STRAY NOTES

Dominion, Volume 22, Issue 72, 18 December 1928, Page 19

STRAY NOTES

MODERN BRITISH FURNITURE In some of the loveliest villages in England—in Worcestershire, in Gloucestershire —where the craftsman spirit has been recaptured, are settled designers and craftsmen who are creating furniture for the future. The furniture bears the impress of their creative gifts inspired by surroundings that breathe the very spirit of England, and embodies in it all that is best of tradition in design and cabinet-making. Vitality and love of experiment are shown in the work of these present-day designers in the use of various hitherto untried combinations of woods. and in the shape and form of familiar pieces. Increasing use is made of British Empire woods as the decorative possibilities of the timbers obtainable from the Dominions is realised, since modern furniture largely relies oh the blending of the ' natural colours and - grains of the woods for its intrinsic beauty.

Perfection of line, form and proportion are outstanding chirraeteristies of modern ' English furniture, and in years to come the work of twentieth century designers and craftsmen will, in the estimation of the writer,- be comparable with the classic types of Chippendale, Sheraton. Hepplewhite. and Adam. Everyday needs- are anticipated and provided for, such as lower drawers in a sideboard, designed especially for the storage of disused knife boxes, and a handy little combined table and lampstand (with space for books) for Darby and Joan fireside use.

Dust-traps are carefully avoided, as in a dining-room armchair in natural oak with a chamfered back that facilitates cleaning. Handles are shaped to the curve of the hand.

There is dignity, restraint, and elegance in the work of the moderns without sacrifice to sobriety. For one may find gaiety in the form of inlays of coloured marquetry in the work of many designers that satisfies the prevalent demand for colour and variety.—Frances Tracey, in “The Ideal Home."

The last generation seems to have disliked colour in architecture. The present generation likes it better but is timid as to its use. It fears to make mistakes. Hence the unwillingness to colour plaster or wood panelling and the popularity of white paint. For the comfort of those- who like their “period” furniture and decoration to be historically correct it may be pointed out that the painting of panelling was quite common in Tudor and Stuart times. Mr. Geoffrey Webb in an article in the London “Daily Telegraph.” gives an account of some notable examples of painted woodwork. One of the earliest surviving examples is at Herringstone. in Dorset: this dates from about 1012 to 1017. Other notable examples are nt Cothay in Somersetshire and nt Knole. .Sometimes painting is added to carved work, but at Castle Ashby, in Northampton, there is a room of.the Stuart neriod in which nil the decoration is nchieyed by painting. *