Chair
1851 (made)
| Artist/Maker | |
| Place of origin |
Object Type
In 1851, this chair was described as a drawing room chair. The shaped back and 'cabriole' legs indicate that it was inspired by French furniture styles of the 18th century, which were very fashionable for drawing rooms in the 1840s and 1850s. The pale colours and delicate embroidery on the original seat cover also show that the chair was intended for a feminine interior.
People
Henry Eyles, who designed and made this chair, was an upholsterer in Bath with premises at 31 Broad Street, in 1851 and subsequently at 7 Margaret's Buildings. He may have been connected with T.G. Eyles, a cabinetmaker, of 13 James Street, and George Eyles, a carver, of 4 Chandos Buildings. Both were listed in Bath street directories in 1860.
Historical Associations
This chair was exhibited by Henry Eyles in Class XXVI (Furniture) in the Great Exhibition of 1851. The unconventional use of the porcelain plaque with the image of Queen Victoria, and the Royal Arms embroidered on the seat, demonstrated his creative skills as well as offering a form of homage to the monarch. This technical ingenuity and combination of unusual materials was typical of much of the furniture shown in 1851.
In 1851, this chair was described as a drawing room chair. The shaped back and 'cabriole' legs indicate that it was inspired by French furniture styles of the 18th century, which were very fashionable for drawing rooms in the 1840s and 1850s. The pale colours and delicate embroidery on the original seat cover also show that the chair was intended for a feminine interior.
People
Henry Eyles, who designed and made this chair, was an upholsterer in Bath with premises at 31 Broad Street, in 1851 and subsequently at 7 Margaret's Buildings. He may have been connected with T.G. Eyles, a cabinetmaker, of 13 James Street, and George Eyles, a carver, of 4 Chandos Buildings. Both were listed in Bath street directories in 1860.
Historical Associations
This chair was exhibited by Henry Eyles in Class XXVI (Furniture) in the Great Exhibition of 1851. The unconventional use of the porcelain plaque with the image of Queen Victoria, and the Royal Arms embroidered on the seat, demonstrated his creative skills as well as offering a form of homage to the monarch. This technical ingenuity and combination of unusual materials was typical of much of the furniture shown in 1851.
Object details
| Categories | |
| Object type | |
| Parts | This object consists of 4 parts.
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| Materials and techniques | Walnut, carved and inlaid, inset with a Worcester porcelain plaque, with an embroidered satin seat |
| Brief description | Carved and inlaid walnut with Worcester porcelain plaque of Queen Victoria and original seat cover of embroidered white satin |
| Physical description | The chair is carved and inlaid walnut with a Worcester porcelain plaque portrait of Queen Victoria. The seat is of white silk embroidered in coloured silks. |
| Dimensions |
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| Gallery label | British Galleries:
CHAIRS WITH ROYAL PORTRAITS These chairs follow what was to become a tradition in the design of exhibition pieces, in being items for display rather than use. The inlay of the woodwork and the delicate embroidery that survives on the drawing room chair were the best quality cabinet-maker's work. However, the unusual inclusion of porcelain plaques showing Queen Victoria and Prince Albert would have made them both fragile and uncomfortable as seating.(27/03/2003) |
| Credit line | Given by Mr L. M. Eyles, in memory of his brother, William Sidney Eyles |
| Object history | This chair was exhibited by Henry Eyles in the Great Exhibition of 1851, Class XXVI, Decoration Furniture and Upholstery, including Paper-hangings, Papier Maché, and Japanned Goods, No. 50. The Official Descriptive and Illustrated Catalogue, page 733, described the chair as 'English walnut-tree drawing room chair, with porcelain panel in the back, ornamented with marqueterie, white satin seat, embroidered with the rose, shamrock, and thistle.' Eyles also exhibited the table, W.40-1952, and the armchair, Circ. 35-1958, in the 1851 Exhibition. The chair, armchair and table were lent by the grandchildren of Henry Eyles to the exhibition, The Great Exhibition of 1851, held at this Museum, 3rd May -11th October, 1951. The chair, which had its own wooden travelling case, belonged to William Sidney Eyles and both were given to the Museum in his name by his sisters, the Misses L.M. and H.F. Eyles. Given by William Sydney Eyles, grandson of Henry Eyles. |
| Historical context | Henry Eyles, listed as a cabinet maker and upholsterer at 31 Broad Street in the Bath Annual Directory (1852), may have part of a family involved in furniture making in the city. Also listed as a cabinet maker and upholsterer in 1852 was Thomas Eyles, 28 Brock Street, who may have been one of those included in the Bath Directory (1846). This lists Thomas Eyles, cabinet maker, 25, James Street; Thomas Eyles, chair maker, 2,Trinity Street, Kingsmead Square; Thomas Eyles Junior, chair, sofa, and loo-table manufactory, 13, James Street. The Post Office Directory for Bath, 1864-5, lists Henry Eyles, cabinet maker and upholsterer, 7, Margaret's Buildings, and George Eyles, chair maker and carver, 5, Chandos Buildings. |
| Subject depicted | |
| Summary | Object Type In 1851, this chair was described as a drawing room chair. The shaped back and 'cabriole' legs indicate that it was inspired by French furniture styles of the 18th century, which were very fashionable for drawing rooms in the 1840s and 1850s. The pale colours and delicate embroidery on the original seat cover also show that the chair was intended for a feminine interior. People Henry Eyles, who designed and made this chair, was an upholsterer in Bath with premises at 31 Broad Street, in 1851 and subsequently at 7 Margaret's Buildings. He may have been connected with T.G. Eyles, a cabinetmaker, of 13 James Street, and George Eyles, a carver, of 4 Chandos Buildings. Both were listed in Bath street directories in 1860. Historical Associations This chair was exhibited by Henry Eyles in Class XXVI (Furniture) in the Great Exhibition of 1851. The unconventional use of the porcelain plaque with the image of Queen Victoria, and the Royal Arms embroidered on the seat, demonstrated his creative skills as well as offering a form of homage to the monarch. This technical ingenuity and combination of unusual materials was typical of much of the furniture shown in 1851. |
| Bibliographic reference | Elizabeth Aslin, Nineteenth Century English Furniture (London, Faber, 1962), frontispiece |
| Collection | |
| Accession number | W.31:1, 3-1953 |
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| Record created | December 15, 1999 |
| Record URL |
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