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Rosamond Allwood

English furniture designer and manufacturer. He may have been trained by the Gothic Revival architect and furniture designer J. P. Seddon, whose work certainly influenced his first published design, a davenport in a geometric Reformed Gothic style, in the Building News of 1865. That year he also advertised a ‘New Registered Reclining Chair’, made by ...

Article

Rosamond Allwood

Welsh furniture designer. He was a cabinetmaker working in Warrington when he designed and made his first major piece, the Warrington State Bedstead (untraced, see Jervis, 1989, pl. vii(a)). This huge oak bed, elaborately carved in a quasi-Renaissance manner, was inspired by the Austrian furniture displayed in the Manchester Art Treasures Exhibition in ...

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James Yorke

English furniture designer and cabinetmaker. He was recorded as working in the Haymarket, London, from 1760 until 1766, but no furniture documented or labelled from his workshop has been identified. In 1760 he contributed 50 designs to Houshold Furniture in Genteel Taste, sponsored by a Society of Upholsterers and Cabinetmakers, and in the same year he published the ...

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Belgian architect, designer, engineer, writer and politician. After graduating as an engineer at the University of Ghent in 1870, he established himself in Charleroi before settling in Ghent on his marriage in 1872. Under the influence of Jean-Baptiste-Charles-François Baron Bethune, he worked in the Belgian Gothic Revival style on architecture, furniture and wall paintings and in stained glass, gold, iron and embroidery. From ...

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Colin Cunningham

English architect, furniture designer and painter. In financial terms he was probably the most successful architect of the 19th century, and his office, of a dozen or so full-time staff, was able to produce large quantities of high-quality drawings with speed and efficiency. His skill in planning was recognized at an early stage, but appreciation of his stylistic achievement has been slower. He was influenced by Ruskin and A. W. N. Pugin, as well as by the more practical approach of George Gilbert Scott, but he developed his own approach to the composition of forms and a preference for bold simple ornament to match the increasing scale of his buildings. He did not confine himself to a single style but was adept in Gothic and, later, free Renaissance styles, and he developed a preference for the neo-Romanesque. He distinguished between carved or moulded ornament on plain stone and decorative materials such as veined marble, which he generally left unornamented. His concern for hard-wearing surface materials led him to adopt terracotta as a facing material, in which he was both a pioneer and protagonist. His sensitive handling of materials approached the aims of the Arts and Crafts Movement, but he always accepted that building was an industrial process. His buildings are characterized by sound planning and bold and picturesque outline, with particular attention given to the skyline in urban buildings....