{"meta":{"version":"2.1","_links":{"self":{"href":"https://api.vam.ac.uk/v2/object/O12233"},"collection_page":{"href":"https://collections.vam.ac.uk/item/O12233/"}},"images":{"_primary_thumbnail":"https://framemark.vam.ac.uk/collections/2017JY9761/full/!100,100/0/default.jpg","_iiif_image":"https://framemark.vam.ac.uk/collections/2017JY9761/","_alt_iiif_image":[],"imageResolution":"low","_images_meta":[{"assetRef":"2017JY9761","copyright":"©Victoria & Albert Museum, London","sensitiveImage":false}]},"see_also":null},"record":{"systemNumber":"O12233","accessionNumber":"W.36-1989","objectType":"Mould","titles":[],"summaryDescription":"The firm of ornamental plasterers, George Jackson and Sons, was founded in 1780 and remained in business at their original works in Hammersmith for over 200 years. They specialized in casting ornaments from moulds, used in the decoration of walls and ceilings. From the outset, much of their work was in the neo-classical style promoted by the architect Robert Adam. In 1989, when the firm merged with Clark & Fenn Ltd., they presented the Museum with some 850 moulds and other objects relating to the making of ornamental plasterwork, accumulated over their 200-year history. Some of these may have come from other businesses, including the firm of Brown's, which Jacksons took over in the early 20th century. The present piece, which represents a neoclassical vase, is a 'negative' made in the 20th century from the original mould; it is cast in composition, probably plaster of Paris.","physicalDescription":"A cast mould of unidentified moulding material, possibly Plaster of Paris, set in a pine frame. The mould is sealed with an unidentified varnish.\r\n\r\nThe design consists of a wide, shallow urn with base and scrolled handles from which drapery is suspended.  Decoration to the urn includes a laurel leaf pattern and what may be a form of vitruvian scroll.\r\n\r\nThe left end is sealed with cream paint over which is written \"A32\".","artistMakerPerson":[{"name":{"text":"Unknown","id":"A1848"},"association":{"text":"","id":""},"note":""}],"artistMakerOrganisations":[],"artistMakerPeople":[],"materials":[{"text":"Plaster of Paris","id":"AAT14927"},{"text":"pine","id":"AAT12620"}],"techniques":[{"text":"cast","id":"AAT53104"}],"materialsAndTechniques":"Unidentified moulding material, possibly plaster of Paris, set in a pine frame","categories":[{"text":"Interiors","id":"THES48933"}],"styles":[],"collectionCode":{"text":"FWK","id":"THES48597"},"images":["2017JY9761"],"imageResolution":"low","galleryLocations":[{"current":{"text":"012","id":"THES302646"},"free":"","case":"","shelf":"","box":""}],"partTypes":[[{"text":"Mould","id":""}]],"contentWarnings":[{"apprise":"","note":""}],"placesOfOrigin":[{"place":{"text":"England","id":"x28826"},"association":{"text":"made","id":"x28654"},"note":""}],"productionDates":[{"date":{"text":"20th century","earliest":"1900-01-01","latest":"2000-12-31"},"association":{"text":"made","id":""},"note":""}],"associatedObjects":[],"creditLine":"Given by Clark and Fenn Ltd.","dimensions":[{"dimension":"Length","value":"34.1","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"maximum","note":""},{"dimension":"Width","value":"20.2","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"maximum","note":""},{"dimension":"Depth","value":"3.4","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"maximum","note":""}],"dimensionsNote":"","marksAndInscriptions":[{"content":"The left end is sealed with cream paint over which is written \"A32\".","inscriber":{"name":{"text":"","id":""},"association":{"text":"","id":""}},"date":{"text":"","earliest":null,"latest":null},"description":"","interpretation":"","language":"","medium":"","method":"","position":"left end","script":"","translation":"","transliteration":"","type":"","note":"left end"}],"objectHistory":"The following information applies to the reverse carved wooden moulds in the collection, however there are a number of recent \"plaster casts\" within the collection such as this one.  They may have been made from objects within the collection or objects from the same firm (or indeed another) that have subsequently deteriorated before the collection came to the museum.\r\n\r\nThe mould was made for the mass production of architectural ornament from moulding materials, such as \"compo\" (a generic term for the paste or putty, usually consisting of four basic ingredients: whiting, glue, rosin and linseed oil.  This was used in the late 18th and early 19th century).\r\n\r\nIt may have been commissioned from a carving workshop by the London based firm, Brown's, who are thought to have been bought out by the firm of George Jackson & Sons Ltd. in the first half of the 20th century when Brown's went out of business.  These moulds were offered to the Museum in 1988 when Jackson's became a subsidiary of Clark & Fenn Ltd.\r\n\r\nSome of the moulds have a name or intials such as \"GS\", which are thought to relate to their respective carver.\r\n\r\nHitorical Context Note: These reverse carved moulds were used in the late 18th and throughout the 19th century to produce architectural ornament from mould making materials such as \"compo\". Composition manufactories, in addition to firms such as carvers and gilders, used these moulds which were commissioned from carvers' workshops. \r\n\r\nIt is thought that the Adam brothers played a major role in the initial manufacture of ornament on a grand scale in this way, and are rumoured to have employed a George Jackson (1756-1840), the founder of the present company, George Jackson & Sons Ltd. (a subsidiary of Clark & Fenn Ltd.)  Thus the turn of the 18th century gradually witnessed a sharp decline in the number of carvers, those still remaining in employment often working in reverse as opposed to relief, to create the moulds.\r\n\r\nThe mould was made for the mass production of architectural ornament from moulding materials, such as \"compo\" (a generic term for the paste or putty, usually consisting of four basic ingredients: whiting, glue, rosin and linseed oil.  This was used in the late 18th and early 19th century).\r\n\r\nIt may have been commissioned from a carving workshop by the London based firm, Brown's, who are thought to have been bought out by the firm of George Jackson & Sons Ltd. in the first half of the 20th century when Brown's went out of business.  These moulds were offered to the Museum in 1988 when Jackson's became a subsidiary of Clark & Fenn Ltd.\r\n\r\nSome of the moulds have a name or intials such as \"GS\", which are thought to relate to their respective carver.\n\nHistorical significance: Many of the designs are in the classical style, suggesting a late 18th and early 19th century date, however others are clearly mid and late Victorian.  Further research will help to establish their date through their style of pattern.  The majority of the collection (without further analysis) seems to be made of box and various fruitwoods.  However other woods are in evidence for exmple, the supporting blocks for the finer strips of boxwood, into which the ornament has been carved.  \r\n\r\nThe presence of machine planer marks are in evidence on many of the moulds, which will assist in establishing their date.  Others have no such evidence, and hand cut fixing such as nails.  \r\n\r\nThere are many beautiful examples of the carver's art within this collection, particularly those bearing the initials or names of the carvers.","historicalContext":"These reverse carved moulds were used in the late 18th and throughout the 19th century to produce architectural ornament from mould making materials such as \"compo\". Composition manufactories, in addition to firms such as carvers and gilders, used these moulds which were commissioned from carvers' workshops. \r\n\r\nIt is thought that the Adam brothers played a major role in the initial manufacture of ornament on a grand scale in this way, and are rumoured to have employed a George Jackson (1756-1840), the founder of the present company, George Jackson & Sons Ltd. (a subsidiary of Clark & Fenn Ltd.)  Thus the turn of the 18th century gradually witnessed a sharp decline in the number of carvers, those still remaining in employment often working in reverse as opposed to relief, to create the moulds.\r\n\r\nInitially, the ornament was produced by pressing a thickness of compo into the oiled mould, and squeezing it in a screw press.  The pressing could then be removed from the mould in a still warm and flexible state and applied to the substrate.  Towards the middle of the 19th century, machines were introduced and more widely used in the production process.","briefDescription":"A cast mould of unidentified moulding material, possibly Plaster of Paris, set in a pine frame. 20th century.","bibliographicReferences":[],"production":"Though there is no evidence to suggest that these moulds were actually made in London, it is thought that Jackson's acquired moulds from another London company, possibly Brown's.\r\n\r\nThis particular \"plaster\" mould may have been cast from an existing object in this collection or cast from one which was deteriorating and has subsequently been lost.  Whether the object was made before or after the collection came to the museum is unclear.\n\nAttribution note: For the production of architectural ornament.","productionType":{"text":"Unique","id":"THES48864"},"contentDescription":"","contentPlaces":[],"associatedPlaces":[],"contentPerson":[],"associatedPerson":[{"text":"Adam, Robert","id":"N763"}],"contentOrganisations":[],"associatedOrganisations":[],"contentPeople":[],"associatedPeople":[],"contentEvents":[],"associatedEvents":[],"contentOthers":[{"text":"urn","id":"AAT129425"},{"text":"Vitruvian scroll","id":"AAT169122"}],"contentConcepts":[],"contentLiteraryRefs":[],"galleryLabels":[],"partNumbers":["W.36-1989"],"accessionNumberNum":"36","accessionNumberPrefix":"W","accessionYear":1989,"otherNumbers":[],"copyNumber":"","aspects":["WHOLE"],"assets":[],"recordModificationDate":"2025-04-16","recordCreationDate":"1999-11-19","availableToBook":true}}