DOI Artikel:
Notes on the illustrations
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.19430#0066
NOTES ON THE ILLUSTRATIONS
“Davenies,” Beaconsfield (p. 62), consisted originally of a small farm-
house with its adjoining farm buildings, and the idea suggested itself that
by grouping up the buildings and inserting a first floor within the large
barn, which formed the central feature of the group, a convenient and
attractive residence might be formed. The architect, Mr. Stanley
Hamp, has developed this idea and produced a simple and picturesque
building. Fortunately, a large amount of old oak and red brickwork was
obtainable from materials on the farm, and these were all carefully
worked into the scheme.
The two interior views shown on page 63 are of a house at Chislehurst
designed by Mr. E. J. May. The cove over the chimney-piece in the
drawing-room is a constructional trimmer-arch carrying the hearth of
the fireplace above, and is not a sham. These arches present the plasterer
with an excellent opportunity to display his craftsmanship. The stair-
case seen in the other illustration is entirely of oak, and the balustrade,
etc., are decorated with draw-knife work by the local cartwright. The
traditional apples, pears and butterflies, in various combinations, are
similar to those often found on old carts.
The possibility of transforming a very ordinary room into a delightful day
nursery will be seen in the illustrations of a creche at Kilburn (p. 64)
which has been decorated by Miss Jessie Bayes. The modernisation of
the old four-poster is an interesting feature of the design for a bedroom,
by Mr. Frederic Towndrow, which forms one of our colour plates (p. 65).
The simplicity of the furniture harmonises well with the colour scheme.
The ivory and silk panel illustrated on page 67 is the work of that gifted
and original French artist, M. Clement Mere. Everything he produces,
be it a piece of jewellery, a card or cigarette case, a box, a flask, a fan, a
bag, or whatnot, bears the stamp of his artistic personality, and displays
his remarkably fertile imagination and inventive resources.
Readers of this Year-Book are familiar with the decorative panels of in-
laid and coloured woods to which Mr. A. J. Rowley has been devoting
himself for the last few years. Two of his most recent panels are repro-
duced on page 68 and show how this method is assisted by a broad and
dignified design. The chief charm of the work is naturally dependent
largely upon the beauty of the texture and grain of the wood used, in the
selection of which Mr. Rowley shows sound and artistic discrimination.
We illustrate this year a number of examples of modern furniture, in-
cluding several pieces executed by Messrs. Heal & Son. The majority
of these have been designed by Mr. Ambrose Heal, who may be said to
have introduced a distinct school of modern furniture design. He relies
for his effects almost entirely upon proportion, choice of wood, and
craftsmanship. Even his most elaborate designs are simple in character
and form, though he often uses inlays of coloured wood and mother
56
“Davenies,” Beaconsfield (p. 62), consisted originally of a small farm-
house with its adjoining farm buildings, and the idea suggested itself that
by grouping up the buildings and inserting a first floor within the large
barn, which formed the central feature of the group, a convenient and
attractive residence might be formed. The architect, Mr. Stanley
Hamp, has developed this idea and produced a simple and picturesque
building. Fortunately, a large amount of old oak and red brickwork was
obtainable from materials on the farm, and these were all carefully
worked into the scheme.
The two interior views shown on page 63 are of a house at Chislehurst
designed by Mr. E. J. May. The cove over the chimney-piece in the
drawing-room is a constructional trimmer-arch carrying the hearth of
the fireplace above, and is not a sham. These arches present the plasterer
with an excellent opportunity to display his craftsmanship. The stair-
case seen in the other illustration is entirely of oak, and the balustrade,
etc., are decorated with draw-knife work by the local cartwright. The
traditional apples, pears and butterflies, in various combinations, are
similar to those often found on old carts.
The possibility of transforming a very ordinary room into a delightful day
nursery will be seen in the illustrations of a creche at Kilburn (p. 64)
which has been decorated by Miss Jessie Bayes. The modernisation of
the old four-poster is an interesting feature of the design for a bedroom,
by Mr. Frederic Towndrow, which forms one of our colour plates (p. 65).
The simplicity of the furniture harmonises well with the colour scheme.
The ivory and silk panel illustrated on page 67 is the work of that gifted
and original French artist, M. Clement Mere. Everything he produces,
be it a piece of jewellery, a card or cigarette case, a box, a flask, a fan, a
bag, or whatnot, bears the stamp of his artistic personality, and displays
his remarkably fertile imagination and inventive resources.
Readers of this Year-Book are familiar with the decorative panels of in-
laid and coloured woods to which Mr. A. J. Rowley has been devoting
himself for the last few years. Two of his most recent panels are repro-
duced on page 68 and show how this method is assisted by a broad and
dignified design. The chief charm of the work is naturally dependent
largely upon the beauty of the texture and grain of the wood used, in the
selection of which Mr. Rowley shows sound and artistic discrimination.
We illustrate this year a number of examples of modern furniture, in-
cluding several pieces executed by Messrs. Heal & Son. The majority
of these have been designed by Mr. Ambrose Heal, who may be said to
have introduced a distinct school of modern furniture design. He relies
for his effects almost entirely upon proportion, choice of wood, and
craftsmanship. Even his most elaborate designs are simple in character
and form, though he often uses inlays of coloured wood and mother
56