The Studio yearbook of decorative art (1906)

Furniture

^^^■■■■Hj^HSBH^HMH^^HBH colour, with a band of boxwood and ebony inlay,

^fffe:' )'•>%. -'i^ifi^'l are based upon Georgian models, the latter example

(^jr ' ' being surmounted by a brass railing, a characteristic

lH v j^-——'.' .-- . ^SMjfjfcla^aB feature in sideboards of the period.

K—,1 , „_-„ mSSS Three remaining examples in oak are in more

modern styles. Two of them, by Messrs. Shapland
and Petter (pp. 54 and 55), are enriched respec-
iflr tively with translucent enamel-work on copper and

5«BBMj hammered brass panels; while the last (p. 57), by

Mr. W. H. Davies, is of the nature of a fitment,
and is flanked by china cupboards let into the
jjg wall panelling.

L _^^^n Show cabinets are, in some respects, not very

dissimilar from sideboards, except that as a rule
the former may be of slighter form, and altogether
more fanciful in outline and decoration, as becomes
their less utilitarian purpose. Some of Messrs.
Hampton's designs (pp. 58 and 59) show what
I A can be achieved in the way of combining features

of different historic styles, a practice which pro-
duces very interesting results, provided always that
the periods borrowed from be not too widely
separated in point of date. Thus, while Queen
Anne and Chippendale characteristics are not
incompatible, it is open to question whether the
details of King James I.'s time and that of Queen
Anne, for instance, are not too far removed from
one another to amalgamate quite happily together.
bureau in waxed oak designed and executed by The china cabinet (p. 58), from a design by

shapland & petter, ltd.

In the doors of an oak corner-cabinet
(p. 59) of Messrs. Hampton's the same
occurs again. For the dresser above-
named (p. 57) the use of a second
mitre-box, producing a wider angle,
consequently admits of a greater variety
of pattern. Another mitre-box, again,
giving an acuter angle, enables the
mouldings to be arranged in points to
form lozenges or stars. Indeed, experi-
ence alone will determine the almost
infinite variety of which this most effec-
tive, if rudimentary, form of ornament
admits.

Mr. Arthur Penty's oak dresser (p. 5 3)
is of pleasing simplicity of line and pro-
portion, the ornament being restricted
to a band of incised pattern in the
cornice. Mr. Edgar Wood's sideboard
(p. 51) in Spanish mahogany, inlaid
with holly and ebony, the handles and
feet of bronze; and Messrs. Gillow's
{p. 53), also in mahogany, with richly

bureau in mahogany designed and executed by i

figured panels, finished a nut-brown hampton & sons, ltd.

64