{"info":{"version":"2.0","record_count":18,"record_count_exact":true,"parameters":{},"page_size":15,"pages":2,"page":1,"image_count":68},"records":[{"systemNumber":"O1266772","accessionNumber":"1817-1939","objectType":"Photograph","titles":[{"title":"Hammersmith Socialist League","type":"generic title"}],"summaryDescription":"The Socialist League was formed in 1884 with the artist and craftsman William Morris as a founder member. He can be seen here, standing at the front, fifth from the right. To his right is the photographer Emery Walker. Morris's wife Jane sits front centre and their daughter, May Morris, can be seen two seats along from her mother.  \n\nWilliam Morris rejected industrial manufacture in favour of hand-craftsmanship. He believed that Capitalist mass manufacturing exploited and dehumanised workers and was a primary cause of Social disparity. Morris became involved in politics and eventually helped found The Socialist League. He also edited and published the League's newspaper ‘Commonweal’, in which his socialist texts ‘The Dream of John Ball’ (1888) and ‘News From Nowhere’ (1890) were first serialised. However, much to Morris's disapointment, Anarchists gained control of the league and he later broke with them to form the Hammersmith Socialist Society. Disillusioned by the factionalism of the Socialist movement Morris still continued to lecture and publish political essays until the late 1890s.","physicalDescription":"","artistMakerPerson":[],"artistMakerOrganisations":[],"artistMakerPeople":[],"materials":[],"techniques":[{"text":"Albumen Process","id":"AAT133274"},{"text":"photography","id":"AAT54225"}],"materialsAndTechniques":"Albumen print photograph","categories":[{"text":"Photographs","id":"THES48910"},{"text":"Politics","id":"THES48908"}],"styles":[],"collectionCode":{"text":"PDP","id":"THES48595"},"images":["2013GK3197","2006AT7582","2022ND9861"],"galleryLocations":[{"current":{"text":"LVLF","id":"THES49656"},"free":"","case":"X","shelf":"610","box":"B"}],"partTypes":[[{"text":"photograph","id":"AAT46300"}]],"contentWarnings":[{"apprise":"","note":""}],"placesOfOrigin":[{"place":{"text":"England","id":"x28826"},"association":{"text":"made","id":"x28654"},"note":""}],"productionDates":[{"date":{"text":"c. 1884","earliest":"1879-01-01","latest":"1888-12-31"},"association":{"text":"photographed","id":"x30151"},"note":""}],"associatedObjects":[{"object":{"text":"1817A-1939","id":"O1092433"},"association":""}],"creditLine":"","dimensions":[],"dimensionsNote":"","marksAndInscriptions":[],"objectHistory":"","historicalContext":"","briefDescription":"19thC; Anon, Hammersmith Socialist League inc W Morris","bibliographicReferences":[{"reference":{"text":"","id":""},"details":"p.20","free":"Edited by Eleanor Clayton. Francesco Manacorda and Lynn Wray, <u>Art Turning Left. How values changed making 1789-2013</u> Liverpool : Tate Liverpool, 2013. ISBN: 9781849760324."}],"production":"","productionType":{"text":"","id":""},"contentDescription":"","contentPlaces":[],"associatedPlaces":[],"contentPerson":[{"text":"William Morris","id":"A8676"},{"text":"Jane Morris","id":"C2770"},{"text":"Mary Morris","id":"N3565"},{"text":"Emery Walker","id":"A11429"}],"associatedPerson":[],"contentOrganisations":[{"text":"The Socialist League","id":"AUTH327518"}],"associatedOrganisations":[],"contentPeople":[],"associatedPeople":[],"contentEvents":[],"associatedEvents":[],"contentOthers":[],"contentConcepts":[{"text":"socialism","id":"AAT55533"}],"contentLiteraryRefs":[],"galleryLabels":[],"partNumbers":["1817-1939"],"accessionNumberNum":"1817","accessionNumberPrefix":"","accessionYear":1939,"otherNumbers":[],"copyNumber":"","aspects":["WHOLE"],"assets":[],"recordModificationDate":"2025-04-09","recordCreationDate":"2013-07-11","availableToBook":false,"_currentLocation":{"id":"THES49656","displayName":"Prints & Drawings Study Room, level F","type":"request to view","site":"VA","onDisplay":false,"detail":{"free":"","case":"","shelf":"","box":""}},"_primaryTitle":"Hammersmith Socialist League","_primaryMaker":{},"_primaryImageId":"2013GK3197","_primaryDate":"c. 1884","_primaryPlace":"England","_warningTypes":[],"_images":{"_primary_thumbnail":"https://framemark.vam.ac.uk/collections/2013GK3197/full/!100,100/0/default.jpg","_iiif_image_base_url":"https://framemark.vam.ac.uk/collections/2013GK3197/","_iiif_presentation_url":"https://iiif.vam.ac.uk/collections/O1266772/manifest.json","imageResolution":"high"}},{"systemNumber":"O1326634","accessionNumber":"E.2955-2016","objectType":"Design","titles":[],"summaryDescription":"<i>Who? Where? How? </i>was a game created for the V&A Friday Late event <i>Home Sweet Home</i> in 2009. \n\r\nIt was devised as a murder mystery trail around the Museum in which the visitor adopted the role of a detective investigating the murder of Henry Cole’s faithful dog Jim. The object of the game was to discover who murdered Jim, as well as where and how he was murdered, by collecting cards placed around the Museum.\r\n\nKatharine McEwen illustrated each of the cards with either a potential murder weapon, murderer or location. Each of these relate directly to either the V&A’s collection or the building; the murder weapons are all objects from the Museum’s collection, the murderers are all designers whose works are held in the collection and the locations are all spaces within the V&A buildings. \r\n\nThe V&A has a broad and varied collection of objects that document the history of gaming including chessboards and chess pieces dating back to the mid-13th century, playing cards dating back to around 1500, as well as popular 20th-century family board games such as Cluedo and Monopoly. In addition, there is also a large collection of drawings, prints and paintings representing people playing games.","physicalDescription":"Design for a game, depicting designer William Morris seated in an armchair, facing to the left. The upholstery of the armchair is rendered to imitate Morris’s ‘Willow Bough’ pattern [E.64-1915]. On a blue background. Gouache over pencil, heightened with coloured pencils, crayon and pastels, with glaze in some areas.","artistMakerPerson":[{"name":{"text":"McEwen, Katharine","id":"AUTH337511"},"association":{"text":"Maker","id":"x40240"},"note":""}],"artistMakerOrganisations":[],"artistMakerPeople":[],"materials":[{"text":"gouache","id":"AAT70114"},{"text":"pencil","id":"x30347"},{"text":"coloured pencil","id":"x34757"},{"text":"crayon","id":"x30605"},{"text":"paper","id":"AAT14170"}],"techniques":[{"text":"drawing","id":"x32498"},{"text":"painting","id":"AAT54216"}],"materialsAndTechniques":"gouache, pencil, coloured pencil, coloured crayon, unidentified glaze, watercolour paper, painted, drawing","categories":[{"text":"Games","id":"THES48947"},{"text":"Illustration","id":"THES48938"},{"text":"Designs","id":"THES48968"},{"text":"Textiles","id":"THES48885"},{"text":"Furniture","id":"THES48948"}],"styles":[],"collectionCode":{"text":"PDP","id":"THES48595"},"images":[],"galleryLocations":[{"current":{"text":"LVLD","id":"THES49658"},"free":"","case":"MD","shelf":"44","box":""}],"partTypes":[[{"text":"design","id":"AAT102051"}]],"contentWarnings":[{"apprise":"","note":""}],"placesOfOrigin":[{"place":{"text":"Great Britain","id":"x32019"},"association":{"text":"designed and made","id":"x39722"},"note":""}],"productionDates":[{"date":{"text":"2009","earliest":"2009-01-01","latest":"2009-12-31"},"association":{"text":"made","id":"x28654"},"note":""}],"associatedObjects":[{"object":{"text":"E.64-1915","id":"O709815"},"association":"Original"},{"object":{"text":"E.2965:6-2016","id":"O1326631"},"association":"Reproduction"}],"creditLine":"Given by the artist, Katharine McEwen","dimensions":[{"dimension":"Height","value":"15","unit":"cm","qualifier":"","date":{"text":"20/07/2017","earliest":"2017-07-20","latest":"2017-07-20"},"part":"Crop marks","note":"The design is marked in pencil to indicate the boundaries of the image."},{"dimension":"Width","value":"15","unit":"cm","qualifier":"","date":{"text":"20/07/2017","earliest":"2017-07-20","latest":"2017-07-20"},"part":"Crop marks","note":"The design is marked in pencil to indicate the boundaries of the image."},{"dimension":"Width","value":"170","unit":"mm","qualifier":"","date":{"text":"21/07/2017","earliest":"2017-07-21","latest":"2017-07-21"},"part":"","note":""},{"dimension":"Height","value":"195","unit":"mm","qualifier":"","date":{"text":"21/07/2017","earliest":"2017-07-21","latest":"2017-07-21"},"part":"","note":""}],"dimensionsNote":"","marksAndInscriptions":[{"content":"KMCEWEN","inscriber":{"name":{"text":"","id":""},"association":{"text":"","id":""}},"date":{"text":"","earliest":null,"latest":null},"description":"","interpretation":"","language":"","medium":"","method":"","position":"","script":"","translation":"","transliteration":"","type":"","note":"Signed in pencil in bottom right hand corner of the image"}],"objectHistory":"Who? Where? How? was a game created for the V&A Friday Late event Home Sweet Home in 2009. \r\n\r\nIt was devised as a murder mystery trail around the Museum in which the visitor adopted the role of a detective investigating the murder of Henry Cole’s faithful dog Jim. The object of the game was to discover who murdered Jim, as well as where and how he was murdered, by collecting cards placed around the Museum.\r\n\r\nKatharine McEwen illustrated each of the cards with either a potential murder weapon, murderer or location. Each of these relate directly to either the V&A’s collection or the building; the murder weapons are all objects from the Museum’s collection, the murderers are all designers whose works are held in the collection and the locations are all spaces within the V&A buildings. ","historicalContext":"","briefDescription":"Design for the game 'Who? Where? How?' by Katharine McEwen, depicting William Morris sitting in an armchair upholstered in his 'Willow Bough' pattern [E.64-1915], on a blue background. Designed for V&A Friday Late 'Home Sweet Home', 2009. Gouache, pencil, crayon and coloured pencil on watercolour paper.","bibliographicReferences":[],"production":"","productionType":{"text":"","id":""},"contentDescription":"","contentPlaces":[],"associatedPlaces":[],"contentPerson":[{"text":"Morris, William","id":"A8676"}],"associatedPerson":[{"text":"William Morris","id":"A8676"}],"contentOrganisations":[],"associatedOrganisations":[],"contentPeople":[],"associatedPeople":[],"contentEvents":[],"associatedEvents":[],"contentOthers":[{"text":"armchair","id":"AAT37776"},{"text":"pattern","id":"x30755"},{"text":"chairs","id":"AAT37772"},{"text":"furniture","id":"AAT37680"}],"contentConcepts":[],"contentLiteraryRefs":[],"galleryLabels":[],"partNumbers":["E.2955-2016"],"accessionNumberNum":"2955","accessionNumberPrefix":"E","accessionYear":2016,"otherNumbers":[],"copyNumber":"","aspects":["WHOLE"],"assets":[],"recordModificationDate":"2025-04-16","recordCreationDate":"2015-12-30","availableToBook":false,"_currentLocation":{"id":"THES49658","displayName":"Prints & Drawings Study Room, level D","type":"request to view","site":"VA","onDisplay":false,"detail":{"free":"","case":"","shelf":"","box":""}},"_primaryTitle":"","_primaryMaker":{"name":"McEwen, Katharine","association":"Maker"},"_primaryImageId":null,"_primaryDate":"2009","_primaryPlace":"Great Britain","_warningTypes":[],"_images":{}},{"systemNumber":"O1326631","accessionNumber":"E.2965:1 to 13-2016","objectType":"Game","titles":[{"title":"Who? Where? How?","type":"published title"}],"summaryDescription":"<i>Who? Where? How? </i>was a game created for the V&A Friday Late event <i>Home Sweet Home</i> in 2009. \n\r\nIt was devised as a murder mystery trail around the Museum in which the visitor adopted the role of a detective investigating the murder of Henry Cole’s faithful dog Jim. The object of the game was to discover who murdered Jim, as well as where and how he was murdered, by collecting cards placed around the Museum.\r\n\nKatharine McEwen illustrated each of the cards with either a potential murder weapon, murderer or location. 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on the left hand side, in the form a tick grid:]\r\n\r\nDetective Notes\r\n\n<b>Suspects</b>\r\n“Coco” Chanel\r\nRon Arad\r\nRaphael\r\nWilliam Morris\r\n\r\n<b>Weapons</u>\r\nCandlestick\r\nPistol\r\nStiletto Shoe\r\nKnife\r\n\r\n<b>Rooms</b>\r\nHall \r\nDining Room\r\nLibrary\r\nWalk-in Closet\r\nKitchen\r\n\r\n[On the right hand side, in the form of a board. Central square, following a counter-clockwise direction from the lower centre.]\r\n\r\n<b>Who?\r\nWhere?\r\nHow?</b>\r\n\r\n1.\t<u>Hall</u>\r\n- Start here\r\n- Hold onto your pencil and your Detective Notes\r\n\r\n2.\t\n- Walk through the Grand Entrance\r\n- Turn right before the Shop into <b>China, Room 45</b>\r\n- Exit Japan via the stairs, turn right and go up the “L” Staircase\r\n\r\n3.\t<u>Library</u>\r\n- Enter the National <b>Art Library</b>\r\n- Walk through all the way into the <b>West Room, Room 75</b>\r\n- Retrace your steps back to the entrance of the library\r\n\r\n4.\n- Turn left into Sacred Silver and Stained Glass, Room 83-84\r\n- Reach <b>Silver, Room 65-69</b>\r\n- Exit Silver via the “I” Ceramic Staircase\r\n\r\n5.\t<u>Kitchen</u>\r\n- Go through the set of double glass doors\r\n- Walk down the length of the <b>Café</b>\r\n- Explore the <b>Morris Room</b>, situated on the left hand-side\r\n\r\n6.\t\n- Turn right into Rooms 27, 26\r\n- Walk through Sculpture, Room 24-21a, past the Garden\r\n- Take the stairs up to <b>South Asia, Room41</b>\r\n- Enter South Asia and exit at the other end and turn right.\r\n\r\n7.\t<u>Walk-in Closet</u>\r\n- Enter <b>Fashion, Room 40</b>\r\n- Walk around the room in full circle\r\n- Once back at the entrance of fashion, look ahead\r\n\r\n8.\t\n- Enter <b>Raphael, Room 48a</b>\r\n- Take the “C” Staircase to exit Raphael.\r\n- Enter the British Galleries\r\n- Turn right and follow the run of rooms, 56, 55 and 54\r\n\r\n10.  <u>Dining Room</u>\r\n- Enter <b>Henrietta Street, Room 54</b>\r\n- Turn right twice on exit\r\n- Go down the “D” Staircase\r\n- Walk back to the Grand Entrance\r\n- Collect your customised V&A badge\r\n\r\n\r\n[Instruction Sheet]\r\n\r\nWho?\r\nWhere?\r\nHow?\r\n\r\n10 Murder Mystery cards to find at the V&A Mansion\r\n\r\nThe scene opens in Sir Henry Cole’s palatial Mansion which \r\nhe moved into in 1857. Sir Henry Cole’s faithful dig, Jim, is \r\nthe victim of foul play and is found buried in the V&A Garden.\r\n\r\n<u>Discover the answer to these 3 questions:</u>\r\n\r\nWho? Which one of the several suspects did it?\r\nWhere? In which room of the mansion did the crime happen?\r\nHow? Which weapon was used to commit the crime?\r\n\r\nCLUE 1: The first playing card is enclosed in this file.\r\nCLUE 2: Concentrate your search in rooms indicated in bold.\r\nCLUE 3: There may be more than 1 playing card in the same room.\r\nCLUE 4: Only 10 cards exist, including the one in this pack.\r\nCLUE 5: Look for Jim’s burial headstone in the V&A Garden \r\nand pay your respect to the poor creature.\r\n\r\n<u>Once you have collected your 10 cards, make your way back \r\nto the Grand Entrance for a customised “V&A Super Sleuth” badge.</u>\r\n\r\nFrench Connection Friday Late Home Sweet Home\r\n27 February 2009\r\nWho? Where? How? Game illustrated by Katharine McEwen\r\n\r\n[Cards]\r\n[All cards are lettered ‘Illustrated by Katharine McEwen’, with the text running vertically upwards from the bottom right corner.]\r\n\r\nDagger\r\nHalberd with bronze handle\r\nA jade halberd was not a weapon for combat but a symbol of authority. This object is part of a group of artefacts discovered in Shang dynasty tombs. Bronze casting and jade carving technologies were very sophisticated between 1600-1050BC.\r\nMuseum no. FE.21-1984. Sir Harry Garner gift. China Gallery: Room 44\r\n\r\nPistol\r\nFlintlock pistol (one of a pair)\r\nThese pistols with left and right hand locks were made as personal weapons to Tipu Sultan. Their barrels have gold Persian inscriptions giving the date of their manufacture, the armourer’s name and the verses of praise of the pistols and the ruler. They also feature a gold tiger head formed of the words “The Victorious Lion of Gold” in Arabic.\r\nMuseum no. IS.55-2005 and IS.56-2005. South Asia Gallery, Room 41\r\n\r\nStiletto Shoe\r\nWoven silk shoe by Manolo Blahnik\r\nIn the 1980s stiletto shoes were popularised by the shoe designer Manolo Blahnik, who distanced high heels from their 1970s association with sex. He imbued this particular style of footwear with extravagance and glamour. The pair of stilettos, adorned with a floral design similar to patterns on early 1750s silk fabrics, highlights this new direction.\r\nMuseum no. T.158:2-1996 Given by Mr Manolo Blahnik. Fashion Gallery, Room 40\r\n\r\nLibrary\r\nNational Art Library\r\nThe library was built between 1879 and 1884 as a series of interconnecting rooms. It was one of the first parts of the V&A to have electric lighting installed as part of the fittings. The decoration, above eye level to avoid being a distraction, in in the Classical Revival style of 16th century Italy. The upper gallery still has its original plasterwork and ornate railings.\r\n\r\nDinging Room\r\n11 Henrietta Street, <i>London, 1727-1728</i>\r\nThis room was the most elegant interior of an otherwise typical plain London brick house. The plaster frieze is a celebration of Bacchus, the Roman god of entertainment and feasting. This suggests that the room was used both as a dining room and a sitting room. Such a general use of rooms was standard in all but the grandest houses in London.\r\n\r\nWalk-in Closet\r\nFashion Gallery, Room 40\r\nThe Fashion Gallery presents a unique history of high fashion, from the ornate richness of a court mantua to the minimalism of contemporary couture. The V&A collection covers four centuries of fashionable dress, from the beginning of the 18th century to the latest creations of the 21st century.\r\n\r\nHall\r\nGrand Entrance\r\nThe Grand Entrance, built in 1904-09, draw[sic] on the Classical Revival style of 16th century France, with pillars, arches, a dome and surroundings of polished marble and stone. The aim was to create an impression of grandeur and refinement. The Grand Entrance was also designed for practical purposes, for people to plan their visit, get information or meet others.\r\n\r\nWilliam Morris\r\nWilliam Morris (<i>1834-1896</i>) was an astonishingly versatile and dynamic figure: poet, socialist, entrepreneur, craftsman, designer and artist. He was instrumental in the design reform movement that stripped Victorian design of its highly colours realism, and was also a staunch supporter of the V&A.\r\n\r\nRon Arad\r\nRona Arad (<i>born 1951</i>) is one of the most internationally renowned and individual designers of his generation. Over the decades he has created many iconic design pieces, from the Rover Chair and the Well Tempered Chair to the Bookworm bookcase. In 2000 he launched his “Victoria and Albert” furniture collection in homage to the museum.\r\n\r\n“Coco” Chanel\r\nGabrielle “Coco” Chanel\r\n“Coco” Chanel (<i>1883-1971</i>) was a French Fashion designer who ruled over Parisian haute couture for almost six decades. Her elegantly casual designs inspired women of fashion to abandon complicated, uncomfortable clothes and to adopt her now-classic innovations, such as the Chanel suit, costume jewellery and the “little black dress”.","inscriber":{"name":{"text":"","id":""},"association":{"text":"","id":""}},"date":{"text":"","earliest":null,"latest":null},"description":"","interpretation":"","language":"","medium":"","method":"","position":"","script":"","translation":"","transliteration":"","type":"","note":""}],"objectHistory":"","historicalContext":"","briefDescription":"Game designed by Katharine McEwen, 'Who? Where? 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The leading lines were certainly added by Morris.","productionType":{"text":"","id":""},"contentDescription":"","contentPlaces":[],"associatedPlaces":[],"contentPerson":[{"text":"Jesus Christ","id":"N1515"},{"text":"Peter","id":"N400"},{"text":"The Virgin Mary","id":"N480"},{"text":"Mary Magdalene","id":"N482"},{"text":"Judas","id":"N448"},{"text":"John","id":"N1456"},{"text":"William Morris","id":"A8676"},{"text":"Jane Morris","id":"N2473"}],"associatedPerson":[],"contentOrganisations":[],"associatedOrganisations":[],"contentPeople":[],"associatedPeople":[],"contentEvents":[{"text":"The Sermon on the Mount","id":"V334"}],"associatedEvents":[],"contentOthers":[],"contentConcepts":[],"contentLiteraryRefs":[],"galleryLabels":[],"partNumbers":["E.2916-1927"],"accessionNumberNum":"2916","accessionNumberPrefix":"E","accessionYear":1927,"otherNumbers":[],"copyNumber":"","aspects":["WHOLE"],"assets":[],"recordModificationDate":"2025-04-30","recordCreationDate":"2004-01-06","availableToBook":false,"_currentLocation":{"id":"THES49773","displayName":"Prints & Drawings Study Room, room 514a","type":"request to view","site":"VA","onDisplay":false,"detail":{"free":"","case":"","shelf":"","box":""}},"_primaryTitle":"The Sermon on the Mount","_primaryMaker":{"name":"Dante Gabriel Rossetti","association":"maker"},"_primaryImageId":"2006AT7360","_primaryDate":"1862","_primaryPlace":"England","_warningTypes":[],"_images":{"_primary_thumbnail":"https://framemark.vam.ac.uk/collections/2006AT7360/full/!100,100/0/default.jpg","_iiif_image_base_url":"https://framemark.vam.ac.uk/collections/2006AT7360/","_iiif_presentation_url":"https://iiif.vam.ac.uk/collections/O88562/manifest.json","imageResolution":"high"}},{"systemNumber":"O16499","accessionNumber":"E.450-1976","objectType":"Drawing","titles":[{"title":"William Morris reading poetry to Burne-Jones","type":"generic title"}],"summaryDescription":"This little sketch records one of the great close friendships in British art, that of Burne-Jones and William Morris. They first met in 1853 as undergraduates at Exeter College, Oxford, and were to collaborate on many artistic and decorative projects. In this caricature, Burne-Jones celebrates his friend's love of the written and spoken word while he shows himself apparently asleep. The expressive manner in which line is manipulated is outstanding.","physicalDescription":"Line drawing of a fat man with a shock of curly hair sitting on a chair and facing forwards. To the right a bearded man facing left,  seated, with legs out stretched and his hands in his pockets.","artistMakerPerson":[{"name":{"text":"Edward Coley Burne-Jones","id":"A8203"},"association":{"text":"maker","id":"AAT251917"},"note":""}],"artistMakerOrganisations":[],"artistMakerPeople":[],"materials":[{"text":"paper","id":"x30308"}],"techniques":[],"materialsAndTechniques":"Pen and ink on paper","categories":[{"text":"Caricatures & Cartoons","id":"THES48983"},{"text":"Drawings","id":"THES48966"}],"styles":[],"collectionCode":{"text":"PDP","id":"THES48595"},"images":["2016JR4687","2006AN6808"],"galleryLocations":[{"current":{"text":"LVLH (VA)","id":"THES49654"},"free":"","case":"PD","shelf":"165","box":"C"}],"partTypes":[[{"text":"drawing","id":""}]],"contentWarnings":[{"apprise":"","note":""}],"placesOfOrigin":[{"place":{"text":"England","id":"x28826"},"association":{"text":"made","id":"x28654"},"note":""}],"productionDates":[{"date":{"text":"1861","earliest":"1861-01-01","latest":"1861-12-31"},"association":{"text":"drawn","id":"x30545"},"note":""}],"associatedObjects":[],"creditLine":"","dimensions":[{"dimension":"Height","value":"180","unit":"mm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""},{"dimension":"Width","value":"115","unit":"mm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""}],"dimensionsNote":"","marksAndInscriptions":[],"objectHistory":"Purchased, 1976\r\n\r\nMaria Zambaco, a great aunt of Mrs Wyndam Milligan, who sold the (E.449 & 450-1976) at Sotheby's, Belgravia, 29 June 1976, Lot 230 and 243","historicalContext":"","briefDescription":"William Morris reading poetry to Burne-Jones, pen and ink on paper, Edward Burne Jones, 1861, England","bibliographicReferences":[{"reference":{"text":"Fagence Cooper, Suzanne, Pre-Raphaelite Art in the Victoria & Albert Museum. London: V&A Publications, 2003.","id":"AUTH402374"},"details":"","free":""},{"reference":{"text":"Conrad, Christofer & Zettel, Annabel. <i>Edward Burne-Jones : the earthly paradise</i>. 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Hollyer","dimensions":[{"dimension":"Height","value":"22.9","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""},{"dimension":"Width","value":"16.5","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""}],"dimensionsNote":"","marksAndInscriptions":[],"objectHistory":"","historicalContext":"","briefDescription":"19thC; Hollyer F, Edward Burne-Jones & William Morris","bibliographicReferences":[{"reference":{"text":"Conrad, Christofer & Zettel, Annabel. <i>Edward Burne-Jones : the earthly paradise</i>. Ostfildern, Germany : Hatje Cantz, 2009","id":"AUTH354422"},"details":"no.8","free":""}],"production":"","productionType":{"text":"","id":""},"contentDescription":"","contentPlaces":[],"associatedPlaces":[],"contentPerson":[{"text":"William Morris","id":"A8676"},{"text":"Sir Edward Coley Burne-Jones","id":"A8203"}],"associatedPerson":[],"contentOrganisations":[],"associatedOrganisations":[],"contentPeople":[],"associatedPeople":[],"contentEvents":[],"associatedEvents":[],"contentOthers":[],"contentConcepts":[],"contentLiteraryRefs":[],"galleryLabels":[],"partNumbers":["7711-1938"],"accessionNumberNum":"7711","accessionNumberPrefix":"","accessionYear":1938,"otherNumbers":[],"copyNumber":"","aspects":["WHOLE"],"assets":[],"recordModificationDate":"2025-08-26","recordCreationDate":"2003-08-12","availableToBook":false,"_currentLocation":{"id":"THES49656","displayName":"Prints & Drawings Study Room, level F","type":"request to view","site":"VA","onDisplay":false,"detail":{"free":"","case":"","shelf":"","box":""}},"_primaryTitle":"Edward Burne-Jones & William Morris","_primaryMaker":{"name":"Hollyer, Frederick","association":"photographer"},"_primaryImageId":"2006AV2093","_primaryDate":"1874","_primaryPlace":"","_warningTypes":[],"_images":{"_primary_thumbnail":"https://framemark.vam.ac.uk/collections/2006AV2093/full/!100,100/0/default.jpg","_iiif_image_base_url":"https://framemark.vam.ac.uk/collections/2006AV2093/","_iiif_presentation_url":"https://iiif.vam.ac.uk/collections/O83340/manifest.json","imageResolution":"high"}},{"systemNumber":"O8144","accessionNumber":"341:1 to 8-1906","objectType":"Cabinet","titles":[{"title":"St George Cabinet","type":"popular title"}],"summaryDescription":"<b>Object Type</b><br>This cabinet is a rare example of Morris's painted work and typical of the large pieces of furniture, Mediaeval in inspiration and crude in construction, associated with Morris and his circle from 1858.<br><br><b>People</b><br>Family friends such as Sir Edward Coley Burne-Jones (1833-1898) and Dante Gabriel Rossetti (1828-1882) posed as models for the painted figures.  Morris's wife Jane is depicted as the Princess.<br><br><b>Design & Designing</b><br>This cabinet demonstrates a  lack of co-ordination between physical structure and painted decoration; the five scenes of St George are unequally divided over the three doors. Contemporary criticism of the design commented on this immature, idealistic rendition of Medieval painted furniture. The interior's decoration indicates  Morris's early interest in pattern design, a skill he was to develop with great expertise in his wallpapers and textiles. The decorative motifs and the copper handles derive from a combination of Asian and Mediaeval sources.<br><br><b>Materials & Making</b><br>The technique used for the interior decoration (layers of tinted varnish on a ground of silver leaf) was a Mediaeval method revived by William Burges, seen on  the cabinet commissioned by H.G. Yatman of 1858 (museum no. Circ.217-1961).<br><br><b>Related Museum Objects</b><br>Some of  Morris's designs for the painted panels are held in the Prints, Drawings and Paintings Department of the Museum (museum nos. E.2787-1927, E.2788-1927, E.2789-1927, E.2790-1927).","physicalDescription":"The cabinet is formed of a rectangular cupboard on a stand; the cupboard has three doors, each with a copper handle and lock plate, painted with five scenes from the Legend of St. George, divided unevenly with two scenes on the left hand and central door, and one on the right hand door; the scenes separated by vertical wavy lines and spots or by daisy heads; the rest of the cupboard is painted black with coloured patterns of shells and spots up the sides of the doors and round the top; the cupboard has a flat top and framed and panel ends, each corner finished with a square-section, tapering finial; the stand, painted red, has four columnar legs with castellated bases, joined at each end by rectangular feet on castors and by a square sections stretcher with curving rails which join a horizontal rail with moulded ends between which sits the cupboard.","artistMakerPerson":[{"name":{"text":"Webb, Philip (Speakman)","id":"A1012"},"association":{"text":"designer","id":"AAT25190"},"note":""},{"name":{"text":"Morris, William","id":"A8676"},"association":{"text":"painter (artist)","id":"AAT25136"},"note":""}],"artistMakerOrganisations":[{"name":{"text":"Morris, Marshall, Faulkner & Co.","id":"A1197"},"association":{"text":"manufacturer","id":"AAT25230"},"note":""}],"artistMakerPeople":[],"materials":[{"text":"mahogany","id":"AAT12221"},{"text":"oak","id":"AAT12264"},{"text":"pine","id":"AAT12620"},{"text":"copper","id":"AAT11020"}],"techniques":[{"text":"painting (image-making)","id":"AAT54216"},{"text":"gilding","id":"AAT53789"}],"materialsAndTechniques":"Painted and gilded mahogany, pine and oak, with copper mounts","categories":[{"text":"British Galleries","id":"THES48985"},{"text":"Furniture","id":"THES48948"}],"styles":[{"text":"Gothic Revival","id":"AAT21452"}],"collectionCode":{"text":"FWK","id":"THES48597"},"images":["2006AH8812","2011EU4203","2006BB8261","2006BB8260","2006BB8259","2006BB8258","2006AH8816","2006AH8815","2006AH8814","2006AH8813","2006AH8811","2006AH8810","2006AH8809","2006AH8808","2006AH8807","2006AH8806","2006AH8805","2006AH8804","2006AH8803","2006AH8802","2006AT7905","2006AT4310","2006AM2764","2006AM2763","2006AM2762","2006AM2760","2006AM2758","2006AM2756","2006AM2755","2006AM2754","2006AM2751","2006AM2748","2006AM2737","2006AM2736","2006AM2735","2006AM2734","2006AM2733","2006AM2732","2006AM2731","2017JW1609","2019LY8427"],"galleryLocations":[{"current":{"text":"125F (VA)","id":"THES49213"},"free":"","case":"PL2","shelf":"","box":"22"},{"current":{"text":"125F (VA)","id":"THES49213"},"free":"","case":"PL2","shelf":"","box":"22"},{"current":{"text":"125F (VA)","id":"THES49213"},"free":"","case":"PL2","shelf":"","box":"22"},{"current":{"text":"125F (VA)","id":"THES49213"},"free":"","case":"PL2","shelf":"","box":"22"},{"current":{"text":"125F (VA)","id":"THES49213"},"free":"","case":"PL2","shelf":"","box":"22"},{"current":{"text":"125F (VA)","id":"THES49213"},"free":"","case":"PL2","shelf":"","box":"22"},{"current":{"text":"125F (VA)","id":"THES49213"},"free":"","case":"PL2","shelf":"","box":"22"},{"current":{"text":"125F (VA)","id":"THES49213"},"free":"","case":"PL2","shelf":"","box":"22"},{"current":{"text":"FWK3","id":"THES49462"},"free":"","case":"KEYS","shelf":"","box":""}],"partTypes":[[{"text":"cabinets (case furniture)","id":"AAT38888"}],[{"text":"stands (support furniture)","id":"AAT39767"}],[{"text":"drawers (furniture components)","id":"AAT40558"}],[{"text":"drawers (furniture components)","id":"AAT40558"}],[{"text":"drawers (furniture components)","id":"AAT40558"}],[{"text":"drawers (furniture components)","id":"AAT40558"}],[{"text":"drawers (furniture components)","id":"AAT40558"}],[{"text":"drawers (furniture components)","id":"AAT40558"}],[{"text":"keys (hardware)","id":"AAT33579"}]],"contentWarnings":[{"apprise":"","note":""},{"apprise":"","note":""},{"apprise":"","note":""},{"apprise":"","note":""},{"apprise":"","note":""},{"apprise":"","note":""},{"apprise":"","note":""},{"apprise":"","note":""},{"apprise":"","note":""}],"placesOfOrigin":[{"place":{"text":"London","id":"x28980"},"association":{"text":"made","id":"x28654"},"note":""}],"productionDates":[{"date":{"text":"1861-1862","earliest":"1861-01-01","latest":"1862-12-31"},"association":{"text":"made","id":"x28654"},"note":""}],"associatedObjects":[{"object":{"text":"E.2787-1927","id":"O138681"},"association":""},{"object":{"text":"E.2788-1927","id":"O138682"},"association":""},{"object":{"text":"E.2789-1927","id":"O138683"},"association":""},{"object":{"text":"E.2790-1927","id":"O138684"},"association":""}],"creditLine":"","dimensions":[{"dimension":"Height","value":"111","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"maximum, including finials","note":""},{"dimension":"Width","value":"178","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""},{"dimension":"Depth","value":"43","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""}],"dimensionsNote":"Dimensions checked: Measured; 20/04/1999 by LH\r\nStand 'interlocks' with cabinet","marksAndInscriptions":[],"objectHistory":"The cabinet was designed by Philip Webb for the stand of Morris, Marshall, Faulkner & Co. at the London International Exhibition of 1862. Webb charged the firm £1 10s (£1 50p) for the design and William Morris produced four preliminary sketches for the narrative panels (E.2787-1927, E.2788-1927, E.2789-1927, E.2790-1927). One of the partners in the firm,  D.G. Rossetti described the preparation of the cabinet for display in a letter to Charles Eliot Norton, 9 January 1862, 'I wish you could see a painted cabinet, with the history of St. George, and other furniture of great beauty which we have in hand. We have bespoke space at the Great Exhibition...' <u>Letters of Dante Gabriel Rossetti</u>,edited by Oswald Doughty and John Robert Walsh, Vol. II, Oxford 1965, page 436.\r\n\r\nPriced at £50 at the 1862 Exhibition, the cabinet did not sell and was still recorded in the firm's stock in 1864. Its subsequent history is unclear until the sale of Laurence Hodson's collection in 1906. Hodson (1864-1933)  inherited Compton Hall, near Wolverhampton, from his father in 1890 and may have acquired the cabinet when he commissioned Morris & Co. to decorate the Hall, 1895-6. Morris's last wallpaper, <i>Compton</i> was designed for this commission. Hodson also owned three of the Holy Grail tapestries designed by Edward Burne-Jones (Birmingham Museum and Art Gallery) as well as two other pieces of furniture by Morris & Co.\r\n\r\nThe cabinet was purchased by the Museum from Hodson's sale (Christies, 6 July 1906, Lot 96), on the recommendation of Charles Fairfax Murray (who had owned Morris's sketches for the narrative panels). The firm of Durlacher Brothers, 142, New Bond Street, bid on behalf of the Museum and the purchase price of £66 3s included their commission of £3 3s. The cabinet was sent to Bethnal Green Museum on 24th July 1906, where many pieces of furniture were on display in order to educate the local furniture-making trades. It was returned to the Department of  Woodwork in 1931 and exhibited in the <u>William Morris Centenary</u> Exhibition in 1934.\r\n\r\nThe interior of the cabinet is fitted with shelves and drawers with copper handles. The drawer fronts are decorated with layers of tinted varnishes on silver leaf, a medieval technique described in Theophilus's <u>De diversis artibus</u>, published in 1847 by John Murray as <u>An Essay upon Various Arts</u>. Morris may have known of William Burges's use of this technique on his Yatman cabinet of 1858.\r\n\r\nWhen the cabinet was acquired in 1906, a polished mahogany board had been fixed on top of the stand and the upper cupboard section was placed on this board. This arrangement is recorded in a black and white photograph, Neg. No. 32498. Examination of the cabinet in preparation for the Morris Exhibition in 1996 indicated that the board was a later addition. The removal of the board enabled the upper cupboard section to be positioned on the stand between the mouldings at either end of the horizontal rail. This follows medieval prototypes and may be a more likely interpretation of the original intentions of Morris and Webb.\n\nHistorical significance: The cabinet is a rare example of Morris's painted work and is typical of the large pieces of furniture, medieval in form and crude in construction, associated with Morris and his circle from 1858.The theme of the cabinet epitomises Morris's youthful enthusiasm for mediaeval romance and literature. Morris's wife, Jane, was the model for the princess.\r\n\r\nBoth the cabinet and another early painted piece on which Morris, Webb and Burne-Jones collaborated, The Prioress's Wardrobe (Ashmolean Museum, Oxford) shows the same lack of co-ordination between structure and painted decoration. In this cabinet the five scenes of the story of St. George's rescue of the princess from the dragon are unequally divided between the three doors.\r\n\r\nThe decoration of the interior is, however, a startling reminder of Morris's early interest in pattern design. The decorative motifs, particularly the flowers, and the abstract form of the copper handles, derive from a variety of sources, possibly a combination of asian and mediaeval.","historicalContext":"","briefDescription":"Cabinet on stand, the doors painted with scenes from the legend of St George. English (London), 1861-1862. Designed by Philip Webb and painted by William Morris. Exhibited by Morris, Marshall, Faulkner & Co. at the International Exhibition of 1862.","bibliographicReferences":[{"reference":{"text":"","id":""},"details":"","free":"Wilk, Chrisopher ed. <font -u>Western Furniture 1350 to the Present Day in the Victoria & Albert Museum</font>. London: Philip Wilson in association with the Victoria and Albert Museum, 1996. pp158-9.\r\nISBN: 1856674435"},{"reference":{"text":"","id":""},"details":"","free":"[Archer, Michael. Pre-Raphaelite Painted Furniture. <font -u>Country Life</font>. April 1965.]"},{"reference":{"text":"","id":""},"details":"","free":"[Aslin, Elizabeth. <font -u>Nineteenth Century English Furniture</font>. London: Faber and Faber, 1962. Plate B.]"},{"reference":{"text":"","id":""},"details":"","free":"Jonathan Meyer, 'The Nineteenth Century. Empire and Eclecticism', in 'The Layman's Book of British Furniture 1600-2000'.  London, The Intelligent Layman Publisher Ltd, 2005, pp. 104-185, ill. pp. 109 and 205"},{"reference":{"text":"Jervis, Simon, <i>Victorian and Edwardian decorative art: the Handley-Read collection</i>, London, Royal Academy of Arts, 1972","id":"AUTH351463"},"details":"","free":""},{"reference":{"text":"<i>Centenary of William Morris: catalogue of exhibition</i>, London, Board of Education, 1934","id":"AUTH356173"},"details":"","free":""},{"reference":{"text":"Parry, Linda (ed.), <i>William Morris</i> London : Philip Wilson, 1996","id":"AUTH356798"},"details":"J.18","free":""}],"production":"The maker of the St. George cabinet, and other furniture exhibited by Morris, Marshall, Faulkner & Co. in 1862, has not yet been identified. It is possible that the cabinet was made in the workshop of Tommy Baker, a cabinet maker of Christopher Street, Hatton Garden, London. One of his employees, Henry Price, described making furniture in medieval style, probably for the rooms shared by Morris and Edward Burne-Jones at Red Lion Square, London, in 1856. 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