Sebastien Erard,Harp,Japaned and gilded beech and pine;h.170.3cm

Domestic and Industrial Design

Joseph Marie Jacquard

Loom

programmable loomPunch cards

1801 Paris Industrial Products Fair

The Paris Exhibition: The Prince of Wales' Indian Collection in 1878

Napoleon

Patron of the textile arts and design

Chateau de Saint-Cloud, near Paris

Hippolyte Le Bas, designerDoves and Wild Boar,1816-18Toile de Jouy,cotton

Jean Démosthène Dugourc,

Textile woven in Lyons at the factory of Camille Pernon,

Silk brocade on blue ground;Each panel h.54cm/24”

Intended for Empress Josephine’s apartments at Saint-Cloud

François Gérard,

Empress Josephine, early 19th century;Oil on canvas;80x64.5cm/ 31 x 25”

Malmaison

Chateau for the Emperor Napoleon and the Empress Josephine, 1799-1803

Malmaison

Chateau for the Emperor Napoleon and the Empress Josephine, 1799-1803

Charles Percier and P F L Fontaine

Charles Percier and P F L Fontaine,Plate from Recueil de décorations intérieures,Engraving; 12.7x17.2cmInfluence of John Flaxman

Departure of Briseis from the Tent of Achilles, from the Iliad,Engraving18.2x31.5cm

John Flaxman

Electra and Chorus of Trojan Women Bringing Oblations, from Aeschylus’s Choephorae,Engraving;19.5x28.1cm

Friedrich RehbergPlate from Drawings Faithfully Copied from Nature, showing one of Emma Hamilton’s ‘attitudes’1794Engraving26.9x20.8cm

“to spread the principles of taste that we have derived from antiquity”

Principles: are bound “to those general rules of the true, the simple, the beautiful, which ought to govern forever all productions of the kingdom of imitation” and should spread from architecture to “the least works of the industrial arts.”

“ Who cannot distinguish the direction of spirit and taste in each period by the details of domestic utensils, the objects of luxury or necessity to which the worker involuntarily gves the imprint of the shapes, outlines and patterns in use in his day?”

Charles Percier and P F L Fontaine,Recueil de décorations intérieures

Wallpaper panel depicting an allegory of Autumn,Block-printed panel

Jean-Baptiste Rèveillon

Paris, 1785

France’s particular contributionTo the “spirit and taste” of the Neoclassic period

Wall paper

Jean Zuber (painter Mongin)

Arcadia,18117 tones og grey wallpaper,

Greek arcadia and Gessner’s Idylls (virtue, love, childhood innocence)

Tomb of Mikon

After 1804 “panoramas”

Jean Zuber

Joseph Dufour

Scene One, original Dufour: 7 ft 6 in wide x 6 ft 2 in high, 46.25 sq. ft.

Joseph Dufour

Scene Three, original Dufour: 7 ft 3 in wide x 6 ft 2 in h, 44.7 sq. ft.

Also called View of the Port of Rhodes

Karl Friedrich SchinkelDetail of carpet design from Vorbilder, Coloured lithograph

Ministry of Trade committee

Prussia, 1819

Peter Christian Wilhelm Beuth, ditector Karl Friedrich Schinkel, member

Beuth and Shinckel, Vorbilder für Fabrikanten und Handwerker (Examples for Manufacturers and Craftsmen), 1830 and 1837

Schinkel: “principles originating from the days of antiquity”

Going on to include Renaissance and Islamic art - ecleticism

Karl Friedrich Schinkel

Chair, garden h.80cm

Prussian ironworks, Cast-iron technique

Norwegian stove surmounted by Vestal Virgin,h.225cm, 88”

Franz Ludwig Catel,Schinkel in Naples1824Oil on canvas;62x49cm

'The Magic Flute', 1816. Stage design by Karl Freidrich Schinkel

Merlin’s Gouty Chair Plate in Ackermann’s RepositoryColoured aquatint

Vienna (Austria)

Habsburg ruleBefore the 1848 revolution

Unique contribution to the Neoclassical style

The Age of Shubert

The middle classes

The Biedermeier style

admired in the Art Nouveau and early Modern Art movements

Joseph Ulrich Danhauser

Combination of plainness and imaginativenessIndividual, stark, idiosyncratic style

Diana and Callisto Austrian glass beakercut and engraved by F Gottsteinh.13.3cm

J C Loudon,Plate from Encyclopaedia of Gardening, design for a swingWood engraving2.8x1.9cm

Viennese writing desk,95x124x79.5cm

Into the 19th cent.

Larger shops, pictorial advertisements, gas-lighting

reflected Neoclassical taste

English advertisement for Hubert’s Reseate Powder,1809Wood engraving;20.9x14cm

French advertisement for Violet and Guenot’s Soap,1827, Engraving

Plate from Frederick Accum’s A Practical Treatise on Gas-Lightshowing a variety of light fittings1815Coloured aquatint15.4x24.4cm

James Oatley,Longcase clock,Cedar and pine;h.259cm

Duncan Phyfe (attr.)Side chairc. 1810-15

Mahogany;h.84cm

Thomas HopeChair,Mahogany painted black and gold with bronze mounting;h.121.9cm

Schinckel, ecleticism)

The Vase Room

Thomas Hope, Household Furniture & Interior Decoration, London 1807

The Statue Gallery

Beauty consists not in ornament,' he wrote, 'it consists in outline…without a good outline, the richest and most decorated object will only  appear tawdry.'

This publication introduced the term “interior decoration” for the first time in English language literature.

Author’s drawings stimulated the taste for academically inspired ornament in Greek, Roman, and Egyptian modes

Thomas Sheraton. The cabinet maker and artist's encyclopaedia.  London, 1805-06.

To the memory of Lord Nelson Plate 9 of window draperies