Mosaic in the Divan, Court of the Fishpond, 1842–45 Framed Art Print by Owen Jones
Framed: Yes - Responsibly sourced solid frame with a brushed black satin finish.
Mounted: Yes – Glacier White 1400 Micron Textured Conservation Grade Mountboard
Glazed: Yes - With 2mm high-grade acrylic for safety and exceptional clarity
Paper Edition: Fine art giclée print. Monte Carlo 300gsm watercolour paper.
Frame Small Size: 36cm x 28cm
Frame Medium Size: 50cm x 37cm
Supplied with D Rings and string
Also available print only - unframed
Small Print Size: 36cm x 28cm
Medium Print Size: 50cm x 37cm
Large Print Size: 60cm x 43cm
Extra Large Print Size: 70cm x 50cm
Contemporary designer Owen Jones trained as an architect and design theorist, and was one of the most influential tastemakers of the Victorian era. The Mosaic in the Divan, Court of the Fishpond, Owen Jones (1809–74), Plans, Elevations, Sections and Details of The Alhambra, London, 1842–45.
Grammar of Ornament was Owen Jones’ design masterpiece. First published in 1856, the lavish folio highlighted stunning patterns, motifs and ornaments in 112 illustrated plates. Each intricate illustration explored design principles behind the architecture, textiles, manuscripts and decorative arts of 19 diverse cultural periods, with a final chapter revelling in the glory of the natural world.
Grammar of Ornament was a monumental publishing project that achieved standards of colour printing never seen before. Despite the exponential rise of industrial technologies during the Victorian era, printing presses of the day could in no way mass replicate the intricacy of Jones’ plates. Instead Jones funded the Grammar’s print run from his own pocket, at great expense. Working with lithographers Day & Son, he turned to the new and expensive technique of chromolithography. This elaborate method of printing required up to 20 separate lithographic stones and drawings, one for each colour. These were then printed one over the other, layer over layer, to form the finished plate. For Grammar of Ornament, Jones’ assistants spent a year meticulously copying the original drawings on to lithography stones. It is still in print 150 years later, testament to its enduring design appeal.
Published in partnership with the Victoria and Albert Museum, London.
Ref: 472082