Cornice
Maker & role
Charles F Bielefeld, Manufacturer
Production date
circa 1841
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Object detail
Production place
Measurements
1 - Fragment, H: 15 x W: 12 x D: 4.5cm (H: 150 x W: 120 x D: 45mm); 2 - Fragment, H: 15 x W: 22 x D: 4.5cm (H: 150 x W: 220 x D: 45mm)
Signature & marks
In raised blue print on reverse of larger piece (-1): 'C F BIEL.../LON...'
Credit line
Purchase, with assistance of Members of the Historic Houses Trust of New South Wales, 2008
Caroline Simpson Library & Research Collection, Museums of History New South Wales
Caroline Simpson Library & Research Collection, Museums of History New South Wales
Caption
Papier mache cornice fragments, Charles F Bielefeld, England, c1841.
Description
Two papier mache fragments, made by Charles F Bielefeld, of England. The design features acanthus leaves and stylised 4-petalled Gothic-Revival floral ornament above a spindle and reel decoration. An illustration of this cornice appears in the Bielefeld trade catalogue - Charles Frederick Bielefeld, On the use of the improved papier-mache in furniture, in the interior decoration of buildings, and in works of art, London, 1850 - plate 131, no.486.
In the mid-19th century, papier mâché was used as an alternative to plaster for architectural mouldings like cornices and ceiling roses. It was first imported into Australia in the 1830s and was soon installed into houses like the Scott brothers’ 'Glendon' near Singleton, TS Mort’s 'Greenoaks' (now Bishopscourt) at Darling Point and this example comes from Edward Cox’s 'Fernhill' at Mulgoa.
This cornice was one of many papier mâché decorations used on the ceiling and cornices of the drawing room at Fernhill, Mulgoa. The drawing room was large and impressive, featuring a semi-circular bow over seven metres in length with five pairs of French doors leading onto the colonnade. A composition stone fountain and basin was placed in the room at the centre of the bow though later moved to the entrance hall. Fernhill at Mulgoa was built for Edward Cox and his family between 1839 and 1842 and possibly designed by architect Mortimer Lewis. The house was originally meant to have two-storeys, but only one was ever constructed. Nevertheless, Fernhill was noted for its impressive Greek-revival interiors, particularly in the drawing room.
Papier mâché had long been made into smaller decorative items like snuff boxes, trays and picture frames , which were usually lacquered and painted. But once manufacturing techniques improved, papier mache proved itself ideal for architectural ornament as it was light, strong, easily fitted and could be moulded into a myriad of designs. Once installed, it did not need to dry (like plaster) before being painted, gilded or grained.
Papier mâché was made by pulping or layering paper with various binders and additives, then pressing it into moulds, waterproofing and hardening it with linseed oil before being dried. The English were the main manufacturers of papier mache for architectural ornament. In addition to a variety of wall and ceiling mouldings in various styles, Charles F Bielefeld used papier mâché to manufacture complete columns, corbels, ceiling centres and frames for mirrors and pictures. By 1847, Bielefeld employed ‘not less than one hundred’ staff and began experimenting with larger papier mâché constructions. Bielefeld made giant Corinthian capitals, 22 feet in circumference, for an Australian bank, as well as large panels for steamships and even complete prefabricated houses.
Although papier mâché remained well used for architectural mouldings in England throughout the 19th century, in Australia the development of hemp-reinforced plaster meant that papier mâché was seldom used beyond the 1860s.
In the mid-19th century, papier mâché was used as an alternative to plaster for architectural mouldings like cornices and ceiling roses. It was first imported into Australia in the 1830s and was soon installed into houses like the Scott brothers’ 'Glendon' near Singleton, TS Mort’s 'Greenoaks' (now Bishopscourt) at Darling Point and this example comes from Edward Cox’s 'Fernhill' at Mulgoa.
This cornice was one of many papier mâché decorations used on the ceiling and cornices of the drawing room at Fernhill, Mulgoa. The drawing room was large and impressive, featuring a semi-circular bow over seven metres in length with five pairs of French doors leading onto the colonnade. A composition stone fountain and basin was placed in the room at the centre of the bow though later moved to the entrance hall. Fernhill at Mulgoa was built for Edward Cox and his family between 1839 and 1842 and possibly designed by architect Mortimer Lewis. The house was originally meant to have two-storeys, but only one was ever constructed. Nevertheless, Fernhill was noted for its impressive Greek-revival interiors, particularly in the drawing room.
Papier mâché had long been made into smaller decorative items like snuff boxes, trays and picture frames , which were usually lacquered and painted. But once manufacturing techniques improved, papier mache proved itself ideal for architectural ornament as it was light, strong, easily fitted and could be moulded into a myriad of designs. Once installed, it did not need to dry (like plaster) before being painted, gilded or grained.
Papier mâché was made by pulping or layering paper with various binders and additives, then pressing it into moulds, waterproofing and hardening it with linseed oil before being dried. The English were the main manufacturers of papier mache for architectural ornament. In addition to a variety of wall and ceiling mouldings in various styles, Charles F Bielefeld used papier mâché to manufacture complete columns, corbels, ceiling centres and frames for mirrors and pictures. By 1847, Bielefeld employed ‘not less than one hundred’ staff and began experimenting with larger papier mâché constructions. Bielefeld made giant Corinthian capitals, 22 feet in circumference, for an Australian bank, as well as large panels for steamships and even complete prefabricated houses.
Although papier mâché remained well used for architectural mouldings in England throughout the 19th century, in Australia the development of hemp-reinforced plaster meant that papier mâché was seldom used beyond the 1860s.
Accession number
L2008/35-1:2
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