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Extrait
Premières pages de l'ouvrage, en accès libre.
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"THE STUDIO" YEAR-BOOK OF DECORATIVE ART, 1922 EDITED BY GEOFFREY HOLME LONDON: THE STUDIO LTD., 44 LEICESTER SQUARE
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CONTENTS ARTICLES Title --- Author/Editor --- PAGE --- “Domestic Pottery of the Past.” By Bernard Rackham, M.A. (of the Department of Ceramics at the Victoria & Albert Museum) --- “The Roehampton Estate.” By Sydney R. Jones --- “Great Britain—Notes on some recent Domestic Architecture” --- “France.” A Note by E. A. Taylor --- “Denmark.” A Note by Georg Bröchner --- “Austria.” A Note by A. S. Levetus --- “Domestic Architecture in America.” By T. P. Bennett, F.R.I.B.A. --- ILLUSTRATIONS IN COLOURS Title --- PAGE --- Water-jar. Swiss (Winterthur) Ware. Dated 1640 --- Drug-bottle. Italian Maiolica. Late 15th century --- View towards Swinburne Road from Gibbon Walk, Roehampton --- “The Orange Room.” Oil painting by H. Davis Richter, R.I. --- Interiors designed by Shirley B. Wainwright --- Cretonne designed by Constance Irving for W. Foxton --- Cretonnes designed by Minnie McLeish for W. Foxton --- Voile designed by C. R. Macintosh for W. Foxton --- Decorative Panel by George Sheringham --- Decorative Painting by Frank Brangwyn, R.A. --- Embroidered mounted Coverlet by Rosa Leo --- ILLUSTRATIONS IN MONOTONE Title --- PAGE --- “Domestic Pottery of the Past”—104 Examples from the Victoria and Albert Museum --- 11 to 36 --- “The Roehampton Estate”—24 Drawings and Plans prepared in the Office of the Architect to the London County Council --- 37 to 56 --- DOMESTIC ARCHITECTURE AND APPLIED ART GREAT BRITAIN After designs by: Name --- PAGE --- Adams, John --- Adams, Maurice S. R., A.R.I.B.A. --- 61, 62 --- Adams, Truda --- 104, 105 --- Alexander, Philip F. --- Birmingham Guild, The --- Borie, J. (The Canal Workshop) --- 70, 71, 75 to 78, 80 --- Bowen, Norah --- Bridle, Kathleen --- Carter, Stabler & Adams --- 70, 75, 80, 104 to 106 --- Castle, Sydney E. ---
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DOMESTIC ARCHITECTURE AND APPLIED ART—continued Author --- PAGE --- Cuzner, Bernard --- 93, 96 --- Cuzner, Ethel --- Doman, C. L. J. --- Dunnett, Florence --- Frankham, M. --- Fraser, the late C. Lovat --- 78, 80 --- Gimson, the late Ernest W. --- 70, 79 --- Green, W. Curtis, F.R.I.B.A. --- Heal & Son --- 70, 71, 75, 77, 80 --- Hubball, M. --- Irving, Constance --- Johnstone, James A. --- Jones, Sydney R., & J. Crowe --- King, Jessie M. --- Law, Winifred --- Leach, B. --- 78, 83 --- MacCrea, Margaret --- McLeish, Minnie --- Manners, Erna --- Mitchell, M. Patricia --- Murray, W. S. --- Mycock, W. S. --- Palmer-Jones, W. J. --- Paterson, Nora --- Paton, George --- Peace, W. A. --- Powell, Alfred H. --- Powell, Louise --- Rice, Bernard --- Roberts, C. A. Ll. (The Birmingham Guild) --- 95, 96 --- Rodgers, Gwladys M. --- Rowley, A. J. --- 70, 77, 88 --- Sampson, Lucy --- 80, 98 --- Scott, M. H. Baillie, & Beresford --- 64, 65 --- Sheringham, George --- Spencer, Edward (The Artificers’ Guild) --- 77, 79, 83 --- Spooner, Charles --- Stabler, Harold --- Wainwright & Waring --- 70, 71 --- Walker, Agatha --- Willcocks, C. B., F.R.I.B.A. --- Young, J. Radley --- 104, 106 ---
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DOMESTIC ARCHITECTURE AND APPLIED ART—continued FRANCE Bagge, Eric . . . . . . . . . . . 118 Brandt, Edgar . . . . . . . . . . . 124 Dufrène, Maurice . . . . . . . . . . . 119 Gallerey, M. . . . . . . . . . . . 119 Groult, André . . . . . . . . . . . 115, 116 Huguet, Bernard . . . . . . . . . . . 118 Maillaud, Fernande . . . . . . . . . . . 121 Mare, André . . . . . . . . . . . 121 Martin, Ch. . . . . . . . . . . . 121 Nathan, Fernand . . . . . . . . . . . 117, 118 Ruhlmann, Jacques . . . . . . . . . . . 109 to 114 Schenck, Ed. . . . . . . . . . . . 122, 123 Süe et Mare . . . . . . . . . . . 120 DENMARK Bojesen, Kaj . . . . . . . . . . . 138 Hahn-Locher . . . . . . . . . . . 132 Hegermann-Lindencrone . . . . . . . . . . . 132 Hygom, Louis . . . . . . . . . . . 128, 129 Jensen, Georg . . . . . . . . . . . 133 to 137 Larsen, O. M. . . . . . . . . . . . 131 Möhl . . . . . . . . . . . 130 Olsen, C. . . . . . . . . . . . 131 Rasch, Chr. . . . . . . . . . . . 127 Tegner, Prof. Hans . . . . . . . . . . . 131 Wagner, Olga . . . . . . . . . . . 132 AUSTRIA Dagobert-Peche . . . . . . . . . . . 144 to 147 Frank, Prof. Josef . . . . . . . . . . . 141 Hagenauer, Karl . . . . . . . . . . . 147 Hoffmann, Prof. Josef . . . . . . . . . . . 144, 150 Jirasko, Rudolf . . . . . . . . . . . 146 Prutscher, Prof. Otto . . . . . . . . . . . 139, 140 Strnad, Dr. Oskar . . . . . . . . . . . 141 to 143, 146 Wiesellhier, Wally . . . . . . . . . . . 149 Zimpel, J. . . . . . . . . . . . 150 Zweybrück, Emmy . . . . . . . . . . . 140, 143, 148, 149, 150 AMERICAN ARCHITECTURE After designs by : Baum, Dwight James . . . . . . . . . . . 176, 177 Bellows & Aldrich . . . . . . . . . . . 155
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AMERICAN ARCHITECTURE—continued Author(s) --- PAGE --- Bigelow & Wadsworth --- 164, 165 --- Cross & Cross --- 166, 167 --- Delano & Aldrich --- 156, 157 --- Goodhue, Bertram Grosvenor --- 158, 159 --- Johnson, Reginald D. --- Kahn, Albert --- Magonigle, H. van Buren --- Mellor, Meigs & Howe --- Parsons, William E. --- Platt, C. A. --- Schmidt, Garden & Martin --- Shaw, Howard --- 170, 171 --- Trowbridge & Ackerman --- Walker & Gillette --- 160 to 162 ---
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DOMESTIC POTTERY OF THE PAST. $\mathcal{R}$ BY BERNARD RACKHAM F the crafts that minister to the needs of our daily life few offer more varied possibilities of decorative treatment than that of the potter. The mere shaping of a pot on the wheel provides endless scope for the creation of beauty in subtle curves and pleasantly contrasted light and shade. When the potter wishes by adding ornament to the shape to give it stronger accent or livelier interest the means within his reach are almost inexhaustible. The graving tool, the mould and the stamp, the painter’s brush, the stencil, can all be enlisted, even also the printing-press if used with judgment and restraint. If chromatic effect be aimed at, much can be done with the clay alone, whilst glaze may be made the vehicle of colouring materials with which, by the wizardry of the furnace, every hue of the rainbow can be obtained. In the ancient world the ceramic art was amongst the foremost in honour, but when the night of barbarism which overwhelmed Roman civilisation had passed, it was the last of the great crafts to be restored to dignity. Its revival in mediaeval Spain belongs strictly to the history of Oriental culture. Modern Western culture had gone far on its course before vessels of clay were deemed worthy of any but the rudest fashioning or the humblest uses. Pottery first began to rank again amongst the artistic crafts of Europe in Italy, in the 14th century. Before that time only the simplest useful wares were created on the potter’s wheel—pitchers and jars for the fountain or the cellar and kitchen crockery owing to chance, not to design, any comeliness they possessed. It is therefore with Italian maiolica that I propose to begin this short survey. Its distinctive feature is the coating of opaque white tin enamel laid over the coarse yellow clay as a surface for painted decoration. In ceramic painting, as in the greater achievements of fresco and altar-piece, the Italians were without a peer in Europe. They were hardly outrivalled by the potters of the East. Fully to appreciate painted maiolica it must be borne in mind that the artist had to work on the unfired glaze, that is, on an absorbent surface very different from that of a glaze already fired. Indeed the art of underglaze painting or painting on the raw stanniferous glaze before its fusion in the kiln demands such sureness of hand, such self-mastery and confidence as would be beyond the reach of most modern china-decorators, accustomed to working in enamel pigments applied over the already-fired glaze. The earliest maiolica was very restricted in its range of colours. At first two only were used, manganese-purple for drawing the outline and copper-green for filling in minor details. This stage we see in the simple pitchers
