the bombilla underground lighting fanzine, is a collaborative work developed by the autonomous lighting collective; non profit as it is, the publication of the bombilla may delayed from time to time.
the bombilla underground lighting fanzine issue# no 3 winter 2010
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Winter 2010 In this special edition of the bombilla we bring to life the lighting apparatus on display, during the 1851 Great Exhibition and the 1862 International Exhibition in London. Today these artefacts are of cultural and historic importance in order to understand and study the development, evolution and craft of lighting manufacture. In the following pages you will find the names, materials, procedures and areas of production of the contemporary manufacturers and designers.
Contents :
Instead of editorial.............................................
Introduction the Great Exhibition 1851........................1-2
The Crystal Palace..............................................3
State of Artificial Lighting 1851.............................3-6
Lighting Manufacture 1851....................................7-46
The International Exhibition 1862 ..........................53-54
Metal work in the International Exhibition 1862............55-56
Lighting Manufacture 1862..................................57-87
Cover: Costume De Ferblanterie, Fabriquant les Lampes.
Instead of Editorial
* The concise Oxford dictionary of current English (1919)
Introduction The Great Exhibition ''The Great Exhibition of the Works of Industry of all Nations, 1851, will stand recorded in the annals of future ages as the first event of the kind which has occurred in the history of man.''i
With this flamboyant introductory note, one of the numerous lavishing publications of the time records the importance of the Great Exhibition in a retrospective manner. On the 29th of June, 1849, at a meeting, at Buckingham Palace, Prince Albert, communicated his plan for the formation of a great collection of works of Industry and Art in London, in 1851, for the purposes of exhibition, of competition, and of encouragement ii. Nevertheless France must be regarded as the originator of the 'tradition' of industrial exhibitions where ultimately the 'French Industrial Exposition of 1844' (preceded by a series of national industrial expositions)and followed by the 'Exposition Nationale des produits de l’industrie agricole et manufacturière' in 1849 was the forerunner of the world wide celebrated Exhibition of 1851.
Hyde park in 1851 and was the largest trade show the world had ever seen,its long run purpose was to crown Great Britain as the leading industrial nation of the world.
The exhibits today are of historical importance in order to follow the development and evolution of industrial design,and manufacture; although it became rather apparent that decoration had become the principal matter, (leaving functionality as secondary concern )commanding the manufacturers to cover up the simplicity that the machinery of industrial process offered with cheap crude decorations, the British contemporary critics among which Henry Cole and Richard Redgrave acknowledged the failure and set out to establish the new standards : 'Decoration is secondary to design' and 'Form Even so in this spirit England is dictated by function and the departed from the fashion which materials used.'iii dictated such occasions limited to 'ethnic boundaries' and opened its The following information and doors to international exhibitors images have been selected and from the entire world. Therefore rewritten from the tree prominent the Great Exhibition of 1851 works of the time: 'The Art became the offset of a series of journal illustrated catalogue : World Fairs and International the industry of all nations, Exhibitions, which in turn would 1851' (1851),'The Crystal Palace, play a decisive role in the and its contents : being an introduction of innovations and illustrated cyclopaedia of the technologies automatically shaping great exhibition of the industry the face of the modern world. The of all nations, 1851'(1851) and Great Exposition of Art 'Tallis's history and description andIndustry was held in London in of the Crystal Palace, and the 1
Exhibition of the World's Industry in 1851; (1852). The text and images come from the Art journal illustrated catalogue unless otherwised mentioned. These works now lie in the Public Domain. The text is given in its original form with small alterations for the economy of the text. The notes refer to the pages in which the analogous text and 'engravings' may be found in the original catalogues. From the text we are informed of the material, procedures and areas of production. Today these artefacts are of cultural and historic importance in order to understand the development and evolution of the craft of lighting manufacturing.
Refrences: iThe Crystal Palace, and its contents : being an illustrated cyclopaedia of the great exhibition of the industry of all nations, 1851 : embellished with upwards of five hundred engravings, with a copious analytical index (1851)W.M. Clark pg 2 iiThe Art journal illustrated catalogue : the industry of all nations, 1851. Bradbury & Evans Art Journal 1851 pg iiiOwen Jones 1852 lecture'' The Decorative arts arise and should be Attendant Upon Architecture''
2
The Crystal Palace The site of the Great Exhibition in Hyde Park was originally proposed from by Prince Albert. The design of the building was offered to open competition, which Joseph Paxton won. Thus the 1,848-foot-long and 408 feet wide prefabricated wrought-iron and glass construction, was erected in 22 weeks under the directions of Joseph Paxton and Charles Fox of Messrs Fox & Henderson.
Exterior of the building for the Great Exhibition (South-West side)
It has been estimated that the Great Exhibition including over 13,000 exhibits had been attended by over six million people three times the population of London at that time.
Exterior of the building for the Great Exhibition (South-East side)
On 1 May 1851, exactly on schedule, the Exhibition was opened by Queen Victoria the exhibition closed its doors in 15 October 1851.
3
The state of Artificial lighting in 1851. The following passage is from Tallis's history and description of the Crystal palace, and the Exhibition of the world's industry in 1851; (1852) which in its turn divided in five Volumes This text is derived from the first volume pp 132,133. Illustrating the state of artiicial lighting in 1851 the year of the Great exposition and is based on the writtings of Dionysius Lardner a noted scientific writter of the time with the refrences having been added by thebombilla. When, according to the ancient Greek fable, Prometheus drew down fire from heaven to inspire with the breath of life the image he had formed, the writer of that myth little imagined to what purposes the application of light from the all-vivifying rays of the sun would, in future ages, be employed in the world of science and of art — purposes which impart a vivifying principle and activity to operations which the utmost labour and ingenuity of man could in no other way accomplish. For the following remarks, which we have selected from some papers which appeared in one of our leading journals, we are indebted to the learned pen of the philosophic Dr. Lardneri, and which we shall forthwith, without further apology, submit to the consideration of our readers.
guiding us in the pursuit of business or of pleasure, and adding to the sum of life by rendering hours pleasant and useful, which must, in the absence of artificial light, have been lost in torpor, or in sleep. It is supplied according to individual wants, in measured quantity, and at every door an automaton is stationed, by which a faithful register is kept of the quantity delivered from hour to hour. Flame, which is in most eases the source of artificial light, is gas rendered white hot. The gas, such as is prepared for the purposes of illumination, contains, in the latent state, the heat which, in the process of combustion, renders it incandescent. The moment combustion commences, the gas entering into combination with the oxygen, which is one of the constituents of the atmosphere, the heat which was till then latent becomes sensible, and affecting the gas itself while combining with the oxygen, renders it white- hot.
And, first, with respect to artificial light. — Marvelous are the uses, says the learned Doctor, to which science has rendered heat subservient; those which have been obtained from light by the combination of the researches of the mechanical philosopher have not been less striking, Ready-made flame is fabricated in vast establishments, on an enormous scale, and transmitted in subterranean pipes through the streets and into the buildings and dwelling-houses, where, after the close of the natural day, an artificial day is thus created,
Lamps in which artificial light is produced by means of a liquid combustible, may be reduced to two classes : one in which the liquid is drawn to the wick by capillary attraction, and the other in which it is propelled by mechanic agency. It is evident that in the former the distance of the reservoir from the wick 4
The State of Artificial Lighting 1851 must be more limited than 2 M in the latter. Hence we find that the mechanical lamps, known as Carcels and Moderators, are more elegant in their form than those which, depending on capillary action, have oil vessels of greater or less magnitude immediately under the flame, and which therefore cannot be sinumbral. Of the capillary lamps, in which oil or fatty liquids are burnt, the most simple is that called the solar lamp ; but by far the most brilliant in its illuminating power is one of recent introduction, called the camphinelamp. Of the mechanical lamps exhibited, especially in the foreign department, the most efficient and the most elegant in its form was the Carcel lamp. The more scientific expedients for the production of artificial light depend, in general, on imparting such an intense heat to a solid body as to render it vividly incandescent, without, however, liquefying it or causing its combustion. The expedient of this class which is best known is the oxy-hydrogen light, by which the microscope and lanterns for dissolving views, exhibited in the Polytechnic Institution, are illuminated, and which were found in various improved forms in the Exhibition. We refer more particularly to an apparatus improved by the Reverend Mr. Beechy, and exhibited by Messrs. Abraham and Co., Liverpool.ii
adapted to economical uses, were exhibited in different forms by Messrs. Deleuil and Coiii., and by Messrs. Duboscqiv, of Paris. This light is of the most intense splendor, — so much so, that it cannot be looked at without protecting the eye with colored glasses. The color and quality of the light is similar to that of the sun, as is proved by the fact, that when it is analyzed by the prism it gives the same component parts. It is only just here to state, that the merit of the first application of the electric light to the microscope, and to the general application of optical phenomena, is due to M. Leon Foucaultv, who has lately obtained a world-wide celebrity by his beautiful experimental test of the rotation of the earth.
The apparatus for the production of the electric light, which is still more intense than the oxyhydrogen light, and produced under conditions which present greater probability of being ultimately 5
The State of Artificial Lighting 1851 Refrences : i Dionysius Lardner (1793 – 1859) v Jean Bernard Léon Foucault ( Irish scientific writer. 1819 – 1868) the celebrated French physicist. Louis Jules ii Entry in the Official catalogue Dubosq designed Leon Foucault's of the Great Exhibition of the electromagnetic regulator and his Works of Industry of All Nations heliostat. 1851 Great Britain. Commissioners for the Exhibition of 1851 :Abraham, A. & Co. 20 Lord St. Liverpool, Manu. —Trinoptric prismatic lantern, with apparatus for making oxygen gas. (llev. St. V. Beechy, inv.) Dioptric prismatic lantern. Compound microscope. Portable sketching camera obscura. p 64 iii Deleuil,l. J. 8 Rue du Pont-deLodi, Paris.—Philosophical instruments and balances; coinscales, air pumps, electric batteries, magneto-electric apparatus, &c. ibid p 223 Duchenne, —, M.D. 85 Rue Louis-leGrand, Paris.—Volta-electric apparatus, and double-current magneto-electric apparatus. Invented by Messrs. Charriere and Deleuil, surgical instrument makers, Paris. ibid iv Louis Jules Dubosq French instrument maker, inventor, and pioneering photographer (1817– 1886) was trained by Jean-Baptist Soleil (1778-1878) as an optician. Duboscq married Soleil's daughter and took over the company which was then known as Duboscq-Soleil. After Soleil died the company merged with Pellin and the name changed to Duboscq-Pellin and then to Pellin after Duboscq died. Source: Univercity of Vermont (http://www.uvm.edu/) and 'Encyclopedia of nineteenthcentury photography- John Hannavy. p 445 6
Great Exhibition 1851 Chandeliers - Brackets Potts Mr. Potts, of Birmingham, has long been distinguished as a manufacturer of Lamps, Clock-Stands, Candelabra, and articles of virtue, displaying pure taste in design and refined skill in manufacture. It is not, perhaps, too much to say, that his abilities and exertions have done much to elevate the character of the Birmingham bronze and brass works. The whole of his numerous contributions are entirely the work of English hands.In the first image a Gas Lamp, with three burners, exhibiting considerable novelty in design ; it is bold in character, yet not heavy. Next to which is a richly ornamented Gas Chandelier in the Italian style of decoration, the scrolls are surmounted by grotesque marks. Another Gas Chandelier and its Pullies : the style of which displays a bold arrangement of its curves, and angles, and is altogether a beautiful example of metallurgical manufacturing art.(pp. 24,25)
7
Crystal Palace Cornelius & Baker A pair of Gas Chandeliers, made and contributed by Messrs. Cornelius & Baker, of Philadelphia, stand about fifteen feet and a half high, by six feet wide, having fifteen burners with plain glass globes, and are of brass lacquered. The design is very rich in ornament, and possesses some novelty in the succession of curves ingeniously and tastefully united: the gas-keys represent bunches of fruit, thus combining beauty with utility. Besides these objects, the manufacturers exhibit a number of patent solar lamps, which they have named the "damask lamp," from the rich damask color they have succeeded in imparting to the brass : the designs in these lamps can be varied at pleasure. Messrs. Cornelius & Baker are the most extensive manufacturers of lamps, chandeliers, gasfixtures, &c., in the United States, employing upwards of seven hundred persons in the several departments of the establishment, which has been in existence for upwards of a quarter of a century ; if we may judge from their contributions to the Exhibition their celebrity is not undeserved.(p. 212).The great use of oil in the United States has led to many improvements in lamps especially in those upon the solar principle, as it is called (where increased draught is made to bear upon the combustion) which are unknown among us. Unpretending as these lamps appear, it is stated that they will give an amount of light greater by one-half than any others in use( The Crystal Palace, and its contents 1851 p. 294) The chandeliers hanging above them struck us as graceful specimens of workmanship, designed in good taste, and showing a crystal purity of glass.The casting was remarkable for its fineness, sharpness, and uniformity. The branches, formed by arabesque scrolls, profusely ornamented with birds and flowers, delicately sculptured or in bold relief, with centres of richly cut glass, claim particular approval for their elegance and lightness of design. This is among tho youngest branches of manufacture in the United St.ates, it being scarcely fifteen years since every chandelier, girandole, mantel lamp, and candelabra used in that country was imported from Europe. (The Crystal Palace, and its contents 1851 p. 294)
8
Great Exhibition 1851 J. Faraday This Chandelier is manufactured by Mr J. Faraday, of London. It is constructed upon a principle for which a patent has been obtained, whereby all noxious vapours arising from the gas are carried off, by means of the descending draught ; the lights being enclosed in covered chimneys or globes, and the burnt air is discharged into the open air, or an adjoining flue; the value of this must be manifest.(p. 120)
9
Crystal Palace Bailet and Sons This chandelier is fashioned after the medieval period, and of very admirable material and workmanship. We do not, however, admire the style, nor the gaudy colours with which it was covered. (Crystal Palace, and its contents 1851 p. 396)
10
Great Exhibition 1851 Levolle Freres Chandelier in Bronze and Gilt Levolle Freres Paris (Tallis's history and description of the Crystal palace, and the Exhibition of the world's industry in 1851.)
Buckmon & Sons Church Lamp in Silver by Buckmon & Sons Wirtemburo. (Tallis's history and description of the Crystal palace, and the Exhibition of the world's industry in 1851.)
11
Crystal Palace Salt& Lloyd Gas-Chandelier, by Messrs. Salt& Lloyd, of Birmingham.(p. 16)
Cowley & James Messrs. Cowley & James, of Walsall,brass Chandelier,which consists of floral ornament, of a light and graceful character, well calculated to relieve from weighty monotony, an article which, in the hands of a tasteful designer, may be made an elegant adjunct to the drawing-room.
However elaborate or beautiful the design and execution of such articles of modern furniture may be, we must confess that we think heaviness of construction, or even weightiness of appearance, a very objectionable quality, whenever exhibited. In some instances, the style or character of the apartment for which they are intended may demand a certain "weight," but the prevailing idea to guide the artisan should be the construction of receptacle for light, which, like that element, should be ethereal, and graceful, and ponderosity be especially eschewed.(p. 159)
12
Great Exhibition 1851 Gray & Co. Messrs. Gray & Co., of Birmingham, exhibit a variety of new designs for chandeliers and lamps, constructed in the brass-work for which that city is famed. The free use of foliage in works of this class is not without great value, in breaking stiff and monotonous lines, and aiding the general elegance of the entire composition. The Chandelier in the style of the renaissance, is a successful work, presenting an attractive general form, the details being well studied from original authorities. The Bracket light and the lower half of a Chandelier, are light and very elegantly decorated ornaments : the patterns of the two being en suite, we presume they are intended for the same room.
The only danger and it is one, we confess, we often see and regret is the too free use of this ornamental adjunct ; the juste mileu, is not so easy to obtain as may be generally considered, and good taste only can ensure it; this is to be acquired only by much study and experience, by a constant striving after a knowledge of the great leading principles which governed the art manufacturers of past times. (pg. 210)
13
Crystal Palace W. Winfield The contributions of Mr. W. Winfield, of the Cambridge-street Works, Birmingham, occupy a prominent position on one side of the ''Birmingham Court'' in the Exhibition: they consist principally of metallic bedsteads, gas-fittings of every description, windowcornices, curtain-bands, and a multitude of articles of a similar kind, tho majority of which are distinguished by tasteful design and most excellent workmanship. The Gas lamp and Bracket is one which, we understand, has been purchased by the Queen, a fact that supersedes the necessity of any further reference, it bears ample testimony to the excellence of the work ; the figures introduced are of parian.(p. 242)
14
Great Exhibition 1851 M.Matifat M. Matifat, of Paris, extensive manufacturer of bronze articles, both useful and ornamental charasteristic for their beauty of design and very superior style of workmanship. Like all men of true genius, is influenced by none of these petty and unworthy feelings which would cause him to '' hide his lamp under a bushel'' fearing lest others should derive light from it. France has for a long time taken the lead of all other nations in bronze casting ; still it is only within a few years comparatively that she has made any considerable move in advance of the old routine system of manufacture ; while among those who have quitted the beaten track, and have introduced new ideas and new arrangements of the best models of antiquity, M. Matifat may take his stand with the very foremost, throwing into his profession a zeal, energy, and perseverance which, united with skill and taste, could not fail of success. A Chandelier of simple but pure character, in which the relative proportions of the different parts are evidence that the design has emanated from an artist well instructed in those principles on which are based the beauty and harmony of curved lines.(pp. 48,49,50)
15
Crystal Palace Hardman The Chandeliers and Lantern are executed by Messrs. Hardman, of Birmingham, in brass-work. They are excellent examples of modern manufacture, unsurpassed in careful fabrication. (p. 320)
16
Great Exhibition 1851 Bernstorff & Eichwede Intended for the display of sixty lights, this Lustrk is manufactured by Bernstorff & Eichwede Hanover. It is very sumptuous in its enrichments, and good in general design. The contributions from Northern Germany are not large, but the present is one of the best, and may be suggestive to manufacturers at home, who sometimes display too much floral ornament in works of this class.(p. 279)
17
Crystal Palace Bernstorff The chandelier by Bernstorff & Co., of Hanover, is of the old, heavy, stately fashion which was in vogue in Germany a century ago, and appears never to have gone out. It contams every possible variety of style, and almost every variety of ornamental device. It is of bronze gilt, and will hold 60 lights.(The Crystal Palace, and its contents 1851 p. 204)
18
Great Exhibition 1851 Glass Chandeliers Apsley Pellatt & Co Messrs. Apsley Pellatt & Co., of the Falcon Glass-Works, London. A Chandelier the whole construction of which, is novel, and very effective ; in all chandeliers composed of white glass, the one prominent object in their manufacture should be, by the form and cutting of the parts, to break and refract the rays of light, and thus to produce the splendid natural prismatic colors. Great attention seems to have been paid to this essential matter in this chandelier, the whole body appearing one entire mass of glass, cut into large diamond-shape pieces.(p. 174)
19
Crystal Palace Apsley Pellatt & Co A second Chandelier by Messrs. Apsley Pellatt & Co., of the Falcon Glass-Works, London of colossal dimensions; the drops are very large, although their magnitude is lost in the vast size of the chandelier itself; the fan ornaments, formed of independent drops of different lengths set together, are novel ; indeed, the entire object is one of great beauty. (pg.175)
20
Great Exhibition 1851 Hancock, Rixon, & Dunt Messrs. Hancock, Rixon, & Dunt, of London, exhibit a Chandelier, of cut glass, for thirty two lights. The section of the body forms a star; the upper part is composed of drops, which are arranged in the shape of banners. It will present a brilliant appearance when lighted. (p. 200)
21
Crystal Palace Perry All previous productions in this line are probably eclipsed by the magnificent Crystal Chandelier, manufactured by Mr. Perry, which was a conspicuous object in the Gallery over the north-west corner of the Transept. This Chandelier, which is a dozen or more feet high, is intended for 144 lights. Its design shows the style of glass-cutting of the eighteenth century, with the modern improvements. A large portion of the glass(all of which was of the purest quality) is cut in what is termed ''lapidary cutting.'' The candles are grouped in clusters in the lower tier, and in pendant groups for the upper tier.(The Crystal Palace, and its contents 1851 p. 417)
22
Great Exhibition 1851 On the Evolution of Table Candle-Lamps There are few objects of manufacturing art which have exhibited, during some years past, more manifest improvements than the table candle-lamp in all of its many varieties of form.
We stated, in our preliminary remarks on Mr. Pottss's contributions, that no one had done so much to advance the character of the Birmingham bronze and brass-works as this intelligent and enterprising manufacturer. To him must be accorded the merit of having first introduced a new combination of artistic media, which has since been followed up by others with no little success, though Mr. Potts has still kept the lead in his hands. We allude to the application of a ceramic substance, statuary porcelain, for ornamental purposes in conjunction with metal, in chandelier lustres, lamp brackets, and numerous other objects of utility and decoration. This introduction has given a vast impulse to the Industrial Arts, presenting as it does a valuable auxiliary which may, in interwoven or appended ornament, minister most felicitously to elevate and enrich the particular branch to which it may be applied. But it is requisite to use it with the utmost discrimination and judgment, inasmuch as it might otherwise lead to the perpetration of much that is offensive to the taste. The charm of novelty taxes the talent of the designer most severely, and often compels him to produce, for the sake of change, and to please a public too exacting on this point, that which his judgment and matured experience would impel him to withhold. But inasmuch as novelty is worth nothing without beauty and correctness of form, it is necessary that the designer or modeller, as well as the manufacturer who determines what is, and what is not, to be produced, should be well skilled in those principles by which such desirable ends may be attained : each should habituate himself to considering the effect of every pattern in different materials and articles. Above all, the designer should be taught that his principles are to be found only in the very highest art. The designer must, in mental power, be raised to the level of the artist, and must emulate him, not only in skill, but in range of information. But we must proceed to notice the remaining objects we have selected from Mr. Potts's contributions as exhibited on this page. (PP 24,25)
23
Crystal Palace Table Candle Lamps - Candelabrum -Lamps Potts, Two Candle Lamps, of which in the first example the pedestal is composed of elephants' heads, very skilfully wrought. Where as in the second case the general appearance of the design is peculiarly agreeable ; it has little ornament, but that little is judiciously applied, and executed with much spirit.(p. 25)
24
Great Exhibition 1851 Blews & Sons, Richardson Messrs. Blews & Sons, of Birmingham and London, are extensive manufacturers of brass candle and ship lamps, candlesticks, bells, imperial weights and measures, &c. Four examples of their Candle-Lamps: the first is called the "armorial lamp ;"the second, termed the " vine-wreath foot," shows that graceful plant climbing up the shaft and over the shade ; the leaves and fruit being colored. In the third example the convolvulus forms the principal ornament at the base. The forth has a very elegant pedestal of leaves, dogs' heads, and birds ; the pillar is of richlycut ruby glass, with center groups of flowers. The glass, it is sufficient to say, is from the factory of Messrs. Richardson, of Stourbridge ; the bronze and brass castings are exceedingly sharp and brilliant.(pp. 216,217)
25
Crystal Palace
Bell Mr. Bell :a Lamp, of more than excellence in the arrangement composition.(p.244)
26
ordinary of its
Great Exhibition 1851 Baily and Sons The Hall stove by Baily and Sons, which stood in the Main Wester Avenue, may be pronounced a chef d'oeuvre of iron and brass casting; the open panels at the sides being of the latter material.Above is a marble slab, upon which stood a lamp of elegant proportions.(The Crystal Palace, and its contents 1851 p. 409)
27
Crystal Palace Vittoz Ornamental Bronze, by Vittoz in the French department . The Lamp is after a pretty model; (The Crystal Palace, and its contents 1851 p. 400)
Vittoz Gold and silver Lamp in the French department.(The Crystal Palace, and its contents 1851 p. 408)
28
Great Exhibition 1851 Lahoche Lahoche, of the Paris National , had a very fine display of porcelain and crystal, in dinner sercices, clocks, vases, lamos & c. That which we have engraved is a handsome lamp or candelabrum in porcelain and or-moulu. The designs upon the former are painted in rich colours upon a pale blue foundation.(The Crystal Palace, and its contents 1851 p. 424)
Supe The design of this lamp, though the materialslIttle chubby boys— are commonplace enough, is novel and not ungraceful in arrangement.(The Crystal Palace, and its contents 1851 p. 420)
29
Crystal Palace Gagneau, Freres The establishment of MM. Gagneau, Freres, Paris, has attained deserved celebrity for the manufacture of Candelabra and Lamps of every description, exhibiting a very large amount of that artistic talent in design for which the French have long since made themselves famous. We are well acquainted with the show-rooms of this firm, and can truly state that we have rarely seen so many beautiful objects, of their kind, brought together as they exhibit; the metals used are principally bronze, brass, and or-molu. The candelabruum below is exceedingly rich in ornament, but by no means overloaded; the tripod forming the base has at each angle a demifigure of grotesque character; above this, to conceal the plain shaft, are three females standing on an ornamental platform, which figures may be regarded as earyatides or supports to the higher parts of the composition : these we consider very elegant both in form and decoration. The lamp which forms the subject of the other engraving is intended to be fixed to a wall : the design scarcely belongs to any definite school or period, but is rather of a mixed character, yet so harmoniously put together that no ineongruity is apparent in it. The contributions of this class from France are numerous, and, many of them, highly suggestive; it is, however, needless to point attention to this fact; the works sufficiently commend themselves by their variety and excellence. (p. 36)
30
Great Exhibition 1851 Powel. Group of Glass- Messrs, Powel., Viz., Large Glass stand, with four Gas Burners, Dessert service , etc (The Crystal Palace, and its contents 1851 p. 92)
31
Crystal Palace Government Manufactury at Sevres Porcelan Works exhibited by the Government Manufactury at Sevres. This far-famed establishment, which has now been in existence for more than a century, stands about seven miles from Paris and its extensive museum and show-room have long been of attraction to every visitor to the French Metropolis. The number of workmen employed in the manufactury is about one hundred and fifty and the artists engaged in the in the ornamental department are of the first merit, as those who are acquainted with the Sevres porcelain must readily acknowledge ; while the general direction of the affairs of the establishment is undertaken by a body of some of the most able artists and scientific men in the country. The present administrator general is M. Ebelmen. M. Dieterle, has charge of the artistic department, under the council ; and H. Vital Roux superintends the ateliers. A Lamp, designed and executed by H. Klagmann; on the shade are figures emblematic of Evening, Morning, Silence, and Sleep ; on the body are little genii of various kinds.(pp. 169,170,171)
32
Great Exhibition 1851 Carriage Lamps Messrs. Gray & Co., of Birmingham, A Carriage-Lamp, of exceedingly graceful design, the leading lines of which are all good; and the elegance of its general form proves how a common- place article may be elevated into a tasteful and beautiful work. The small Hand-Lamp beside is a quaint and not inelegant conception, greatly superior to the ordinary deformities which, at one period, completely usurped the place of utility. Another graceful HangingLamp below, unites the necessary qualities of beauty and usefulness. The Lamp affixed to a scroll underneath is intended for the interior of a carriage, and possesses also its own peculiar merit. (pg.210,211)
33
Crystal Palace R Black A state Carriage-Lamp, by Mr. R Black, of London, is richly ornamented in chased silver. It is, altogether, a work of manufacturing art, that reflects the highest credit on the producers.(pg. 123)
34
Great Exhibition 1851 Candelabra- Table Lamps Salt& Lloyd We commence with a group composed of Candelabra, Table-Lamps, selected from a variety of articles of a similar description contributed by Messrs. Salt& Lloyd, of Birmingham. In all these objects the designer has had recourse to nature for the ornaments with which they are enriched. It would not, probably, be very difficult to point out where these ornaments might have been more effectively and tastefully disposed ; but still there is much in the general character of the designs that will meet approval, and exhibit the advance which, within a few years, has been made by the manufacturers of Birmingham. One great error against which it is necessary to guard British manufacturers of ornamental articles, is the too free introduction of decoration; elegance is more often united to simplicity than allied with abundance : symmetry and beauty of form must never be sacrificed to a profuse display of adornment. These remarks are not made with reference to the objects here engraved, but are thrown out as hints to our manufacturers generally. The edifices and works of Art which Greece produced, when she had reached the highest point of refinement and civilization, were remarkable for their elegant simplicity. It was not till luxury had enervated her powers, and wealth had created an over abundance, that she lost her purity of taste and became lavish, even to prodigality, of the resources at her command. It is to the earlier periods of the history of that country one looks for all that is great in Art.(p. 16)
35
Crystal Palace Potts A Candelabrum, named the " Heron Candelabrum," from the birds that support the stem, may be observed in the first image, beside which is a grand Candelabrum for ten lights, designed from the story of Daphne and Apollo in the last image of the first row is the 'Stork Candelabrum' We begin the second row with a brass candelabrum which was engraved in the Encyclopedia of the Great Exhibition followed by a Candelabrum, made to hold four lights; its principal ornaments being grotesque winged figures. to conclude with a Light and elegand Candelabrum for two or four lights designed after the best examples of the antique. (pp .23,25) The brass and bronze work exhibited by Potts, of Birmingham, was justly ranked with the very best things of their kind, and have obtained for the producer a Prize Medal, with, in addition, a memorandum of "special approbation ;" an honour, howevei', which he has repudiated. ( The Crystal Palace, and its contents 1851 p. 77)
36
Great Exhibition 1851 M. Emanuel The silver manufacture of Mr. M. Emanuel, of London, evince great taste in design, and some very excellent workmanship. He exhibits a variety of objects, such as gilt candelabra, gilt plateau,with china racks and medallions, processes of gold manufacture. We introduce a pair of rock crystal Candlesticks silver, and gilt, with figures of children, seahorses, and marine objects, composing the base.(p. 117)
T. Wilkinson & Co A Production of Messrs. T. Wilkinson & Co., of Birmingham, works which entitle these manufacturers to much praise. A Candelabrum which is a poetic conception admirably adapted to its uses ; the subject, Prometheus endeavoring to regain the fire taken by Jupiter.(p. 122)
37
Crystal Palace M. Paillard, M. Paillard, bronze manufacturer of Paris. A Girandole, with a child at the base, and birds perched among the branches. (p. 128)
G. Brown The Candelabrum to hold nine lights, is exhibited by Mr. G. Brown of London, an extensive manufacturer of composition articles. It stands eight feet high, and is manufactured in wood and carton-pierre, gilded to imitate ormolu.(p. 151)
38
Great Exhibition 1851 Lambert k Rawlings Messrs. Lambert k Rawlings, of London exhibit a variety of objects in the precious metals, adapted for useful and decorative purposes and this is followed by an elaborately chased silver twelvelight Candelabrum and Dessert Center combined ; its height is four feet, and its weight nearly twelve hundred ounces; the design is appropriate to the Great peace, is welcoming the representatives of the Exhibition. Britannia, with the olive-branch of four quarters of the earth, heralded by Tritons.(p. 140)
H. Wilkinson & Co Messrs. H. Wilkinson & Co., of Sheffield, exhibit the Center- Piece we here engrave; it is a clever combination of figures and foliage, standing on a pedestal of enriched character. The branches design for candles bend forward from the main stem with an easy lightness, and the glass dish in the center is of good form.(pg. 136)
39
Crystal Palace Messenger & Sons Messrs. Messenger & Sons,of Birmingham, contributors to the great Exhibition of an extensive variety of useful and ornamental productionsin iron, bronze.&c., distinguished by elegance and correctness of design, and excellent workmanship.The Candlestick, which commences this page is gracefulin form and character. (p. 184)
Messenger & Sons From Messrs. Messenger & Sons, of Birmingham, a Candelabrum for ecclesiastical purposes. In its design : the chimeroe at the angles are boldly carved ; the other ornaments are in excellent taste.(p. 202)
40
Great Exhibition 1851 Elkinoton, Mason, & Co Messrs. Elkinoton, Mason, & Co., of London and Birmingham, are extensive contributors of their celebrated electro-plate manufactures, a branch of industrial art which has made immense strides since the patent for the various processes of gilding and plating metals by the agency of electricity was granted to this firm in 1840. Messrs. Elkington alone employ about five hundred workpeople in their establishment, and about thirty other British manufacturers have licenses to use this process, which is also extensively adopted in foreign countries; thus some idea may be formed of its importance to the trading community. A large Centrepiece in the style of the fifteenth century, with winged figures supporting baskets for fruit as well as a candlestick with much originality in design.(pp. 193, 194)
41
Crystal Palace Christofle & Co Silver goods manufactured by MM. Christofle & Co., of Paris, who are entitled to take rank with the best silversmiths of the French metropolis, for purity of taste in the designs they have here furnished. The candelabrum is gracefully modelled, and shows considerable lightness in the design.(p. 255)
A. Brown. A massive and costly Candelabrum in silver, a testimonial presented to the Marquis of Tweeddale. The subject of the group is taken from Buchanan's "History of Scotland," and illustrates the historical fact connected with the rise of this noble family,a countryman, named Hay —the family name— is, with his two sons. leading the Scots to the defeat of the Danes, A.D. 98O. The composition, which evinces remarkable spirit, is also designed and modelled by Mr. A. Brown.(p. 58)
42
Great Exhibition 1851 Jackson & Sons Messrs. Jackson & Sons, of London, are extensive manufacturers of works in Papier-mâchÊ. A candelabrum exhibits exhibits a very pretty design ;(p. 237)
G. R. Collis Among the largo variety of objects in silver, manufactured and contributed by Mr. G. R. Collis, of Birmingham, are the Candelabrum and Center-Piece. Without any attempt at originality of idea, the arrangement of the scrolls and floriated ornament in each is good and effective. In the second object we should have preferred to see a less massive introduction of the scroll-work, which would give it a greater degree of lightness. (p. 239)
43
Crystal Palace Bernardo de Bernardis This artistic design for a Lamp, fitted for the court-yard of a palace, is by the architect Bernardo de Bernardis, and has been executed in bronze at the foundry of the Prince of Salms at Vienna. It is executed with considerable ability, as good an example of manufacture as of design, both being in their own way excellent.(p. 296)
44
Great Exhibition 1851 Morel SIlver Centre piece by Morel .The Illustration represents a very beautiful Centre-piece by Messrs. Morel, of New Burlington-street, and which may be pronounced to, have been one of the happiest works of its class in the Exhibition. It is in Louis Quatorze style-the subject a triumphal procession of cupids with a panther The little fellows exhibit varied, but appropriate attitudes, those at the corners guiding, rather than absolutely supporting, the branches which hold the candles on either side. In the centre, crowning all, is a magnificent bouquet of flowers.( The Crystal Palace, and its contents 1851 p. 129)
45
Crystal Palace Floor Standing Chandeliers F. & C. OSLER The Candelabrum is one of a pair formed of the purest crystal, by Messrs. F. & C. OSLER, of London and Birmingham, for her Majesty the Queen : each of them stands eight feet high, and is made to hold fifteen lights.(p. 206) These splendid Candelabra, in cut crystal, were manufactured for her Majesty. They stand eight feet high, and have branches for fifteen Lights each. In the Same group are the smaller Candelabra (Encyclopedia of the Great Exhibition p. 93)
46
Great Exhibition 1851 Unknown Chandeliers in coated glass Austrian department (Tallis's history and description of the Crystal palace, and the Exhibition of the world's industry in 1851)
47
Crystal Palace Gas Pillars - Candelabrum M. Krumbigel The Candelabrum is one of a pair, also from a Russian manufacturer, M. Krumbigel, of Moscow. They are of bronze, gilt ; the height of the pedestal looks a little disproportioned to that of the shaft ; in all its other parts the design is unexceptionable, and, in some respects, original.(p.278) The candelabra in the Russian Court were justly admired for their gorgeous magnificence. Varied in form, they exhibited a splendour of material (bronze gilt), a grandiose character of design, aud a masterly finish, which one might almost pronounce it to be impossible to excel. The lairgest one by Chopin, of St. Petersburgh, standing about 15 feet high, and intended for 81 candles and 4 candle lamps.(The Crystal Palace, and its contents p. 4)
48
Great Exhibition 1851
The Russian exhibition shown comprises several articles of great value, from their rarity and workmanship, and of real beauty of material and design. It is a department, however, made up entirely of articles for those whose wealth enables them to set no limit to the indulgence of their taste?. The pillars from the manufactory of Krumbigel, of Moscowstand two great candelabra, of richly-gilt bronze, each ten feet in height, and made for fifteen lights. ( The Crystal Palace, and its contents 1851 p. 136)
49
Crystal Palace Bernado de Bernardis The design, by Bernado de Bernardis, a German architect, is good as an instance of how the italian styles are understoodin Austria. It ia very elegant, and the massiveness is placed where it should be the base.It was produced at the foundry of the Prince of Salons, at Vienna; and it must be remarked, despite what has been said of Greman casting, that this work is not superior to the Coalbrook-dale Company, of which several samples of large dimensions, and in various styles, were in the Exhibition.(The Crystal Palace, and its contents 1851 p. 372)
50
Great Exhibition 1851 M.Matifat A Gas Pillar, of Chaste design.(pg.50)
51
Crystal Palace M. Brochon The appended engraving is of the plinth of a Candelabrum, manufactured by M. Brochon, Paris, for the Strasbourg Railway. It is of cast iron, and will be much admired for its elegant proportions, and its artistic details; the shaft rises in gothic flutes from a floriated base, which is again followed by ornamental work of a similar character, but varied in form and design, having fruit intermixed intermixed with the leaves. The pedestal exhibits several projecting ornaments, terminating at the top by what would seem to be the heads of the panther. The whole column shows that much artistic taste has been expended upon its construction; it is of very considerable height, and altogether reflects great credit upon M. Brochon's establishment, which is one of the most important, for ironwork of all kinds, in Paris.(p. 7)
52
1862 International Exhibition The Great Exhibition 1862 In 1862, the second Great Exhibition of the Art-works of all nations was held in London. It was determined that the Building should be erected on a site adjoining the gardens of the Royal Horticultural Society, and in the immediate neighborhood of the South Kensington Museum, within a short distance also of the ground occupied in 1851 on the occasion of the first International Exhibition .
Exterior: View from Prince Albert road. About 30,000 mechanics and 50,000 labourers building at various times, in addition to elsewhere in the preparation of the materials.
Exterior: View
were employed in the the workmen emploved
from Cromwell road
Eventually, there were 26,336 exhibitors in the 36 classes of the Industrial Department of the Exhibition; of these, 8,485 were natives of the United Kingdom and the British colonies and dependencies, and 17,851 were foreigners. The French exhibitors were 4,030 in number.
Art Journal
The following information and images have been selected and rewritten from the 325 pages of the ''Illustrated Art Journal Catalogue of the International Exhibition of 1862'' which occurred in London. This work now lies in the Public Domain. The text is given in its original form with small alterations for the economy of the text. The notes refer to the pages in which the analogous text and 'engravings' may be found in the original catalogue. From the text we are informed of the material, procedures and areas of production. These artefacts are of cultural and historic importance in order to understand the development and evolution of the craft of lighting lighting manufactury. An important detail is that the names of, artists and designers are mentioned in Art Journal Illustrated Catalogue of 1862 something which was omitted in the process of the exposition of the art-manufacturers in 1851; a contribution that underlines the elevation of the artist – designer in the procedure of industrial manufacture and seems invaluable in tracing the past,present and future of lighting design and workmanship
1862 International Exhibition Metal Work in the International Exhibition 1862 The following passage on metal work is derived from John Stewart's lengthy essay on decorative arts i.e ''The International Exhibition Its influences and Results'' for the Art Journal's Illustrated Catalogue of the International Exhibition of 1862''the refrences have been added by thebombilla. ''With regret we confess that there is nothing among the castings in the British section to compare with the works of Barbezati and other foreigners of the same class, while the bronze castings in the British section are not comparable with the works at the recent Florence exhibition. This class of cast metals of the larger and higher character is the weak point of the British manufacturer, and here our countrymen have much to learn and little to teach. In brass work and its cognates the progress has been as visible, since 1851, as in the department of wrought iron. Every one who saw the former exhibition must remember the absurdities then displayed from many- indeed, for the majority of manufacturers, and how the naturalistic delusion culminated in chandeliers,&c., made to imitate natural flowers with green leaves and colored glass. Happily all this is now gone, and there is not even a remnant of this huge folly to be found among the British workers in brass. There are, no doubt other blunders visible, and evidently springing from the same rootchandeliers of more than doubtful form, and bedsteads painted to complete with the most florid style of chintzes; and these may appeal to a large section of buyers who are not yet educated up to the point of discarding show for substance, or the gaudiness of color for the beauty of outline,
in such formations(...) Much of the brass work exhibited in the French department, and some in the German and Austrian courts, isbeautiful, and in finish and color is equal, or perhaps superior, to some exhibited by British workmen; and it is admitted that the best examples of French work in this class are, upon the whole, superior to the Best examples of British skill. But even such an admission is itself the highest panegyric that could be offered on our rate of progress, because the difference between the same classes in 1851 was almost infinite in favor of France. These remarks of course apply only to brass work proper, because in gilded work we are still " nowhere" when compared with our Gallicanii neighbours. On the other hand they are as far behind the British manufacturers in at least equally important considerations. Take the brass chandeliers of Barbedienneiii as perhaps the best produced by France, although some of the smaller exhibitors show superior forms; or take the most costly and best works of the Zollvereiniv of the same kind,—and neither are to be compared for elegance and beauty of outline with the chandeliers exhibited by such makers as Winfield or Messengerv, although those of the latter are marred by their strongly Gothic type—too Gothic for ordinary interiors, and not sufficiently Gothic for churches. Other makers there are,
Metal Work both foreign and English, whose works well merit attention; but some of the best of these will be found engraved in the illustrations to this Art Journal, Catalogue , and to these therefore the attention of readers is directed. The general conclusions from minute observation of these classes of metal works are—that in wrought iron work our manufacturers are far ahead of all competing nations; that in the smaller class of iron castings we hold a respectable position; that in the larger and more artistic styles of iron and bronze castings; we are very far behind; and that while in brass works of a special class we excel other nations in form, yet in brass castings, such as those exhibited by Christofle, of Parisvi, and in brass finishing and colour, we are still considerably inferior to the manufacturers of France, and even of some other continental states.'' p.86 Refrences: iThe Barbezat French foundry, was established in 1836, producing 'ornamental works, vases and statues for houses, gardens and churches' Victoria Albert Museum iiFrench iiiFrench metalworker and manufacturer. He went into a partnership with Achille Collas (1795-1859).Specializing in reproductions of antique and modern sculpture the firm by 1850 was also producing a wide range of decorative objects chandeliers, vases and furniture. Between 1850 and 1854 the firm was then known as Barbedienne. The Grove encyclopedia of decorative arts,
Volume 1 Gordon Campbell University Press 2006.p 68
Oxford
ivThe Zollverein, or German Customs Union,established in 1818 was a coalition of German states formed to manage customs and economic policies within their territories. vBritish Iron, steel work Manufacturers.
and
brass
viFrench Silver Electro-plate Bronze Manufacturer
and
1862 International Exhibition Chandeliers and Brackets Carl Heckter Carl Heckter, of Berlin exhibits a number of works in metal and glass, of a novel and attractive character; some are Chandeliers indented chiefly for conservatories: two of which we see in the images below.(p.119)
Cartwright, Sambridge, and Knight, Designer Sambridge. Messrs. Cartwright, Sambridge, and Knight, of Lombard Street, Birmingham exhibit Chandeliers of brass and bronze; though not costly, they are good in design and execution, from the designs of Mr. Sambridge, one of the partners of the firm.(p. 119)
Lighting Manufacturers Rennie and Adcock Messrs. Rennie and Adcock, of Birmingham, exhibit works for which the locality is famous all the world over. These productions consist chiefly of brass and bronze chandeliers, into which ceramic figures are occasionally introduced with good effect.(p. 120)
Hart Messrs. Hart, of Wych Street, sustain a high reputation as artists in metalwork. The specimens have been selected chiefly with a view to show how happily the Gothic style admits of being applied, in metal-work, to the requirements of modern life. A Gas Chandelier. (p. 27)
1862 International Exhibition Messenger, Designer Digby Wyatt Mr. Messenger, of Birmingham, has long been recognized as the best British producer of works in bronze; and his collection at the Exhibition, though neither varied nor extensive, fully upholds his fame, with regard to design as well as manufacture.
He has called in the aid of Digby Wyatt and other eminent and has studied to achieve novelties. The brilliancy of his a theme of especial praise. In the images above we may chandeliers, of new and graceful forms as well as two Hall the images below.(p.129)
artists, metal is see two Lamps in
Lighting Manufacturers R.W. Winfield and Son. Messrs. R.W. Winfield and Son, of Birmingham, exhibit a large collection of meritorious works, the principal of which are chandeliers and brackets for gas. Below we see a Chandelier and one of their Brackets. This firm has always held a prominent position as regards the leading manufactures of Birmingham; that position is fully sustained in the International Exhibition pf 1862.(p. 108)
The three Chandeliers are the manufacture of Winfield of Birmingham; they are of bronze gilt, and exhibit considerable taste and skill in design, while the workmanship is of the highest merit. Few foreigners surpass the British manufacturer in brilliancy of metal.(p. 241)
1862 International Exhibition M. Matifat M. Matifat, of Paris, has long occupied a high place among the bronze manufacturers of the French capital; and his reputation is established in this country – many of ''the stately homes'' of England having received their best adornments from his fertile fancy and through experience in Art. The Chandelier here engraved has been executed for the Duchess of Sutherland, a lady by whom M. Matifat has been long and largely patronized. The Bracket is of good form. These are but a few of the contributions of M. Matifat; they serve, however, to uphold his fame. Among his other works exhibited are vases tazzi, and minor objects in bronze, on which taste and skill have been rightly exercised with the very best effect.(p. 53)
Count Stolberg, Designer A. Wolff The Chandelier here is of cast iron, from the renowned foundry of Count Stolberg, at Ilsenburg, in the Harz, who has enriched the Exhibition by some of the most remarkable of the works it contains; and they are produced at a cost so small as to have astonished all who examine them. In this establishment are cast not only objects of size, but some as thin as a wafer, with details so minute as to be scarcely perceptible without the aid of glass. The production is from the design of A. Wolff. (p. 241)
Lighting Manufacturers Harrow and Son, Designers W. G. Rogers, J.H. Rosmon Messrs. Harrow and Son, Gasfitters, of Portland Street Soho, exhibit examples of their manufacture, comprising the varied produce of workers in metal. A Chandelier and a Bracket;the former being from an admirable design produced for them by the famous wood-carver, Mr. W. G. Rogers.The Bracket is Designed by Mr.J.H. Rosmon, the artist of the house.(p. 156)
Kissing and Mollman The Chandelier and Chandelier – Bracket, are selected from the works exhibited by Kissing and Mollman, bronze and iron manufacturers, of Iserlohn, in Westphalia. The house holds a high position throughout Germany; its issues are excellent in design and execution, of various styles. (p. 282)
1862 International Exhibition Glass Chandeliers In the manufacture of Chandeliers in glass, England has long maintained the highest position : in pure, crystal glass, that is to say, no foreign producers enter into competition with those of this country. Their use has become so general, as to be almost universal: there is no public building, hardly a shop in London, which does not receive "illumination" from brilliant lights which cast little or no shadow, and are at all times exceedingly pleasant to the eye. No doubt much of this result is owing to the singularly small cost at which they can be produced : it is scarcely an exaggeration to say, that twenty years ago pounds must have been paid to obtain the object that may now may procured for shillings.(p.16) James Green Mr. James Green, of Upper Thames Street, manufacturer of glass more remarkable production, however, is a chandelier of great merit. (p.127)
Lighting Manufacturers Messrs, Donson and Pearce. This Chandelier, of the purest glass, formed one of the many attractions of the stall of Messrs, Donson and Pearce, of St. James's Street. Though elaborate and full of details, the design is graceful and harmonious, and the effect on the eye refreshing. (p. 259)
1862 International Exhibition Derfries & Sons ,Designer Mr. Perracini. The house of Derfries & Sons, of Houndsditch exhibit a very large, chandelier. The dome (surmounted by a Prince of Wales' coronet and plume) is of one piece of glass, elaborately cut, and supported by eight crystal pillars, resting on a base formed of prisms: the center tier, surrounded by the same number of columns, surmounted by graceful spirals, rests on a base of prisms, from which the upper tier of lights springs from eight arms, each arm having a cluster of seven lights. This tier of lights is again supported by the same number of columns, and each column is surrounded by four smaller pillars. These columns rest on the main body of the chandelier, from which spring sixteen arms, similar in design to those of the upper tie, each arm bearing a cluster of seven lights. The main body of the chandelier is constructed of prisms, three feet six inches in length (a size, we believe, never before attained), forming one large prismatic dish, under which two other dishes are formed in a similar way, the whole terminating with a richly cut spire. One of the most effective points in this composition is the vase which occupies the center of the lower columns, out of which springs a bouquet of crystal flowers.(p. 16)
Lighting Manufacturers Defries and Son Another glass Chandeliers manufactured by Messrs. Defries and Son, of Houndeditch, to whom we believe, every part of the world is indebted for ''lights''of this description, their importation trade conveying the pure crystal glass of England literally to all the nations of the earth. At home, however, they have also done much to ''enlighten;'' nearly all our theaters and a very large number of public buildings exhibit their works; and the peculiarly brilliant effects we see in leading shops – making the night brighter than the day in their vicinage----are the inventions of this firm. (p. 289)
1862 International Exhibition Candelabra - Candelabrum - Standard Lamps. Hunt and Roskell, Designer Vechte Of the works of Hunt and Roskell we engrave the Breadalbane Vase Candelabrum, produced for the Marquis of Breadalbane, as a fitting receptacle for the famous ''Pontiatowski gems.'' It is in height nearly six feet of silver and Iron, richly damascened with gold, and is one of the admirable works of the renowned artist Vechte. We are compelled to omit the base. (p. 218)
Lighting Manufacturers Messenger Two table (or standard) Lamps, by Mr. Messenger, of Birmingham.(p.129)
Hardman Messrs. Hardman, of Birmingham the celebrated medieval metal workers, of Birmingham. A Gas standard in brass and iron.(p. 223)
1862 International Exhibition Phillips Brothers A very beautiful example of the work of the silversmith is exhibited by Messrs. Phillips Brothers, of Cockspur Street. It is four feet high, and of considerable weight and ''money's worth''- its weight 630 oz., its cost ÂŁ600. It has, however, a higher value- that derived from the excellence in Art. A very effective design, with much of originality, is associated with skilful workmanship. Altogether, it is one of the productions in which England takes pride, as maintaining her supremacy in competition with ''all nations.'' But there is another interest excited by this work: it is a testimonial presented by his Majesty the emperor of Brazil to Sir J.Drummond Hay, C.B., her Majesty's Minister at Morocco, in acknowledgment of '' great and timely services rendered by him on the occasion of the wreck of the Imperial Brazilian corvette D'Isabel.'' It is especially gratifying to record the liberality of the Emperor for services rendered to his subjects at a distance from his Empire. The graceful and generous act of his Majesty has impressed the thousands who have, in the Exhibition, been made acquainted with the fact- honourable alike to the giver and the receiver, and to be regarded also as a compliment to our country. (p. 194)
Lighting Manufacturers Christofle & Co. It is impossible to rate highly the works of MM. Ch. Christofle & Co., of Paris, whose very large collection forms the principal adornment of the French division of the Exhibition.There will be in 1962, no teacher so useful as M. Christofle; hardly a branch of Art- manufacture that will not be to his dept. The establishment is the most extensive of its class in Europe, giving employment to twelve hundred workmen in the manufacture of silver plate, in that which, at far less cost, has equal beauty and worth (in so far as Art is concerned), the electroplate- such as in England is usually associated with the name of Elkington. (p. 63) M.G. Levv,
Vittox & Co.
M.G. Levv, of Paris, successor to the long famous firm of Vittox & Co., one of the leading bronze manufacturers of the French capital, exhibits a large collection of works of varied orderas well as candelabra, vases, lampsbusts, statuettes,& c., among which are the productions of Pradier, Cumberworth, Duret, Schoenwerck, Carrier, &c., the principal designers of works of that class. M. Levy devoted much attention to the graceful utilities of the drawing and dining rooms. Many of his exhibits show influence of good Art on objects of daily use, as well as on those of costlier and more elaborate character. (p. 199) Matifat Cabdelabra from M. Matifat, of Paris,(p. 53)
1862 International Exhibition London and Ryder Messers. London and Ryder, of New Bond Street, exhibit a case of beautiful works in Jewelery and in Plate. The Candelabrum is the ''Goodwood Prise'' of 1862 and is a judicious attempt to combine utility with ornament. (p. 92)
Mutrhead and Sons. The Centre-Piece for a dessert service, is a work in silver-gilt, of great merit, both in design and execution. It is the production of Messrs. Mutrhead and Sons, of Glasgow, and is an honorable evidence of Art-progress in that city . It was a ''commission'' from the tenantry of the Duke of Hamilton, and was presented by them to his Grace- a proof of gratitude for services rendered, and respectful afection manifested by the cultivators of the soil towards its lord. It is of considerable size and weight.(p. 270)
Lighting Manufacturers Minton for Goode, Designer Jeannest, Painter Thomas Allen Messrs. Minton for Messrs. Goode, of South Audley Street, designed and specially produced for them. The service is unquestionably a chef d'oeuvre of British Ceramic Art: a very beautiful example of the pate tendre, for which the works at Stoke-upon Trent have obtained a ''world- wide'' renown. Its production has been a labour of time and cost; success has followed and rewarded both. The figures are of parian, lightly colored and gilt: they are admirably modelled, while the cupid groups are skillfully and very gracefully painted by Mr. and other artists employed at ''Minton's,'' who have largely aided to render the productions exhibited by the firm so creditable to the Art Progress of this country. Designed by the truly great artist Jeannest, ''who died too soon.''The numerous and varied works exhibited by Messrs. Goode are evidence that they are guided by a knowledge and love of Art.(p. 171)
1862 International Exhibition Rose and Daniel The numerous works exhibited by Messrs. Rose of Coalport, and Messrs. Daniel, of New Bond Street, have been objects of universal admiration they have upheld and extended the renown obtained by the ceramic manufactures of England. A Candelabrum, modelled by Worrell, and executed by Strephon. It is a production of great merit, standing nearly four feet high, and do constructed as to be easy of removal in pieces. The figures supporting and ornamenting are all allegorical, and all appropriate. (p. 172)
Deniere Fils The House of Messrs. Deniere Fils of Paris, has been famous for nearly a century: it maintains the high position it has occupied so long. Two candelabra – conspicuous for beauty of design and brilliancy of metal (p. 297)
Lighting Manufacturers E. and E. Emanuel A silver Candelabrum, the work of Messrs. E. and E. Emanuel, goldsmiths and jewelers, of Portsmouth. It is part of a service designed and manufactured expressly for the exhibition Britannia, seated on a lion, distributing rewards to the representatives of the four quarters of the globe. The allegory is carried out in the other articles of the service, which is designed with much talent, and executed with considerable skill. (p. 302)
E. Jeannest E. Jeannest, (p. 240)
in
the
Pompeian
style.
1862 International Exhibition Wertheimer. Mr. Wertheimer, of New Bond Street, is among the most valuable contributors to the Exhibition, from his extensive collection of the objects de luxe: he is a large importer of the choicest production of the best fabricants of the Continent. Below however,we may see his own productions, principally of works in ormolu, admirable as castings, but receiving increased worth and beauty from the labours of the chaser. Evidence of this is supplied by the Stork Candelabrum, and a variety of Candlesticks and Ink-Stands of the class to which Mr. Wertheimer has paid special attention.(p. 69)
Lighting Manufacturers C.S.Matifat. C.S.Matifat, of the Vieille Route de Neuilly,Paris, Bronze Manufacturer, exhibits not largely but several of his works are of high merit in design and manufacture. (p. 198)
Howell Humme.
and
James,
Designer
F
.
E.
One of the many attractive Jewels exhibited by Howell and James; a Candelabrum in ormolu, in the style ''moresque;'' from the designs of Mr. F . E. Humme. (p. 97)
1862 International Exhibition Messrs. Howell
and James
Work in Ormolu contributed by Messrs. Howell and James. Gracefully designed and ornamented, is among the best productions of their class in the exhibition. (p. 236)
Dosson and Pearce The contributions of Messrs. Dosson and Pearce the palm of supremacy has been universally awarded. There are many excellent exhibitors of table glass, who have all foreiners included, willingly admitted that none of their exhibits compete with those of the eminent firm in St James's Street. Mr Pearce is an artist as well as producer, and his works supply conclusive evisdence of the value of Art knowledge in Art manufacture. (p. 212)
Lighting Manufacturers Asprey Mr Asprey, of New Bond Street, Candlestick (p. 72)
A. Willms A beautiful enameled Pianoforte Candlestick designed by A. Willms, in which the butterfly forms a prominent feature of the ornament.(p. 185)
Elington& Co It is no easy task to select from the extensive contributions of Messrs. Elington& Co what will best exhibit the taste and skill manifested in their productions.Enamelled Candlestick for the pianoforte.(p. 91)
1862 International Exhibition Adelphi Adam The works of the Messr (Adelphi)Adam, and may be considered as indicating the style of English decorative furniture of the eighteenth century. (p. 104)
Lighting Manufacturers M. Charpentier There were few of the bronze manufacturers of France whose exhibited works surpassed those of M. Charpentier,of Paris with reference either to design or execution: each had some excellence to recommend it, and Mr Charpendier obtained the meed of honor to which he was eminently entitled. (p. 305)
1862 International Exhibition D. Vollgold and Sohn, Designer Fischer. The ''Presentation Plate'' of the City of Berlin to their Royal Highness the Prince and Princess Frederio William of Prussia, consisting of four articles of silver - a Vase with Salver, standing on an ornamental Tripod, and Candelabra. The design is from Professor Fischer. The Manufacturers are D. Vollgold and Sohn, of Berlin. The candelbra are nine feet high, the vase four feet. Knowledge and fancy have combined to render each section the part of a great whole; rendering honour and homage to well- beloved Princess Royal of Englandwelcomed to the city over which she is, by God's blessing, destined to rule as Queen of Prussia.(p. 121)
Lighting Manufacturers Foundry Count Stolberg.
Rennie and Adcock Messrs. Rennie and Birmingham, Greek Bronze.(p. 120)
Adcock, Lamp
of in
The Candelabrum is of cast iron, from the renowned foundry of Count Stolberg, at Ilsenburg, in the Harz.(p. 241)
1862 International Exhibition Floor standing Chandelier Osler One of the huge Glass Chandeliers manufactured and contributed by the famous manufacturers, Messrs. Osler of Birmingham. It is a very triumph of the art – an art in which Messrs. Osler are unrivalled. (p 258)
Lighting Manufacturers Lamp posts - Hall Lights William Hood Some of the cast-iron productions of Mr. William Hood, of Noe 12 and 13, Upper Thames Street, are contained on this page. Excepting a LampPost of good design. It is obvious that such valuable works can be, and are produced at greater or lesser cost, either in cast iron or in bronze, and in association with either stone or rich marble. (p. 43)
1862 International Exhibition Bell Messrs. Bell, of Glasgow, exhibit a Candelabrum. 5ft.hight of ''ironstone porcelain,'' intended for a hall or staircase. (p. 177)
Lighting Manufacturers William
Hood
A production of Mr. W. Hood, of Upper Thames Street: a massive Hall Light (p. 85)
Hart Moderator Lamp, by Messrs. Hart, of Wych Street.(p. 27)
1862 International Exhibition Establishment at Coalbrookdale The admirable establishment at Coalbrookdale contributions were not only extensive and varied, but of the highest Art character- in the common as well as the more costly productions of the foundry- usually from designs by the best artists of England and France. Thus, while it furnishes millions of dwellings with stoves and other household necessaries of a cheap kind, it adorns also the mansions and the places of the aristocracy. Issuing these renowned works, iron assumes the value of bronze. Their works were creditable to the manufacturers and the country. Two lamp pillars. (p. 285)
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