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Curling leaf-and-tendril stems connect the flowers in a continuous scroll, and a small quatrefoil medallion sits near the top edge.\u003c\/p\u003e\u003cp\u003eOwen Jones (1809–1874) was a British architect and the most influential design theorist of the Victorian age. Trained under the architect Lewis Vulliamy, he travelled to Granada in the 1830s to record the Alhambra, pioneering chromolithography to publish its ornament in colour, and in 1856 published The Grammar of Ornament, a survey of decorative styles from around the world built on flat pattern and colour rather than the imitation of nature. He designed the widely debated red, yellow and blue colour scheme for the ironwork of the rebuilt Crystal Palace at Sydenham, and in 1867 published Examples of Chinese Ornament, drawn from Chinese objects in the South Kensington Museum and other collections. 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A broad upright palmette holds the centre, its fronds spreading from a ribbed heart between paired stems that loop into tight spirals. Around it sit honeysuckle sprays, single curling leaf-tips, a cross-shaped arrangement of scrolls and a ribbed fan in the lower corner. Nothing is framed; each form reads as a clean silhouette. Plate 20 of The Grammar of Ornament, Owen Jones's British survey of Greek ornament.\u003c\/p\u003e\u003cp\u003eOwen Jones (1809–1874) was a British architect and the most influential design theorist of the Victorian age. Trained under the architect Lewis Vulliamy, he travelled to Granada in the 1830s to record the Alhambra, pioneering chromolithography to publish its ornament in colour, and in 1856 published The Grammar of Ornament, a survey of decorative styles from around the world built on flat pattern and colour rather than the imitation of nature. He designed the widely debated red, yellow and blue colour scheme for the ironwork of the rebuilt Crystal Palace at Sydenham, and in 1867 published Examples of Chinese Ornament, drawn from Chinese objects in the South Kensington Museum and other collections. His work and design drawings are held by the Victoria and Albert Museum and the Philadelphia Museum of Art.\u003c\/p\u003e\u003cp\u003ePrinted as a museum-grade giclée on Hahnemühle fine art paper using 12-ink archival pigment printing. Available handframed in FSC-certified wood with optional float glass, or unframed. 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