|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
"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
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 ,
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)
Locke Eastlake, Britannica