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The Domestic Landscape 1860-1960

Resources in Special Collections


the drawing room

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  Rudolph Ackermann 90 plates depicting furniture, taken from various volumes of Ackermann's Repository of arts etc [London: 1811-1828] Hepburn q3 

A Gothic sofa

 

 

  Rudolph Ackermann 90 plates depicting furniture, taken from various volumes of Ackermann's Repository of arts etc [London: 1811-1828] Hepburn q3 

Lighting for the drawing room

 

 

  Rudolph Ackermann 90 plates depicting furniture, taken from various volumes of Ackermann's Repository of arts etc [London: 1811-1828] Hepburn q3  

Drawing room window curtains

 

  Charles Dickens Bleak House (with illustrations by H.K. Browne) London: 1852-1853 Hepburn 186-203 plate from No. 8, Hepburn 193

'A model of parental deportment'
we then went in search of Mr Turveydrop; whom we found, grouped with his hat and gloves, as a model of Deportment, on the sofa in his private apartment - the only comfortable room in the house (p.231)

 

  Charles Dickens Bleak House (with illustrations by H.K. Browne) London: 1852-1853 Hepburn 186-203 plate from No. 13, Hepburn 198

'Sunset in the long drawing-room at Chesney Wold'
dreary and solemn the old house looks, with so many appliances of habitation, and with no inhabitants except the pictured forms upon the walls (p.397)

 

  Robert Kerr  The gentleman's house; or, how to plan English residences, from the parsonage to the palace London: 1864  Sp Coll 2773 page 122

Drawing-room: position for the door
the fireplace ... is best situated in the middle of one side (F), and opposite the windows (W) ... it will generally be found in practice that this involves our placing the door in the same side-wall as the fireplace (at a); whereas, according to rule, it ought to be at one corner, on the side opposite the fireplace. A preferable position is the middle of one of the end walls (b) ... or even the extremity of one end adjoining the window wall (c); ... The extremity of an end wall next the fire wall (d) is a worse position than any other, because  it admits a current of air to take the fireside directly in flank (p.122)

 

 

Christopher Dresser Principles of decorative design London: [1882]  PAA 112 figures 26 and 27, page 53

Furniture: Chairs
Fig. 26  ... I give it as an illustration of that which is essentially bad and wrong. The legs are weak, being cross-grained throughout, and the mode of uniting the upper and lower portions of the legs (the two semicircles) by a circular boss is defective in the highest degree (p. 52-53)
Fig. 27 is in the manner of an Egyptian chair. It serves to show the careful way in which the Egyptians constructed their works ... if well made it is a seat which would endure for centuries (p. 55)

 

  Christopher Dresser Principles of decorative design London: [1882]  PAA 112 plate between pages 84 & 85

Illustrating cornice, ceiling & wall colouring.
If one part only can be decorated, let that one part be the ceiling. Nothing appears to me more strange than that our ceilings, which can be properly seen, are usually white in middle-class houses (p.75)

 

  Christopher Dresser Principles of decorative design London: [1882]  PAA 112 figure 80, page 100

Persian Carpet
Carpet patterns are generally better if founded on a geometrical plan. In this way most of the Indian and Persian carpets are constructed. A geometrical plan secures to the design a manifestation of order and thought in its formation (p. 103)

 

  The studio: an illustrated magazine of fine and applied art London: 1893-1903 (volumes 1-28)  PAA f174-202 vol. 9, page 231, PAA f183 (1896-97)

Interior of a living room: 'Ranee' 
(Competition D.XXVIII): second prize 

 

  The studio: an illustrated magazine of fine and applied art London: 1893-1903 (volumes 1-28)  PAA f174-202 vol. 9, page 231, PAA f183 (1896-97)

Interior of a living room: 'Cosy'  (Competition D.XXVIII): hon. mention 

 

  The studio: an illustrated magazine of fine and applied art London: 1893-1903 (volumes 1-28)  PAA f174-202 vol. 17, page 175, PAA f191 (1899)

The drawing room at 25 Cadogan Gardens, Mr. Mortimer Menpes' House
The small square wooden tables in the drawing-room are of Chinese form and useful for the reception of ornamental objects (p.176)

 

  H. J. Jennings  Our homes and how to beautify them London: 1902  RQ 785  plate 5

Fireplace with cosy corners.
the chimney-piece demands the first consideration, being structurally the most important feature of a room. One glance into an empty room will demonstrate the great value of the chimney-piece, which, unless the room has something uncommon in the way of nooks, recesses, or a corbelled oriel, exercises a more or less commanding influence (pp.78-79)

 

 

  H. J. Jennings  Our homes and how to beautify them London: 1902  RQ 785  plate 31

A drawing room exhibited by Waring & Gillow at Paris.
The ceiling indicates something of an Elizabethan character, but the treatment is modern and essentially comfortable (p.194)

 

 

  H. J. Jennings  Our homes and how to beautify them London: 1902  RQ 785  plate 18

A panelled dining room for country mansion.
in the Jacobean style ... A very fine effect is produced ... by the spacious recessed chimney-piece, which, like the ceiling, is of plain plaster, ribbed with beams of oak (pp.162-169)

 

  H. J. Jennings  Our homes and how to beautify them London: 1902  RQ 785  plate 29

A Louis XV boudoir in town house.
A boudoir is a drawing room in miniature, and should have all the delicacy and prettiness of a miniature. It cannot be too luxurious (p.202)

 

 

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