The bathroom suites featured in this brochure were supplied by
Victorian Bathrooms, Ings Mill, Ossett WF5 9HQ
Tel: 01924 267736 www.victorianbathrooms.co.uk Please Note
Colour variation and crazing are inherent characteristics of these traditional tiles. Please ensure you are satisfied with the effect before fixing and note that no
responsibility can be accepted after the tiles have been fixed.
Ceramic Prints Ltd,
George Street, Brighouse HD6 1PU Tel: 01484 727600 www.ceramicprints.com
www.vandatiles.co.uk
The V&A Tile Collection
H
Haanndd--C
Crraafftteedd O
Orriiggiinnaall
This collection has at its heart a carefully crafted ceramic
tile. Made from pale, fine clay, the thick biscuit has
gently chamfered edges, and a rich coating of glaze
affords the tile its high gloss, mirror and smooth surface.
The decorated pieces use the same premium quality biscuit
and, whether they are hand printed, painted or dipped,
care is taken at each stage to recreate the beauty of the
original designs.
IInnssppiirreedd C
Coolllleeccttiioonn
One of the founding principles of the
Victorian and Albert Museum is to ‘influence
and inspire manufacturers and designers
through its collections’. The application of this
philosophy has allowed this tile collection to
adopt a far more original inspired form.
Today’s preference for elegant yet decorative
interiors is far removed from the elaborate
and ornate Victorian style. As a result, this
range takes the famous tile designs of the
19th century and presents them to suit 21st
century tastes, introducing fine, classic designs
into neutral settings with elegant and
distinctive results.
The Victoria and Albert Museum, London, is the world’s finest
museum of decorative art and design. Founded in 1852, it
continues its original mission to influence and inspire
manufacturers and designers through its collections.
The Museum's collection of tiles is perhaps the richest and most
comprehensive in existence. The Tile Gallery includes some of the finest
examples of European ceramic tiles from the medieval period to the present
day. It includes work by William Morris, William De Morgan, and Lewis F.
Day, some of the finest designers of the 19th and 20th centuries.
These designers, and the library of their work held in the Victoria and Albert
Museum, inspired this collection of ceramic tiles.
W
Wiilllliiaam
m ddee M
Moorrggaann
F
Fiisshh P
Paanneell
1839 - 1917
William De Morgan was one of the most original craftsmen of the Arts and Crafts Movement. From 1859 he studied painting at the Royal Academy but moved quickly into the field of design, applying his skills to the production of stained glass and ceramics.
His tile and pottery designs became a typical feature of the Arts and Crafts interior, and were also used in the schemes of grand houses such as the Arab Hall in Lord Leighton’s house in London and in the smoking rooms of P&O Liners. A collection of over 1,200 of De Morgan designs for ceramic tiles, are held in the Prints and Drawings Department of the Victoria and Albert Museum.
The most widely recognised of De Morgan’s tile designs, the Fish Panel, has been replicated by many tile manufacturers. By revisiting the original watercolour in the V&A archives, this version is the most faithful, picking up the detail of the brush strokes and emulating the traditional printing method. The De Morgan Fish has been recreated in the familiar 6” x 6” four-tile panel and a smaller 6” x 3” two-tile panel for use as an additional border to complement the first or used alone as a subtle version of the original.
99 SSqquuaarree
Many of De Morgan’s drawings are based around repeating patterns that conjoin to create a larger, continuous design. 4 Square and 9 Square formats on a single tile are common in addition to the multiple tile panels of linking florals and trellis. Replicated in traditional Victorian Cobalt and subtle Pure White, in-line with today’s preference for simple, natural shades, 9 Square offers complete freedom for horizontal and vertical borders, panels, the checkerboard pattern illustrated and all-over effects, adapting to suit all tastes.
Using carefully balanced glazes and by firing at higher
temperatures, the over-glaze sinks into the recesses of the design to give 9 Square its characteristically textured face.
W
W
Wiilllliiaam
m ddee M
Moorrggaann
G
Grraappee
Inspired by nature, De Morgan principally used fish, fruit and flowers as decorative motifs and elements. The Grapes design is typical of the flowing, broad lines and elegant curves he used to recreate the fluid patterns of the natural world.
Printed within a raised outline and over-sprayed with a translucent honey glaze, the colours in the leaves and grapes are encouraged to melt and flow, crazing as they cool for a unique effect on every tile.
F
Frruuiitt P
Paallm
m
Painting in Indian ink, De Morgan’s designs were intricate yet fluid. The chocolate brown Fruit Palm design sinks into the rich cream glaze of the base tile. Highly effective within a striking black and cream colour scheme, the Fruit Palm may also be used alone with cream as a loose, gently flowing border, enhanced by the addition of one or more sculptured trim pieces.
L
Leew
wiiss F
F D
Daayy
1845 - 1910
Lewis F Day was a designer and writer working in England in the late 19th and early 20th century. He designed textiles, wallpapers, stained glass, carpets, tiles, pottery, furniture, silver & jewellery. As well as a designer, Day was an important and influential writer and educator in design, advocating originality of design based on natural forms and high standards of craftsmanship.
His interest in design is said to have stemmed from his frequent visits to the South Kensington Museum (now the Victoria and Albert Museum), The Museum holds many examples of his work including furniture, textiles, tiles, clocks, wallpaper and publications.
C
Clleem
maattiiss
Lewis F. Day’s Clematis tile, held in the museum’s Tile Gallery, features striking turquoise glazes within soft petal contours. Faithfully reproducing the colours, irregularities and glaze effects of the original, each Clematis tile differs slightly from its neighbour, as different glaze combinations melt, flow and craze within the raised floral outlines.
In addition to the traditional 6” x 6” tile, a smaller 6” x 3” adaptation introduces the same splash of freshness and vibrancy on a more subtle, smaller scale.
P
Puuddddllee G
Gllaazzeess
Modern production methods and tight quality controls result in uniform tiles of uniform colour. As such modern tiles have lost the potential beauty and character that their glaze has to offer.
In rich Honey, Peacock and Olive, these brick format tiles bring back the rich variation and depth of traditional Victorian ceramics. Their translucent glazes melt, puddle & pool across the face of the tile, flowing to varying degrees across the biscuit with a resulting variation in shade. Each tile crackles as it cools and may often ‘sing’ even after fixing to the wall, adding to its appeal without detracting from its practicality in the modern home.
Used in combination as borders or as an expanse of pure colour, puddle glazed tiles express uniqueness, charm and beauty.
Peacock
Olive
Honey
The simple organic line of the tulip tile was inspired by the Art Nouveau style. Printed peacock, honey and raspberry are over-sprayed with a thick coat of translucent glaze, allowing the colours to pool and flow, crazing as they cool for an added depth of beauty.
T
W
Whhiittee
C
Crreeaam
m
C
Coobbaalltt
B
Bllaacckk
1155xx1155ccmm ((66""xx66"")) 1155xx77..55ccmm ((66""xx33"")) A Allbbiioonn 1155xx33..88ccmm ((66""xx1111//22"")) E Ettrruurriiaa 1155xx77..55ccmm ((66""xx33"")) SSeerrppeennttiinnee 1155xx22..55ccmm ((66""xx11"")) D Doott 1155xx11..22ccmm ((66""xx11// 22"")) B Beevveell 1155xx22ccmm ((66""xx11"")) E
Egggg && DDaarrtt 1155xx66..55ccmm ((66""xx2211//22""))
O
Ow
weenn JJoonneess
1809-1874
Architect, designer and theorist, Owen Jones believed that design excellence could only come from the study of design history. In his famous book the Grammar of Ornament (1856), which is kept in the Prints and Drawings Collection at the Victoria and Albert Museum, Jones analysed and compiled the patterns used in many cultures and historical periods. The Grammar of Ornament soon became an invaluable and often copied source book on pattern making for British
manufacturers.
The pomegranate has been a favourite fruit in the mythology of the region since early times. In Greek mythology, the fruit plays an important part in the story of Persephone’s abduction and the creation of the seasons.
Victorian artist’s work, such as William De Morgan and William Morris, feature the pomegranate. Both were heavily influenced by nature. Leaves, flowers, fruit and vegetal forms were often transformed into pattern and decoration.
P
Poom
meeggrraannaattee
This collection of border tiles are mainly based on classical motifs. This production of moulded relief tiles was popularised in the late 19th century.
B
Baassiiccss
Fig
Pomegranate (fuschia)
Pomegranate (black and white)
Baroque
