicstyle.com/traditional/1880to1900/index.html

For Aesthetic wallpapers, please see:
http://historicstyle.com/traditional/1880to1900/went-worth.html

Sweetness and Light – The ‘Queen Anne’ Movement 1860-1900
by Mark Girouard - Oxford 1977
(Aesthetic was part of ‘Queen Anne’ – this book gives a very good background to the period)

The Japan Idea – Art and Life in Victorian America
By William Hosley 1990