Ackermann's Repository: Allegorical Textile Woodcuts from Regency England

R. Ackermann

No.16

 c.1810-1813

Woodcut engraving with Fabric Samples

One of the many people who took advantage of England's industrial age was a printmaking entrepreneur named Rudolph Ackermann (1764-1834), an Anglo-German bookseller, inventory, lithographer and publisher. Among other things he was also a successful shop owner, his store the Repository of Arts opened in 1797 and became a spot for the English elite to socialize and shop for prints, illustrated books, decorative objects, art supplies, old master paintings and miniatures.

Ackermann extended his shop and created a yearly publication that showcased British manufacturing, in 1809 he began publishing his serious The Repository of Arts, Literature, Commerce, Manufacturers, Fashions ad Politics.  Ackermann's Repository, as it was also known, influenced English fashion, tastes, architecture, politics and literature throughout the Regency period and into the Georgian Era.

 R. Ackermann

No. 17

 c.1810-1813

Woodcut engraving with Fabric Samples

In an effort to boost British manufacturing and commerce, Ackermann included textile samples from premiere manufacturers. These woodcut engraving showcased real fabric samples that were adhered to the engraving. These fabric swatches appealed to fashion lovers and those who furnishing and designing their homes. On the next page the fabric swatches are described and note its designed cultural influences. The pieces of fabric stand out again an allegorical background, featuring a woman at her loom, a bust of Athena and her shield of Medusa near the Freemason's symbol the compass and square. And to the far right  a library filled with busts, books, and other minute cultural references. Mast sails peak out of the background, floating around a German Imperial Crown. Below features the symbol of the prince of whales, an emblem of the British Monarchy, a crown with silver ostrich feathers. Perhaps these crowns are featured because of Ackermann's cultural heritage.

Interestingly The Repository's last issue in 1829 was a dedicated fashion issue. Though Ackermann's shop closed and his Repository issues ended, his print making legacy was carried on by his decedents till the late 20th century.

A selection of Ackermann's Repository Textile Woodcuts will be featured in our under $300 section at the Hillsborough Spring Antique Show April 29-May 1. These works will be accompanied by our magnificent Audubon quadrupeds, Redoute flowers, Double Hemisphere projections, and California maps.

Feel free to can contact the gallery at (415)-788-5115.
Aader Galleries 432 Jackson Street, San Francisco, Ca, 94111

W.H. Pyne's History of Royal Residencies: 100 Fantasticly Designed Palace Interiors

William Henry Pyne (1769-1843)

Ante Chamber, Carlton House

From: The History of Royal Residences, 1819

Hand-colored aquatint engraving

11"x13"

In the early nineteenth century English interior decorative taste was heavily influenced by revival architecture and design motifs from previous centuries past. This trend of appropriating old world motifs and crafting pastiche furnishings borrowed from ancient Greece and renaissance Italy. Neoclassicism better known as England's Regency Era (1783-1837) was influenced by King George IV. Order and symmetry were two key factors in Regency aesthetic achievement, as showcased in W.H Pyne's publication The History of Royal Residencies, 1819.

William Henry Pyne (1769-1843) was a British painter, illustrator, cartoonist and writer. He was the son of textile workers, a leather seller and a weaver, but Pyne had aspirations of pursuing classic artistic endeavors. Pyne trained at the academy of Henry Pars in London and first exhibited at the Royal Academy in 1790.

Pyne's grand undertaking, The History of Royal Residences of Windsor Castle, St. James Palace, Carleton House, Kensington Palace, Hampton Court, Buckingham House and Frogmore...featured 100 commissioned hand painted aquatints of Royal interior and exterior architectural and interior design. These spectacular interior and architectural views displayed the detailed and extravagant decor of Royal peoples from iconic English palaces and landmarks.                           

W. H. Pyne

Presence Chamber, Kensington Palace

From: The History of Royal Residences, 1819

Hand-colored aquatint engraving

11"x13"

Though the publication slowly gained popularity and interest, the cost of self publishing such a extensive and artistically sophisticated book placed Pyne in financial ruin for the latter part of his life.

However, Pyne's work continues to be historically significant for documenting architectural history; such as Windsor Castle before architect Jeffrey Wyatville’s extensive alterations were made in 1824. As well as featuring St. James’s Palace,  and Carlton House; interiors created for the Prince Regent by Holland with Wyatt and Nash as architects. The History of Royal Residencies... also showcases Kensington Palace, Hampton Court, Buckingham House and Frogmore as remodeled by architect James Wyatt.

W. H. Pyne

Queen’s Audience Chamber, Windsor Castle

From: The History of Royal Residences, 1819

Hand-colored aquatint engraving

11"x13"

W. H. Pyne

King’s Writing Closet, Hampton Court

From: The History of Royal Residences, 1819

Hand-colored aquatint engraving

11"x13"

Pieces from this extravagant series of detailed Royal English households are available for purchase at Arader Galleries, 432 Jackson Street, San Francisco. Please call 415-788-5115 with any questions.

2009 Designer Showcase

Cabinet of Curiosities designed by Nicole Hollis

Stairwell designed by Nicole Hollis

Garden View of Salzburg by Mathias Diesel

Natural history undeniably marks one of the standout trends from this year’s Designer Showcase. Upon entering the magnificent Georgian mansion, visitors are greeted by a monumental cabinet of curiosities—a tradition dating back to Renaissance Europe, where objects, whose categorical boundaries were yet to be defined, were showcased. It is easy to comprehend the design community’s interest in natural history as well as its lasting appeal, when considering the history of collecting. Initially, collections acted as a library, museum, and means of displaying an individual’s wealth. Indeed, these objects (on loan here from the California Academy of Sciences) invite observers to touch or study objects that are not only beautiful but also serve as remnants from the beginnings of collecting.

Along the main stairwell, butterflies and various other natural history prints hang, further indicating how living among references to the natural world can be richly fulfilling. Other examples of an adherence to natural history, include a prehistoric skeleton of a predatory marine reptile, located on the upper hallway, and pet portraiture which hangs along the stairwell leading to the penthouse.

The Study, designed by John Wheatman, achieves a timeless conformable retreat, making it one of our favorite rooms. Near the bookcase, hang lovely 18th century views of the Mirabelle Gardens in Salzburg, Austria. These engravings prove the importance of integrating art with design, for their presence contribute in large to the scholarly and leisurely atmosphere. Examples of picturesque Baroque gardens, these views are available through Arader Galleries.

Needless to say, the Designer Showcase is one of our favorite times of year. Inspiring elegant new design ideas, this event keeps us coming back year after year. Arader Galleries is pleased to offer a special catalog highlighting our natural history material. Please contact Arader Galleries at 415.788.5115 or email us to receive our Exploring the Natural World catalog.

The 2009 San Francisco Decorator Showcase is open through May 25 at 2830 Pacific Ave., San Francisco. Hours are 10 a.m.- 3 p.m. Tues., Wed. and Fri.; until 7 p.m. Thurs.; 11 a.m.- 4 p.m. Sunday and Memorial Day. Closed Mon., except Memorial Day. $30 at the door; $25 seniors. Proceeds benefit the financial aid program at San Francisco University High School. Please call (415) 447-5830 for more information.

Empress Eugenie to the Prince of Chintz: a Short History of Furnishing with Antiques

Empress Eugénie (1853-1871)

Two members of the Arader Galleries team attended the American Decorative Arts Forum lecture on Tuesday, November 11, 2008. The topic was “Empress Eugenie to the Prince of Chintz: a Short History of Furnishing with Antiques.” Jared Goss, Metropolitan Museum of Art, New York, spoke with enthusiasm and, might I add, velocity on the interesting history of antique decorating. In today’s designer conscience world it is hard to believe that before the 19th century there was no such thing as decorating with antiques. The Renaissance marks the transition to a new type of collecting as people no longer sought out art and artifacts solely for their devotional purposes but for their intellectual, historical, scientific, nostalgic, or commercial significance, yet not for their aesthetic value.* Indeed, prior to the 19th Century people did collect old objects but generally only as a means of demonstrating their intellect.

Mr. Goss began his presentation by tracing the influence of the English Country Home on antique furnishing. The romance of the English Country House décor evolved from the incorporation of fashions from previous generations with current ones, which explains why it has such deep roots in the history of antique decorating. The idea of mixing the “old with the new” first manifested itself here. In 1897 Country Life Magazine was published which showed off Britain’s country homes and contributed to the advancement of country home décor. Nancy Lancaster (1898-1994) perfected and popularized English Country Home decorating with her signature swaggered curtains, large fire places, and upholstered couches.

The Industrial Revolution contributed to the phenomenon of antique decorating for several reasons. Firstly, the emergence of the nouveau riche from the cities, combined with advances in transportation systems (creation of railroads), made countryside homes less remote and therefore the décor more assessable and popular than ever. Secondly, industrialization drastically drove down the cost of furniture, allowing people of modest income the ability to afford new furniture for the first time. The rich, always wanting things that others couldn’t afford, looked to antiques as a means of maintaining their visual social hierarchy.

Accredited for incorporating her nostalgia for aristocratic France into décor, Empress Eugénie (1853-1871) is a classic example of someone using the “cult of the past” to assert her legitimacy. Married to Napoleon the III, the last empress of the France aligned herself with Empress Josephine and, above all, Marie Antoinette because like Marie Antoinette she was foreign at court—herself a Spaniard in the French Court as Marie was an Austrian in the French Court—in order to emphasize her stateliness. Famous for her restoration projects, Empress Eugénie refurbished the Petite Trion and Malmaison, among others, with period pieces. Her desire to align herself with the past was so great she even painted rooms blue due to the fact it was Marie Antoinette’s favorite color.

By the end of the 19th Century, the first design schools were founded during this time, including the Road Island School of Design and Parsons in 1877 and 1896, respectively. Education was crucial in differentiating between amateurs and legitimate designers. Furthermore, the first books on interior design were published in by the end of the 19th, early 20th century as well: “The Decoration of Houses” by Edith Wharton and Oyden Codman Jr (1897) and “The House in Good Taste” by Elsie du Wolfe (1914), which are still in publication today. The concept of interior decorating is a 20th century concept and Du Wolf has earned the accreditation as the first official decorator.

The Great Depression of the 1930’s caused many Americans to move to smaller living quarters as they could no longer afford servants. This event caused interior design to take a turn towards functionality. It follows then that contemporary interior design, Mario Buatta or the “Prince of Chintz” designs rooms that are full of chintz, color, classicism and, most importantly, comfort. Mr. Buatta incorporates elements from English Country Home décor with comfort and functionality, bringing the evolution of antique furnishings full circle.

All in all, Mr. Goss educated and captivated us from beginning to end. I hope our summation leaves you enlightened on the history of antique furnishings. The last lecture of the ADAF 2008 season will take place on December 9 at 8pm at the de Young Museum on “Pets in America: Their History through Portraits and Possessions.” Hope to see you there!

* Miles Harvey, “The Island of Lost Maps,” (New York: Random House, 2000) 70.