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Eastlake Latch

Eastlake knob, commercial building, Bethel, Vermont.
Eastlake latch, commercial building, Bethel, Vermont.

This style is named after Charles Locke Eastlake (1836-1906) painter, writer, historian, museologist and designer who gave his name to a furnithure style, which was imitated by many producers manufacturing decorative arts, from wallpaper to hardware — all works he would have likely abrorred.

Eastlake was a leader of design reform that rejected the ornate Rococo-revival style in favor of simpler rectlinear forms and geometric patterns.

"Eastlake", made popular after the work was featured in the Centennial Exhibition in Philadelphia, was a distinctive mix of English Gothic and Japanese designs, also know as Aesthetic or Anglo-Japanese.

The nephew of the Neoclassical painter Sir Charles Lock Eastlake, he studied architecture at the Royal Academy of Arts, London, which in 1854 awarded him a silver medal for architectural drawing. Giving up that discipline, he studied art on the European continent, then returned to England to write and to design. In 1856 he married Eliza Bailey (d. 1911). In London he was secretary of the Royal Institute of British Architects (1866–77) and keeper and secretary of the National Gallery (1878–98). There he reorganized the classification of paintings and initiated the use of glass to protect the works from the London air.

As a writer on painting and industrial arts, Eastlake made a permanent reputation. More of a reformer of furniture style than an originator, he was a leading exponent of Jacobean and Gothic Revival, and he strongly influenced furniture and architectural tastes of the late Victorian and Edwardian eras. He was against the substitution of machine manufacture for quality workmanship. (Nevertheless, after Philadelphia's Centennial Exposition [1876], American Eastlake furniture was mass-produced.)

Eastlake's influential Hints on Household Taste in Furniture, Upholstery and Other Details (1868) was in its 6th edition in the United States by 1881 and in its 4th in London by 1887. His Lectures on Decorative Art and Art Workmanship (1876) was followed by the progressively published series Notes on the Principal Pictures in such continental collections as the Brera (1883) of Milan, the Louvre (1883), and the Royal Gallery (1888) in Venice.

Charles Locke Eastlake, Britannica
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