Victorian Things

Items

• Minutes of Evidence on Gardner Peerage
  Currently housed at the UK Parliamentary Archives, these handwritten manuscripts record the proceedings of the Committee for Privileges of the House of Lords in London. With covers of hand-marbled paper, each booklet displays the date and the title of the case in the secretary’s handwriting on its cover. Each book contains a new day of proceedings, with each witness beginning on a new page. The paper is thick and textured, with the marbled covers taking on different dominant hues: green, red, or beige. The booklets are bound loosely with a red ribbon.
• Tea Gown
  The maker and place of origin of this tea gown are unknown but it was created from a European shawl, likely circa 1891. The gown is pictured at two angles on a white mannequin with a white paper headpiece; the back and front are showcased. Intricate vegetal and paisley patterns on different colour fields adorn the wool fabric. The gown is visually striking with a straight collar closed at the neck, a detachable shoulder cape trimmed in purple silk, fashionable full sleeves with cuffs, a fabric belt, and, over the belt in back, a series of box pleats from neck to floor called “Watteau pleats.” The collar, right hip pocket, and cuffs are cut from shawl sections with an olive field, while the belt and back bodice are cut from sections with a brighter shade of red than the rest of the gown, which is predominantly burgundy. The gown closes at centre front with mother-of-pearl buttons. The pleated back structure provides volume at the skirt but, unlike the eighteen-century style for which Watteau pleats are named, pleats are stitched down at the upper bodice to help delineate a corseted figure.
• Hannah Claus's "interlacings"
  “interlacings,” a looped projected animation, features a red-bordered octagon centred within a black space. Inside the border, concentric rings rotate in different directions, resembling a kaleidoscope as each ring slowly transforms from one pattern to another. The unmoving red octagon frames the animation with intricate Victorian designs accented with white and orange details. While some of the images included here and the video of the piece that is accessible online may look like a decontextualized digital mandala, the work originally existed as an installation. In the gallery, “interlacings” was projected onto the gallery floor and surrounded by a bed of pine needles that dried out over time, alluding to fading memories of the local landscape. Initially, the projection looks uniformly Victorian, bringing to mind the types of designs popularized by William Morris, but as the inner rings shift and patterns morph out from the darkness, they highlight edible plants and flowers native to the Secwepemc territory (Kamloops, BC). For example, the outer ring spins rosehips, root vegetables, and raspberry bushes into bloom, while an inner ring includes roses and berries. These subtle transitions make it seem as though the piece itself is breathing, with greenery expanding out through an inhale and contracting in again through an exhale, but always remaining bound by the confines of the border.
• J. M. Whistler's "The Fleet: Monitors"
  “The Fleet: Monitors” from James McNeill Whistler’s “Jubilee Set” portrays the naval review of Queen Victoria’s 1887 Jubilee and five onlookers. The etching, completed in black ink on laid ivory paper, uses broken lines to outline an array of steam-powered ships with tall masts in the background. Additional ships are depicted with less detail on the left-hand side. Minimal linework suggests the forms of a few clouds in the sky as well as waves in the river. Four men and one woman stand in the left foreground and they all lack facial detail. The woman wears a sunhat and is looking towards the naval display. The first man from the left wears a hat and has a moustache; the second wears a hat and is reading a book; the third and fourth are also wearing hats and are drawn with the least amount of detail. All four men face the foreground, looking away from the ships that make up the background of the etching. The etching as a whole is dominated by negative space, punctuated by thin, spare lines. The paper is textured, and the print featured here, from the collection of the Art Institute of Chicago, has slight discolouration around the edges. Some unevenness in the print tone is evident on the left side of the etching. Relatively small, the print is 14.3 by 22.1 centimetres, or 5.6 by 8.7 inches.
• The "Ladies Carpet"
  The “Ladies Carpet,” designed by English architect J.W. Papworth and displayed at the Great Exhibition in 1851, is an example of Berlin wool work. The carpet measured thirty by twenty feet and consisted of one hundred and fifty squares, each measuring two feet by two feet. The squares were made and pieced together by “one hundred and fifty ladies of Great Britain,” as proclaimed under the published design of the carpet. Red and green accents dominate the intricate design, with red roses and green vines surrounding an inner rectangle. Small union jacks appear on all four corners of the carpet; two of the union jacks feature crests at their centres, while the other two feature the cross of Saint George. In the middle of the carpet, a V and an A interlock each other, paying homage to Queen Victoria and Prince Albert. The carpet’s current location is unknown.