5 stunning national collections at the Victoria & Albert Art Museum (UK) 11 minutes
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5 stunning national collections at the Victoria & Albert Art Museum (UK) 11 minutes

The Victoria & Albert Museum (London, England) has a long history from the mid-19th century with a collection spanning 5,000 years of human creative history. Specializing in art and design, it houses many of the UK’s national collections and stores some of the largest resources for art research in various fields. The museum also posts archives on its website.

Here are some collections with outstanding work iDesign would like to introduce to readers:


Picture gallery at Victoria & Albert including oil paintings, British and European watercolors, as well as over 2,000 miniatures (which the Museum holds important national collections).

Disappointed Love by Francis Danby (1793-1861), oil painting.

This is the first picture of Danby was exhibited and it became one of his most famous works. The painting depicts a young woman in distress, in a traditional posture associated with melancholy in painting.

Sidmouth, by Beatrix Potter
Kep, Beatrix Potter

A prominent painter is Beatrix Potter (1866 – 1943). She is one of the most popular children’s authors and illustrators in the world. This painter wrote most of the twenty-three books on Peter Rabbit from 1901 to 1913. The Tales of Peter Rabbit (Frederick Warne Publisher, 1902) is her most famous and beloved story.

Beatrix Potter nursery rhymes (nursery rhymes) inspired some of his work.

A scene from Beatrix Potter’s famous children’s work,
Stories of Peter Rabbits

The floor mat (pictured above) is from a set with illustrations from a book
1908 of Beatrix Potter, The Tale of Jemima Puddle-duck (Frederick Warne).
Potter Make this rug set just for friends, draw illustrated versions with
watercolors on linen and adding text from the story (has been shortened).

Picture frames

Diverse in shape, style, size, time and material, the collection of picture frames of the Victoria & Albert Museum is as much as the pictures and objects surrounded by picture frames.

Most of the frames were donated to the Museum with paintings – but ‘blank’ frames were also collected as independent objects, chosen for the good quality of the carvings and decorations.

Painting: George III when Prince of Wales
The frame was made by Paul Petit’s studio around 1751 in England,
following the Rococo style at the time.

By the mid-18th century, frames gained their own importance and foothold.

Carved frames are an extension of the painting. Military trophies and floating lion symbols reflect the status and education of the young heir. The portrait above is a contemporary copy from a painting featuring a large group of artists Frederick, Prince of Wales and his family.

This portrait may have been donated Thomas Osborne, 4th Duke of Wales (1713-1789) as a gift from George III. This frame is attributed to the sculptor’s workshop Paul Petit done (works from 1724-1757), based in St. Parish James ’, Piccadilly (England), and may have been an assistant Henry Jouret carving should.

Turtle frame, 1640 – 1700, Belgium

In the 17th century, lockers in the southern Netherlands decorated high-class furniture with exciting new combinations. The same techniques and materials apply to photo frames.

From about 1640, especially in the city of Antwerp, a special product was born, using the bold combination of two unique imported materials: turtle shell and ebony. To further enhance the effect, the turtle shell is mixed with the red pigment, such as the one above. On framed frames, wavy ebony wood frames create a flickering light between the edge of the picture and around it.

During the late Middle Ages and early Renaissance in Italy, the frame maker played an important role in creating a painting and was often paid as much as an artist. The frame is decorated with classical candles (candelabra), Christian symbols such as cherubim, and with the instruments mentioned in The passion of Jesus (Christ’s Passion). It will frame around one ciborium (box of consecrated hosts), or a picture or relief depicting the sacred theme in that religion.

Initially, the frame was covered in bright blue and gilded. Most of the blue that we see now is repainted later.


For much of history, wallpaper has had a poor relationship with the art of decoration: they are fragile, fleeting and easily replaceable. So wallpaper often disappears from historical archives. The Victoria & Albert Museum began collecting wallpapers from its early days of construction in 1856, and today it has one of the best collections in the world of that decorative art form.

Trellis wallpaper, designed by William Morris and Phillip Webb,
printed by Jeffrey & Co., 1862, England. © Victoria and Albert Museum, London.

The V&A collection shows an intriguing history of innovation from the first black and white models of the 16th century, to 18th-century flock design, Chinese hand-drawn paper, architectural paper. , designed by William Morris, Movement of Arts and Crafts, to modern and contemporary design in the 20th century.

Wallpaper made by Owen Jones

One of the standout names is Owen Jones (1809-1874). He is an outstanding wallpaper designer. His designs are included in a collection of valuable decorative motifs in history, published with the name The Grammar of Ornament (1856).

Jones Do not believe that one can simply recreate past styles in a modern context. He believes that architecture and design should both be an epoch-making breath, but one can look back at the decorative art of the past for inspiration. Although the forms Jones used often carried natural motifs, he reduced them to be flat in patterns, based on his own concept of ‘geometric tectonics’.

Original paintings in a collection of prints by Owen Jones
Name The Grammar of Ornament

In his 1852 essay, “Color in the Decorative Arts” (‘Colors in decorative arts’), (published in book On the Manufacture of Glass by George Shaw), he wrote that “wall paintings should not be too gimmicky but should still be the background for paintings, carvings or other works of art“. However, his works are characterized by strong colors in unique combinations, developed based on his own color theory.

Handwritten manuscript

The National Art Library under V&A maintains a rich collection of unique manuscripts from the Middle Ages to the present, either alone or in full archives. The outstanding works include five notebooks of Leonardo da Vinci, the original manuscripts for most novels of Charles Dickens, calligraphy’s work Edward Johnston, one of the diaries of Jonathan Swift, a 14th-century novel for Saint-Denis Monastery in Paris as well as archived documents Joseph Archer Crowe and Giovanni Battista Cavalcaselle, an expert in Italian 19th-century Renaissance art.

An illuminated address by tenants of the Courtroom property
to Lord Viscount Stopford, 1875 – 78. © Victoria and Albert Museum, London.
Page 83 & 84 titled The Flight to Egypt from Book of Hours of Margaret of Foix,
Handwritten manuscript, 1471 – 76, France.
Book of Hours of Margaret of Foix written in Latin and French

Embroidery art

Found on everything from socks and nightgowns to wedding dresses and wall murals, embroidery has been used to decorate textiles for over a thousand years. The Victoria & Albert Museum collection includes examples of embroidery techniques from around the world, by both expert and amateur professionals.

Hanging, circa 1700, Gujarat, India

The elaborate string embroidery in the work is done by professional male artisans of the Mochi community in Gujarat, western India.

The work made with a hook, called ari and a sewing needle. Initially developed for embroidery on leather for items like belts and shoes, the ari pieces were then adapted for use on fabrics and quickly attracted the attention of Western tourists. to Gujarat.

The East India Company exported these embroidery from Cambay port (present-day Khambat port) and called them Cambay embroidery (Cambay embroideries).

The dark green in the piece above was created by indigo dyeing, and the pink of flowers is from lac, a dye made by an insect named Kerria lacca secrete.

These are stuffed animals donated by the Cattley family living in Ealing, west London. Two boys, Gilbert and Donald, and three girls, Nellie, Constance and Maud, were born between 1885 and 1892. The Cattley children owned a range of stuffed animals, including the nine bears in the photo above, which were considered one of the first teddy bears on sale in the UK. Children spend time with their toys, make beautiful clothes for them, take them with them on vacations, take pictures and paint portraits.

The drawing of the Cattley kids tells us that the rabbit above is called Baby, which is made in Germany.

A pair of socks from the 19th century, originally from Croatia.

Roger Vivier (1913-98) was a luxury shoe designer, and was credited with creating the high-heeled shoe called stiletto heel. He has designed for several places, notably collaborating with Christian Dior from 1953 to 1963. He was the only one of Dior’s collaborators allowed to be listed on the final design credit – ‘Christian Dior crée par Roger Vivier‘- written inside each shoe.

He works with complex and expensive materials including silk, pearls, necklace, lace, metal thread and jewelry.

Alternatively, you can also do an online tour and find great inspirations through the museum’s website Victoria & Albert in London or search for more interesting collections via their online store.

Summary and editing: Le Lin
Source: vam.ac.uk

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