Help!! who designed victorian furniture??

Question

who was the original designer? i know queen victoria influenced it but who designed it?

Answer 1

To understand the furniture that was made during that period, we first must understand the Victorian Period itself.
John Henry Belter

A well-known furniture craftsman in this period was John Henry Belter (1804-1863). Trained in Wurttember, Germany, Belter immigrated to America in 1844. Established in New York, he became an important cabinetmaker in America.

http://www.romanceeverafter.com/Romance&You%20Victorian%20Era.htm
The Victorians - -The Victorian Era was named for the time period of Queen Victoria’s reign. The 18 year old Victoria came to the throne in June 1837 and ruled until her death in 1901.

The Victorians: The Victorian Home

The Early Victorian Period
The ornamentation of the home is what shows the style and taste of the individual or family that occupies within. The interior design of a home encompasses a full array of decor including furniture, fixtures, collectibles, artwork, and more.
Why the different style changes in household furnishings during the Victorian Age?

1) Style changes in furniture design were influenced by the historic and romantic reflections in literature.
2)The Industrial Revolution and technological innovations brought about mass-production of furniture.

The Victorian Age possessed its own unique qualities and form in furniture design. Although we tend to view the Victorian home as one type of furniture design, in truth, throughout the Victorian period many distinct styles emerged. Most of the styles were borrowed modes from the past.

The Early Victorian Period had several styles that characterized the furniture design of a Victorian's home.


Furniture - More Than Function

Furniture is the moveable decoration - tables, desks, chairs, cabinets - that can characterize the fashion of a time period. Between the 1830s and 1880s, the Victorians experienced several distinct styles in furniture design.

Gothic Revival (1840-1850)
The style of the Middle Ages and Romanticism blended together to create the Gothic Revival style. Craftsmen designed the furniture to include arches, spool turnings and carved trefoils*. The style embraced the romantic movement that encompassed the mid-nineteenth century. Gothic Revival furniture was primarily constructed of rosewood and oak.

*Carved Trefoils: ornament design that resembles a three leaflet plant

Rococo Revival (or Louis XV) (1850-1870)
The Rococo Revival was a graceful style that was reminiscent of eighteenth century France. The Rococo Revival style is the fashion, which is most associated with the Victorian home. The style would prove to be very popular in the United States even through the end of the century.

Furniture pieces are extremely ornate and intricate. Constructed of rosewood and black walnut, the furniture was a blending line of angles with natural figure carvings such as flowers, vines, fruits and flowers. Other features of the style include cabriole legs.

Renaissance Revival (1860-1880)
The French also inspired the Renaissance Revival. The revival was a creative translation of the Renaissance style rather than a literal reproduction of the historical period.

Furniture was constructed of walnut and was larger in form. Pieces had side boards with pedestal bases, tapering baluster-turned legs, arched pediments and ornamentation of scrolls, medallions, game, and fruitwood pulls.

The Victorian period came about with the beginning of Expansionism in Europe and the war with Mexico in America, so once again it comes back to social strife. This is around 1830-1860 and Queen Victoria is colonizing in South Africa, India, and Indochina. She was sending out a lot of folks and they were bringing products, information, and ideas back. Here in the United States we were fighting a war with Mexico so again it's more of an upheaval type of a period and furniture started getting heavier again. When times were rough, furniture gets lower and squattier and heavier and that's the hallmark of the Victorian furnishing era. It's heavier, it's darker, it's more comfortable than the thin taller Neoclassical, Egyptian and Gothic. It's also more ergonomically designed and at the same time new developments were being made in machinery. They said, "Let's throw everything together that we know and put it in one chair." They also began mixing upholstery with cane and wood and bending wood for the first time.


They started mixing paints and they came up with the color that's really not a color and it was mauve. Mauve was actually created by an English professor/chemist who was making a color for a drug and he decided to call it mauve; it became very popular during the Victorian period. Other new colors were bright greens, yellow greens, olive greens, brownish blacks, pink corals, dark golden yellows, rusty oranges, and brown-based burgundy. Towards the latter part of the Victorian era we get the rich blue/red-based burgundy. Also during the Victorian period, we started seeing embellishments. Instead of having delicate little details and scrolls on furnishings they started manufacturing these and mass-producing them. A lot of period stylists and educators today sort of dismiss the Victorian period because it was hodgepodge - everything that we know how to do we are going to throw into this furniture. http://homegarden.expertvillage.com/experts/victorian-period.htm

http://www.explainthis.info/vi/victorian-era.html
Victorian era
The Victorian Era of Britain is considered the height of the industrial revolution in Britain and the apex of the British Empire. It is often defined as the years from 1837 to 1901 when Victoria I of the United Kingdom reigned.

Notable elements of the Victorian era include:

The novels of Charles Dickens, Sir Arthur Conan Doyle, Anne Bronte, Charlotte Bronte and Emily Bronte
The operettas of Gilbert and Sullivan
The constructions of Isambard Kingdom Brunel
The Pre-Raphaelite Brotherhood
The Franco-Prussian War
The policies of New Imperialism

The Victorian period is now often regarded as one of many contradictions. It is easy for many to see a clash between the widespread cultivation of an outward appearance of dignity and restraint and the widespread presence of many arguably deplorable phenomena, including prostitution, child labour, and having an economy based to a large extent on what many would now see as the exploitation of the working classes and the colonies. The expression "Victorian values" thus may be two-edged.

The term "Victorian" has acquired a range of connotations, including that of a particularly strict set of moral standards, often applied hypocritically. This stems from the impression that Queen Victoria herself (and her husband, Prince Albert, perhaps even more so) was an innocent, unaware of the private habits of many of her respectable subjects - this particularly relates to their sex lives. This impression is far from the truth. Victoria's attitude to sexual morality actually sprang from her knowledge of the corrosive effect which the loose morals of the aristocracy in earlier reigns had had on the public's respect for the nobility and the Crown.


http://www.victorianstation.com/furn.htm
Furniture design was influenced by notable improvements in the technology of furniture making. New mechanical methods of production facilitated an enormous increase in the number of pieces being produced, many of which were inexpensive reproductions of previously hand-made and costly items.
Of all the revival furniture manufactured, the 17th and 18th century French "Louis" styles, particularly Neo-rococo, were the most popular. Indeed, the curved shapes augmented with scrolls and volutes afforded that ideal combination of being luxurious to look at and easy to make. Near-Eastern-style furniture was fashionable especially after the 1860’s. Typical pieces included ottomans and over-stuffed divans and couches.

The notable increase in prosperity that accompanied the Industrial Revolution was largely based on the accumulative benefits of inexpensive imports for the colonies. This new found affluence and status for the middle-class, was naturally revealed in the types of homes they lived in and the style in which they decorated and ornamented them. Some were unsure how to begin this new style of living, they chose architecture and furnishings that had previously been only for the aristocracy and the upper class.
The critics of high Victorian style, known as the Aesthetic Movement, objected not only to the style and quality of machine-made furnishings but also to the manner in which they were used in the home. The typical middle-class drawing room was crammed full of furniture, fabrics were used in abundance and every available surface was overflowing with knickknacks. Such displays were a means of showing off their new-found cultural interests, prosperity and status. They were also in accord with the fashionable notion that bareness in a room was in poor taste.
The followers of the Aesthetic Movement had a completely different view. Their furniture was inspired by Elizabethan, Classical Greek and traditional Georgian forms. Fabrics were generally lighter and more subtly colored.
The irony of the Victorian era is that in an age of rapid and significant advances in technology, interior designers consistently looked to the past for inspiration.

Color
Color schemes varied depending upon the location of the home. Lighter colors tended to be avoided in town and city dwellings due to pollution. Another factor in color choice was often determined by the availability of pigments. In country areas, interior decorations were often carried out by traveling craftsmen who carried limited supplies. Paint had to be mixed on site with whatever locally available ingredients could be found. For example, the blue-green colorwash used on wooden paneled walls in country areas was derived from the earth pigment terra verde, mixed with egg whites and buttermilk.
It is, nevertheless possible to make some general statements. For example, during the first half of the Victorian era, walls were usually light colors except for diningrooms and libraries. The second half gave way to much more vibrant, rich colors such as vivid greens and mahogany brown typically found in bedrooms. During this period, the general feeling was that deep, rich colors enhanced the importance of a room.
Owen Jones, architect and theorist of color and ornament, published a handbook, in 1856, called The Grammar of Ornament. The basis of Jone’s theories on the use of color was that it was aesthetically correct to use a complex pattern consisting of one main color and many subsidiary colors.
Considerable thought was given to creating the right balance of both color and texture between wall, molding, ceiling and woodwork. Adding texture to a room was achieved through the use of wallpaper, stenciling and specialist paint finishes such as sponging, marbleizing and spattering. In most cases it was very difficult to distinguish wallpaper from paint. The simulation of various kinds of woodgrain was another texture adding technique.

Wallpaper
In the early and mid-Victorian period elaborate scrolled floral patterns were favored and primary backgrounds of red, blue and green overprinted with shades of cream and tan were common. Later in the 19th century Gothic inspired trellises painted in rich earth tones with stylized leaf and floral work were frequently used in all rooms of the house.
The most authoritative and influential designer of wallpaper and fabrics during this time was William Morris, architect, designer and founder of the Arts and Crafts movement. Morris’s patterns were inspired by Medieval and Gothic tapestries. He was known as a genius for mixing strong, pure colors to harmonious effect and giving a flat pattern a narrative quality which was unsurpassed. Embossed paper were used on ceilings and frizes in order to counterbalance intricately patterned and colored papers. In many cases the chairs were covered in fabric to match the wallpaper. http://www.victorianstation.com/inter.htm

http://www.victorianstation.com/artandlitmenu.htm
http://www.victorianstation.com/architecturemenu.htm
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http://www.victorianstation.com/lifestylemenu.htm
http://www.victorianstation.com/museummenu.htm

http://www.victorianweb.org/

Answer 2

High moulded skirting board about 160 -170 mm high A picture rail about 18" from ceiling A dado rail about 3' from floor A ceiling decorative light rose Coving around the ceiling, like egg and dart

Answer 3

Charles Locke Eastlake
Charles Rennie Mackintosh
James Herbert MacNair

There's a few. I found Eastlake at PBS.org and the others at victorianweb.org

Answer 4

furniture designers from the victorian era.
there is no ONE attributable designer

Answer 5

Interesting, I was wondering the same thing myself

Answer 6

Good question, hope you find the right answers

Answer 7

Raul her gay friend.