Bookcase and writing-table in the Reformed Gothic style, oak inlaid with various woods and painted. British (London), 1861. Designed by Richard Norman Shaw and made by James Forsyth

Shaw cabinet - bookcase & writing cabinet

Made for Richard Norman Shaw's own use. Designed by Richard Norman Shaw (born in Edinburgh, 1831, died in London, 1912); wood carving by James Forsyth (born in Kelso, Scottish Borders, 1827, probably died in London, 1910); metalwork manufactured by James Leaver of Maidenhead, Berkshire. Shown at the London International Exhibition of 1862 in the Medieval Court.

The bookcase was made by Shaw's friend the ecclesiastical carver and sculptor James Forsyth. It was intended for Shaw's own use, presumably in his architectural office. Shaw eventually gave the object to a convent, the Sisters of Bethany, 13 Lloyd Square, London, WC1, where his daughter was a member of the community. Following discussions with the V&A, at the time of the closure of the house (the sisters were moving to their house in Bournemouth, also designed by Richard Norman Shaw) the community consigned it to Sotheby's, where it was purchased by the V&A on 18 January 1963, lot 153, for £500. At that time Norman Shaw's daughter was still alive, aged 94.

Historical significance: This stunning example of Gothic Revival woodwork was Shaw's earliest and most idiosyncratic example of furniture design. It was the climax of his architectural apprenticeship with G.E. Street (1814-81) and probably reflects the influence of that prominent and experienced architect who specialised in ecclesiastical commissions.
Shown by Forsyth at the Architectural Exhibition of 1861 and illustrated in The Builder. The journal praised the construction of the metalwork, particularly the lock, and approvingly announced that Shaw was 'embued with the Mediaeval spirit'. However, the architectural appearance of the piece, possibly influenced by the work of William Burges, did not win universal approval. A letter in The Builder pointed out that the design was derived from medieval architecture in stone and therefore unsuitable for a piece of wooden furniture.
The influence of Burges's 'Yatman Cabinet' (CIRC.217-1961) is demonstrated by the use of the same decorative technique on the roof of Shaw's bookcase. This involved covering the roof with tin foil and then applying layers of tinted varnish. Shaw's piece was also shown in the Mediaeval Court, arranged by Burges, at the London International Exhibition of 1862, where it was praised as a fine example of a 13th century bookcase.
Forsyth's experience of ecclesiastical woodwork and its construction was used to the full with the combination of exposed dowels, blind arches, gouged quatrefoils and other decorative details. The introduction of painted and inlaid woodwork instead of more conventional carving reflected the contemporary interest among architects and designers in the revival of medieval techniques.

In 1968 this bookcase was on show in Gallery 120.

Although Shaw's bookcase is clearly an individual, one-off piece of furniture this Reformed Gothic style became popular with a much wider audience. Like other Gothic Revival furniture of the 1850s and 1860s designed by architects involved in church commissions, the bookcase incorporates such features as stumpy columns and geometric inlay derived from ecclesiastical sources. The style was popularised by influential publications including Hints on Household Taste (London, 1868) by George Eastlake and by commercial designers such as B.J. Talbert (1838-81). Simplified versions of Reformed Gothic Furniture were produced in response to popular demand, in the 1860s and 1870s by fashionable cabinet making firms including Holland & Co.

Object Type
This bookcase was the first furniture design by the architect Richard Norman Shaw (1831-1912). Its size, lavish decoration and high quality craftsmanship make it the most remarkable cabinet in the Reformed Gothic style of the 1860s. It was made by his friend the sculptor James Forsyth (1827-1910), presumably for Shaw's office.

People
This bookcase dates from the beginning of Shaw's career. In 1858 he worked for the architect G.E. Street (1824-1881), who specialised in ecclesiastical commissions, possibly influencing Shaw's taste for the Gothic.

Design & Designing
Shaw's bookcase incorporates features derived from medieval ecclesiastical decoration. This includes a preference for painted surfaces and geometric inlay, blind (blocked) arches, gouged quatrefoils and exposed dowels (thin cylindrical pegs). Simplified versions of this type of furniture were produced in response to popular demand in the 1860s and 1870s by fashionable cabinet-making firms such as Holland & Sons of Mount Street, London.

Materials & Making
The top of the bookcase is covered with tin foil, overlaid with layers of tinted varnish. This technique was also used on the cabinet dating from 1858 commissioned by H.G. Yatman from William Burges (1827-1881). (This is also displayed in the British Galleries. See museum no. CIRC.217-1961.)

Historical Associations
This bookcase was exhibited by Forsyth at the Architectural Exhibition of 1861and illustrated in The Builder. The journal announced approvingly that Shaw was 'embued with the Medieval spirit'. Shaw's piece was also shown in the Medieval Court at the International Exhibition in London of 1862. He eventually gave the object to his daughter's convent, the Sisters of Bethany, London.

CIRC.96:1 to 12-1963