Panel
1700-1750 (made)
Artist/Maker | |
Place of origin |
Limewood was often used for the finest carving. It was almost without grain so that the finest detail could be worked more effectively. It was the favourite work of the celebrated carver, Grinling Gibbons (1648-1721) but was used also by most carvers at the time. This carving is one of several hundred carvings given to the Museum in 1921 by Sir Charles Allom and his wife, in memory of their son, who died in the First World War. From 1893 Sir Charles headed White Allom & Co., one of the most successful firms of architectural decorators in Britain, specialising in the copying of historic styles. Between 1900 and 1914 he also began to work for clients in the United States and after the First World War he spent time in both countries. The collection of carvings seems to have been put together as a study collection for his son, perhaps in the expectation that he would follow in his father's footsteps and take over the firm.
Object details
Category | |
Object type | |
Materials and techniques | Carved limewood |
Brief description | Rectangular panel of limewood, carved with the head of a foliated arch with symmetrical acanthus scrollwork |
Physical description | Rectangular panel of limewood, carved with the head of a foliated arch with symmetrical acanthus scrollwork |
Dimensions |
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Credit line | Given by Sir Charles and Lady Allom in memory of their son, Lieutenant Cedric Allom RFA |
Summary | Limewood was often used for the finest carving. It was almost without grain so that the finest detail could be worked more effectively. It was the favourite work of the celebrated carver, Grinling Gibbons (1648-1721) but was used also by most carvers at the time. This carving is one of several hundred carvings given to the Museum in 1921 by Sir Charles Allom and his wife, in memory of their son, who died in the First World War. From 1893 Sir Charles headed White Allom & Co., one of the most successful firms of architectural decorators in Britain, specialising in the copying of historic styles. Between 1900 and 1914 he also began to work for clients in the United States and after the First World War he spent time in both countries. The collection of carvings seems to have been put together as a study collection for his son, perhaps in the expectation that he would follow in his father's footsteps and take over the firm. |
Collection | |
Accession number | W.496-1921 |
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Record created | June 24, 2009 |
Record URL |
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