Circular, wrought-iron and wire plant stand. The top portion is a flower pot holder with a convex, deep shelf guard made of bent wires that create a scalloped, ‘V’-shaped rim. Different liners could be placed inside, which allowed the gardener to change out the potted plant based on the growing seasons. The open spaces in the upper basket allowed for water drainage from rain or hand-watering the plants. The flower pot holder sits atop a central, cylindrical wire trellis made of diagonally crossing wires in diamond pattern secured by smaller wire ties and thicker vertical iron supports. The trellis feature could be used to train vines and climbing plants. The base of the cylinder trellis is open and connects to a circular shelf for additional potted plants. It has a concave shelf guard made of bent wires that create a similar scalloped, ‘V’-shaped rim. In the shelf are two, semicircular trays fitted together (possibly made of zinc) and painted dark green. The shelf is attached to curvaceous legs by scroll supports. The legs terminate in inward-facing scroll feet that are connected to a shelf with interlacing wires. This low shelf allowed for additional display space for plants or might have stored gardening tools or a watering can. The frame of the plant stand is made from wrought iron, and the supports and surfaces are made from wire strands drawn and interwoven to complete the structure. The scrolled feet together with the elevated flower pot holder refine the silhouette of the plant stand and give it added height. The French excelled at making these delicate wrough-iron and wire garden furniture which were popular in the mid-to-late nineteenth century. These pieces were appealing for both the garden and terrace because they were less obtrusive than other types of garden furnishings due to the near invisibility of the wire. The playful scrolls of this design are in the manner of the late-Regency style wrought-iron furnishings of the 1820s and 1830s. The most popular style of the late eighteenth and early nineteenth century leading up to the Victorian era (1837-1901) was Neoclassicism. In America it has been called the American Empire style, Greek Revival, or Grecian style and was called Regency or Empire style in Europe. Neoclassicism was seen in painting, sculpture, furnishings, architecture, fashion, and even politics. This revival of classical taste was encouraged by the increased interest in classical, ancient, and antique forms inspired by recent excavations of in Italy, Greece, and Egypt. Neoclassicism pulled motifs, ornamentation, and forms from antiquity, as well as the Renaissance interpretation of the classical world. Elements of neoclassical design included fretwork, columns, palmettes, pilasters, acanthus leaves, tulips and lotus motifs, grotesque masks, processional reliefs, mythical creatures, laurel garlands, fruit swags, scrolls, tassels, fringe, passementerie, frieze decoration, lyres, and vases; as well as accurate depictions of flora, fauna, birds, and insects; and repeating patterns such as the Greek key and egg-and-dart. A characteristic of Neoclassical designs is strict symmetry of all the elements.
The most popular style of the late eighteenth and early nineteenth century leading up to the Victorian era (1837-1901) was Neoclassicism. In America it has been called the American Empire style, Greek Revival, or Grecian style and was called Regency or Empire style in Europe. Neoclassicism was seen in painting, sculpture, furnishings, architecture, fashion, and even politics. This revival of classical taste was encouraged by the increased interest in classical, ancient, and antique forms inspired by recent excavations of in Italy, Greece, and Egypt. Neoclassicism pulled motifs, ornamentation, and forms from antiquity, as well as the Renaissance interpretation of the classical world. Elements of neoclassical design included fretwork, columns, palmettes, pilasters, acanthus leaves, tulips and lotus motifs, grotesque masks, processional reliefs, mythical creatures, laurel garlands, fruit swags, scrolls, tassels, fringe, passementerie, frieze decoration, lyres, and vases; as well as accurate depictions of flora, fauna, birds, and insects; and repeating patterns such as the Greek key and egg-and-dart. A characteristic of Neoclassical designs is strict symmetry of all the elements.
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The Victorian love of nature and display were combined with the plant stand. Both decorative and storage space, plant stands displayed botanical specimens both in and out of doors in the nineteenth century. They came in a variety of sizes and shapes that might include multiple tiers, elaborate structures, decorative features, or separate surfaces for each plant or flower. Plants stands were often placed on porches and verandahs, where they provided transition between house and garden. These stands were also found throughout the home, bringing nature indoors and adding color and scents to the room. They might be the focal point, placed in corners, or other areas in need of visual interest. Fragrant varieties of flowers and potted plants, such as palms, were popular choices for plant stands in the nineteenth century. Flowers and greenery were often mixed together on its shelves, either grown in pots on saucers or displayed in decorative vases. The stands and their plants could be rented from the florist or nursery for special occasions. In addition to their decorative appeal, they were also an important tool for the gardener. Plant stands served as home for the plants more susceptible to frost and weather that were brought in to a winter garden in the home, conservatory, greenhouse, or other outbuildings.
