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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
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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
Lighting for 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
Drawing room window curtains |
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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) |
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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) |
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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) |
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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) |
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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) |
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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) |
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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 |
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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 |
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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)
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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)
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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)
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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) |
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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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