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[
PAINTINGS ]
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[
FURNITURE]
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The
collection concentrates heavily on the period roughly between 1750
and 1900, charting the foundation and rise of the Royal Academy,
the golden age of British landscape painting and Victorian art.
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The
five period rooms provide a historical context for the Gallery's
presentation of developments in English furniture. Other exhibits
represent Lever's fascination with 18th century furntiure.
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[
GREEK ROMAN ]
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[
TEXTILES ]
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Lever's
acquistion of antiquities started in earnest after 1913 when he
decided to found the gallery. He wanted to show the main
influences for English neo-classical art and in particular for his
collection of wedgwood.
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British embroidery forms the bulk of the textile collection - he
saw this type of decorative art as reflective of the high level
of skill and craft English workers could achieve.
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[
CHINESE ART ]
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[
SCULPTURE ]
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The
greatest part of the collection is porcelain of the Kangxi period,
the bulk of which were the blue-and-white and the enamelled porcelains.
After the decision to found a public museum, Lever's tastes were
broadened to include examples of lacquer, cloisonne and Canton enamel.
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The
broad scope of the works on display is a testament to Lever's commitment
to 18th century classicism and especially to Victorian high art.
The unusual bronzes complement the fabled masterpieces of Burne-Jones,
Rossetti, Waterhouse and Leighton.
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[
WEDGEWOOD ]
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[
'MUSEUM' COLLECTION ]
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Josiah
Wedgwood (1730 - 1795) revolutionised English pottery and turned
the hitherto humble artform into the realms of fashionable taste.
Jasperware, the slightly translucent stoneware was Wedgwood's most
famous product, many fine examples of which can be found in the
gallery together the 'old wedgwood' of the Tweedmouth pieces.
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The
principal components are ethnographic and Masonic and miscellaneous
items such as watches and sundials. The collection demonstrates
Lever's desire to combine social benevolence with his commercial
activities.
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