Victorian Things

Items

• William Macready & Charles Dickens's Scrap Screen
  This elaborate folding screen is composed of four wooden leaves, each covered entirely by an assortment of square and rectangular paper cut-outs. Each individual leaf spans 202cm by 77.5cm, and the total length of the screen when extended is 310cm. Although the photographs above show only the front side of the screen, both sides are covered entirely in black-and-white images. Boasting approximately four hundred engravings overall, the folding screen displays an array of yellowed scraps of paper dating from the 1820s to the 1840s. These decoupaged images have been meticulously pasted onto the front and back of the screen and subsequently varnished. There are no gaps showing between the images, nor do their edges overlap. Covering a range of artistic genres, these engravings include portraits, historical paintings, and scenes from well-known plays. While the folding screen was made some time around 1860, the photograph above shows the object in its current state, housed in the collections of Sherborne House, in Dorset.
• 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.
• William Strang's "The Plough"
  “The Plough” is an extremely large woodcut print, measuring five feet tall by six feet wide and printed from nine separate wood blocks. Created by artist William Strang for schoolrooms, the image is made up of individual black lines forming patterns of light and dark. The central image focuses on two large horses harnessed to a wooden plough that loosens and turns the soil while a farmer follows behind them, holding the plough. The ground is a slightly sloped hill, uneven and rocky with patches of grass, and both the horses and man appear tired. The background is made up of a clouded sky; a rolling landscape of hills, trees, and a cliff; and bundles of straw. The central image is surrounded by an intricate border, featuring a repeating pattern of ribbons, leaves, and fall produce, including squash and pumpkins. Two vertical white lines are visible, marking the boundaries where three sheets of two-foot-wide paper have been joined together to form the final picture.
• Clemence Housman's "The Were-Wolf"
  Clemence Housman’s "The Were-Wolf" is an illustrated novella published in 1896. Housman wrote the story and engraved the six illustrations, which were designed by her brother Laurence. The title page, printed in orange ink, acknowledges Clemence Housman as the author and Laurence Housman as the illustrator, as well as the novella’s publication date and its publishers in London and Chicago (John Lane and Way and Williams, respectively). However, as often happens in Victorian illustrated books, Clemence Housman’s role as the wood engraver remains unacknowledged. The engraved full-page illustration included here, “Rol’s Worship,” shows three young men working at a table; a small child hangs on to the legs of the man on the left. The background includes two women, partly obscured by the figures in the foreground. The various textures of wooden flooring, human skin, and fabric are represented by patterns of wood-engraved cross-hatched lines. Denser hatching suggests shadow on the ceiling and floor; white space and lighter patterns of lines show where backlighting brightens the scene. In the bottom left corner, Laurence Housman’s initials appear in block capitals. The complete, rectangular image is framed by white space but not centred on the page, leaving a greater amount of blank paper below and to the right of the illustration.
• 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.
• Miniature Portrait of Elizabeth Siddall
  This delicate, palm-sized portrait sits encased in a jeweled frame made of gold, bowenite, opal, diamonds, and star sapphires. The object was given to The Walters Art Museum in 1963 with a large collection of portrait miniatures. Unlike a traditional painted miniature, this piece is a black and white photograph—likely a carte-de-visite—overpainted in gouache. The first photograph of the object included in our gallery shows the front of the framed photograph. A three-quarter length portrait of a figure sits before a dark blue background, head turned slightly to the left, with her eyes downcast and her hands clasped. A light red shawl is draped around her shoulders and held in place with her hands, partially obscuring a brown striped dress. White accents draw our eyes to her sleeves and the frill at her neck, where a brooch is fastened. In the second image, the engraved inscription on the reverse of the frame, added in the early 20th century, asserts: This represents / Elizabeth Eleanor Siddal, / who on the 25th of May 1860 became the wife of / Dante Gabriel Rossetti. / In May 1861 she gave birth to a child, / and died on February 10th 1862, / having unhappily taken an overdose of Laudanum / in order to relieve a severe form of Neuralgia / by which she was afflicted. / This Portrait was painted by her husband / between December 1860 and May 1861, / and is the only portrait the artist painted / of his wife after her marriage. / He painted her portrait numberless times / before her marriage and made many sketches of her / but afterwards made one slight sketch in pencil / which has been lost / and painted this miniature.