Bowood Urns
Bowood House & Bowood Vases
Bowood House and Gardens is a Georgian House set in the bucolic Wiltshire countryside and the home Petty-Maurice family since 1754. The parkland was designed by Capability Brown and the landscaped garden surrounding the house has an Italian inspired terraced.
For nearly a quarter of a century, either side of the main entrance to the house from the Italianate terrace, have stood a pair of remarkable early Coade vases, purchased in (circa) 1760s. Initially these vases were placed in the niches of the Mausoleum in the grounds of the parkland. In the 1970s they were moved to the portico of the entrance to the main house. Today, they are in need of quite extensive restoration, and we have been commissioned to carry out the work.
Bowood House was built circa 1725 and extended when the new owners purchased it in 1754. Twenty years later in 1770s the two houses (called Little House and Big House) were joined by the addition of a drawing room. In the 20th century, the onslaught of two world wars, when the house was requisitioned by the state and by the 1950s, the Big house had fallen into a state of disrepair and was subsequently demolished, this was a common practice during this time for many stately homes and country houses.
The Little House was then converted at this time to a more habitable and comfortable place for a family to live in. Today, Charles Maurice Petty-Fitzmaurice, 9th Marquis of Lansdowne, lives in Bowood House with his family.
The restoration work that we are carrying out to bring the vases to their former glory is quite substantial. The original iron dowel, connecting the vase to its socle, had rusted and therefore expanded, blowing the socle apart. The dowel was removed, the socle pinned together and a replacement stainless steel dowel fitted. Some elements of the vase had broken and been lost, including two lion masks and some foliate turnovers which we are replacing in Coadestone.
The vases were first cleaned to remove considerable amounts of paint deposits and other substances, before any cracks were filled and the missing elements made. The vases will then be reconstructed and delivered back to Bowood where they will stand atop two cylindrical stone plinths on the inside of the doors near to where they were originally.
Emperor Norton
Emperor Norton: A fascinating character, a self declared monarch
Joshua Abraham Norton was born in England to Jewish parents around the year 1818. He died in his early 60s in poverty, in San Francisco, a place he declared himself to be Emperor in 1863.
From the beginning, his family background, the move from London to America, via a period in South Africa is clouded in mystery. There are very few facts surrounding Emperor Norton’s life and reading the intricacies of it is captivating. However, he seems to have been a kind and lovable figure, whose eccentricities were tolerated due to his affable nature.
The facts that are known about him relate to the business he set up in his 30s as a real estate and importing concern. Joshua Norton & Company, speculated on the price of commodities such as rice. Rice, it turns out, was his downfall.
In a few short years after he arrived in San Francisco in 1849, he became a prosperous trader. He was seen in all the right places, attended all the parties and was friends with all the right people. Until a bad investment had disastrous consequences. Insolvency followed and precipitated the depression and subsequent descent into eccentricities, culminating in Joshua declaring himself Emperor of San Francisco.
Until his death in 1880, over a twenty year reign, Emperor Norton made many proclamations and aimed to expose corruption and fraud. He wanted political reform and a better society for all citizens to live and prosper in.
He spent his whole reign living in a boarding house and unfortunately died in destitution, with various friends contributing money for his funeral.
Here at Coade, we find the history and story behind Emperor Norton fascinating and have very much enjoyed finding out more about him. We were commissioned by a private client in San Francisco to make a bust of this legendary figure. We have been sculpting him over the last few weeks and will share the finished work with you once it has been fired.
Pineapple or Fir Cone?
Fir Cone or Pineapple?
In ancient Greek and Roman times, fir cones were commonly used as decorative motifs in architecture, sculpture, and other forms of art.
The fir tree was a symbol of life and regeneration in many cultures, including the Greeks and the Romans. In Greek mythology, the fir tree was associated with the goddess Artemis, who was the goddess of the hunt and of childbirth. The tree was said to possess healing powers and was often used in ancient medicine. In Roman mythology, the fir tree was associated with the god Jupiter, who was the king of the gods and the god of the sky and thunder.
Fir cones were often used in Greek and Roman art to symbolize fertility, regeneration, and the cycle of life. They were commonly used as decorative elements in sculpture, particularly in the decoration of architectural features such as columns, friezes, and pediments. Fir cones were also used in the decoration of vases and other pottery, as well as in jewellery and other decorative objects.
Pineapples are native to the Americas and were introduced to Europe after the discovery of the New World in the late 15th century and symbolised the regenerative power of nature.
The use of pineapples as a decorative motif in classical architecture emerged much later, during the 16th and 17th centuries, when pineapples were introduced to Europe from the New World.
Pineapples became popular as a symbol of wealth and hospitality, and they were used in the decoration of buildings, furniture, and other objects throughout the Baroque and Rococo periods.
In the 18th century the Coade factory produced pineapples because they were a popular and fashionable decorative motif at the time. The Coade factory was known for its innovative and high-quality architectural ceramics, and they likely responded to the changing tastes and trends of their customers and clients in producing a wide range of decorative motifs, including pineapples.
In fact, both pineapples and fir cones continued to be used in classical architecture throughout the 18th century and beyond, depending on the specific design and context. For example, pineapples were often used in the decoration of grand houses and public buildings, while fir cones were commonly found in garden and landscape designs.
Today at Coade, we follow the tradition of the 18th century original design of a pineapple. We make them in pairs and don’t confuse them for a fir cone.
Four Seasons
Exploring the world of classical art and architecture, looking at Coade’s Four Seasons statues.
In classical statuary, it’s common to see statues of the Four Seasons, each one representing a season and holding symbols or objects that signify their unique characteristics. These statues have been a popular motif since ancient times, serving as reminders of the importance of nature and the changing seasons.
Spring, the season of new beginnings and growth, is often depicted as a young woman holding a basket of flowers or carrying a floral wreath on her head. The Summer statue, representing abundance and prosperity, is usually portrayed as a mature woman holding a sheaf of wheat or a sickle. Autumn, the season of harvest and maturity, is often depicted as a woman holding a basket of fruits or grapes. Finally, Winter, the dormant and cold season, is typically portrayed as an older woman bundled up in a cloak or fur coat.
The Four Seasons statues can be found all around the world, from public gardens to museums. One of the most famous examples is the set of four sculptures by Flemish artist Peter Paul Rubens. These sculptures were created in the 17th century for the garden of the Palais de Luxembourg in Paris and are now housed in the Louvre Museum.
In our contemporary world, classical statuary like the Four Seasons statues still hold significant cultural and artistic value by their representation of seasonal cycles, the importance of nature and the passing of time. These themes are still relevant to us today, especially since climate change and environmental concerns are at the forefront of our minds and hopefully the seasons help us remember to protect the natural world.
It is interesting to note that The Coade Stone Company, which was founded by Eleanor Coade in the late 18th century, produced many statues and architectural ornaments, including a set of Four Seasons statues that were installed at Buckingham Palace in the 1820s.
Our Four Seasons sculptures pay tribute to the muses of the original 18th-century ‘Coade’ designs. To fulfil the needs of a private client, we adapted the designs to create larger-than-life-size sculptures that fit perfectly into niches. The sculptures’ heads were inspired by a Roman replica of an original 2nd-century marble bust, which can be seen at the Vatican Museum. We incorporated elements from Greek models of the early 4th and 5th centuries, adjusting them to the 18th-century classical revivalist style.
The sculptures of the Four Seasons are modelled after the ‘Coade’ originals, with slight modifications to the figures and drapery to create a more slender appearance, also our depictions are a departure from how the Four Seasons are typically portrayed, they all have the same face.
Winter, is depicted with heavy drapery and a hood to protect her from the cold. Where as Autumn is portrayed holding a basket of fruits, and her hair is adorned with decorative fruits as well. Spring, holds a bouquet of spring flowers, and her hair is adorned with seasonal blooms. Summer, is depicted holding a sheaf of wheat in her hand, and her hair is adorned with wheat decorations.
History of the Pineapple
Discover the symbolic significance of pineapples and pine cones in neo-classical architecture
If you’ve ever seen a grand estate or a historic building with gateposts adorned with pineapples, you may have wondered what these fruits have to do with classical architecture. The truth is, pineapples have a long history as a decorative element in architecture, particularly during the Georgian and Victorian eras.
The pineapple’s symbolic significance in classical architecture is rooted in its association with hospitality and welcome. The fruit was considered a luxury item and was often served as a centrepiece at grand feasts and gatherings, making it a symbol of wealth and abundance. It was also a rare and exotic fruit in Europe and was associated with exploration and discovery.
The use of pineapple finials on gateposts was a way for homeowners to convey a sense of warmth and conviviality. The finials, which are often made of stone or metal, feature a stylised pineapple shape and are typically placed at the top of gateposts or pillars. They add a decorative element to the entrance of a property.
One example of the use of pineapple finials can be seen at the Dunmore Pineapple in Scotland. This unique structure was built in the 18th century and features a large stone pineapple as its finial. Another example can be found at the entrance to Chiswick House in London, where the gateposts are topped with pineapple finials added in the mid-18th century.
Today, the pineapple remains a popular symbol of hospitality and is often used in interior design, home decor. Antique pineapple urns, decorative objects shaped like pineapples, are also popular as collectors’ items.
To find out more about pineapples in architecture; click on the following links;