DOI Heft:
The British Empire
DOI Artikel:British decoration: notes on the illustrations
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21779#0067
BRITISH DECORATION. NOTES ON
THE ILLUSTRATIONS
IN the design by Mr. H. Davis Richter for a boudoir which -is
reproduced here in colours (p. 55), the architectural basis has
been reduced to the most simple structural terms ; the four walls
meet the floor and ceiling without any unnecessary or ornamental
detail. Upon this almost primitive foundation an individual scheme of
decoration has been built up maintaining the simplicity of the archi-
tectural work, but infusing a sense of dainty fancy and chaste refine-
ment ; in short, creating a fit environment for a lady’s use. The colour-
scheme adopted is a harmony of silver-grey, ranging from pure white
to warm black, arranged in definite periods. The coldness and formality
is relieved by, and contrasted with, telling notes of bright, pure colour—
blue, emerald green, and amber. The plaster walls have been covered
with a grey, coarse canvas, thus giving a texture unobtainable by other
means ; the decoration is painted upon this in tempera colour. The
furniture is of black lacquer, with silver mounts.
The admirable design for a dining-room frieze, shown on page 59, is
by Mr. George Rushton, Principal of the Municipal School of Art at
Ipswich. It is five feet high, painted in tempera, and surmounts a panelled
wall. If somewhat conventional in feeling the treatment is entirely the
artist’s own. The colours have been kept light and harmonious, giving
a pleasing and restful effect so desirable in this form of decoration. Mr.
Morton Nance’s naval designs are invariably interesting, if only for the
sound draughtsmanship they display. They possess a picturesque cha-
racter which in less capable hands might easily degenerate into the com-
monplace. “The Anchor’s Weighed” (p. 61) is one of the artist’s
most successful efforts in this form of decoration.
A few months ago there were shown at the Rowley Gallery, in London,
some panels executed in stained wood from pictures by Mr. Brangwyn,
Mr. W. A. Chase, and others. These panels were the result of a series
of experiments carried out by Mr. A. J. Rowley, and it must be admitted
that they possess real decorative value and promise interesting develop-
ments. It can hardly be claimed that we have here an entirely new art
or medium ; but that the panels represent an arresting and artistically
important development in the art of wood inlay or marquetry must be
admitted. Our illustrations on pages 62 and 63, more especially the
one in colours, will give our readers a very fair idea of the decorative
effect to be obtained by the medium. The judicious selection of the
woods, more particularly with respect to the grains, plays an important
part in the scheme, and it is remarkable how skilfully Mr. Rowley has
adapted the markings of the grains in the rendering of the original de-
sign. It is, of course, only a certain type of picture which lends itself to
53
THE ILLUSTRATIONS
IN the design by Mr. H. Davis Richter for a boudoir which -is
reproduced here in colours (p. 55), the architectural basis has
been reduced to the most simple structural terms ; the four walls
meet the floor and ceiling without any unnecessary or ornamental
detail. Upon this almost primitive foundation an individual scheme of
decoration has been built up maintaining the simplicity of the archi-
tectural work, but infusing a sense of dainty fancy and chaste refine-
ment ; in short, creating a fit environment for a lady’s use. The colour-
scheme adopted is a harmony of silver-grey, ranging from pure white
to warm black, arranged in definite periods. The coldness and formality
is relieved by, and contrasted with, telling notes of bright, pure colour—
blue, emerald green, and amber. The plaster walls have been covered
with a grey, coarse canvas, thus giving a texture unobtainable by other
means ; the decoration is painted upon this in tempera colour. The
furniture is of black lacquer, with silver mounts.
The admirable design for a dining-room frieze, shown on page 59, is
by Mr. George Rushton, Principal of the Municipal School of Art at
Ipswich. It is five feet high, painted in tempera, and surmounts a panelled
wall. If somewhat conventional in feeling the treatment is entirely the
artist’s own. The colours have been kept light and harmonious, giving
a pleasing and restful effect so desirable in this form of decoration. Mr.
Morton Nance’s naval designs are invariably interesting, if only for the
sound draughtsmanship they display. They possess a picturesque cha-
racter which in less capable hands might easily degenerate into the com-
monplace. “The Anchor’s Weighed” (p. 61) is one of the artist’s
most successful efforts in this form of decoration.
A few months ago there were shown at the Rowley Gallery, in London,
some panels executed in stained wood from pictures by Mr. Brangwyn,
Mr. W. A. Chase, and others. These panels were the result of a series
of experiments carried out by Mr. A. J. Rowley, and it must be admitted
that they possess real decorative value and promise interesting develop-
ments. It can hardly be claimed that we have here an entirely new art
or medium ; but that the panels represent an arresting and artistically
important development in the art of wood inlay or marquetry must be
admitted. Our illustrations on pages 62 and 63, more especially the
one in colours, will give our readers a very fair idea of the decorative
effect to be obtained by the medium. The judicious selection of the
woods, more particularly with respect to the grains, plays an important
part in the scheme, and it is remarkable how skilfully Mr. Rowley has
adapted the markings of the grains in the rendering of the original de-
sign. It is, of course, only a certain type of picture which lends itself to
53