Dutch company of art dealers and interior design and furniture workshop. The Arts and Crafts interior design and furniture workshop was set up in The Hague in 1893. The Art Nouveau character of the furniture produced by the workshop set it very much apart from its competitors. Designs were produced by the artist Johan Thorn Prikker and the architect Chris Wegerif (1859–1920). During the early years of the workshop the Belgian artist Henry van de Velde exercised a strong influence on its designs. After 1900 the designs became more austere, any Art Nouveau character being confined to woodwork and batik upholstery fabrics. In order to ensure the unity of each interior, an effort was made to have all the objects designed by the same artist. The workshop fostered a close relationship with The Hague school of painting.F. Netscher: ‘Arts and Crafts’, De Hollandsche Revue (1902), p. 211...
Monique D. J. M. Teunissen
James D. Kornwolf
(b Ramsgate, Oct 23, 1865; d Brighton, Feb 10, 1945).
English architect, interior designer, garden designer and writer . He was articled to Charles Davis (1827–1902), City Architect of Bath, from 1886 until 1889 but learnt little and was largely self-taught. In 1889 he started his own practice on the Isle of Man, where he built a number of buildings, including his own Red House, Douglas (1893). He was a leading member of the second-generation Arts and Crafts Movement in Britain and was among the first to build on the simpler, more abstract and stylized designs of C. F. A. Voysey, a refinement of the ideas of William Morris, Philip Webb, R. Norman Shaw and others from the period 1860–90. From about 1890 until World War I, the Arts and Crafts Movement, as represented by Baillie Scott, Voysey, C. R. Ashbee, Charles Rennie Mackintosh, Parker & Unwin and others, became the most important international force in architecture, interior design, landscape and urban planning. The work of these architects influenced Adolf Loos and Josef Hoffmann in Austria, Joseph Maria Olbrich and Peter Behrens in Germany, Eliel Saarinen and others in Scandinavia, and Frank Lloyd Wright, Irving Gill, Greene & Greene in the USA....
English family of furniture designers and artist-craftsmen. Ernest (1863–1926) and his brother Sidney (1865–1926) worked with Ernest Gimson in the design and construction of furniture in the tradition of the Arts and Crafts Movement. Sidney’s son Edward (1900–87) carried on the business at a shop established in Froxfield (Petersfield, Hants) in ...
(b London, April 14, 1863; d London, Nov 27, 1933).
English decorative artist and painter. He was articled to an architect and studied at Westminster School of Art under Frederick Brown and at the Royal Academy Schools. Later he worked in the studio of Aimé Morot in Paris and travelled to Italy. Bell belonged to the group of artist–craftsmen who brought about the last flowering of the Pre-Raphaelite movement. He painted in oil and watercolour and was among the pioneers of the revival of the use of tempera. He was an illustrator and also worked in stained glass and mosaic. He is best known for a series of bas-reliefs in coloured plaster, a group of which was used in the interior decoration at Le Bois de Moutiers, a house in Varengeville, Normandy, designed by Edwin Lutyens in 1898. Bell’s understanding of early Italian art underpinned his work in mosaic, a medium he used to great effect in three public commissions in London: the ...
(b London, Oct 17, 1854; d Manorbier, Dyfed, July 5, 1924).
English designer. He was educated at Winchester and Oxford, and in 1877 he was articled to the architect Basil Champneys. Encouraged by William Morris, in 1880 Benson set up his own workshop in Hammersmith specializing in metalwork. Two years later he established a foundry at Chiswick, a showroom in Kensington and a new factory at Hammersmith (all in London), equipped with machinery to mass-produce a wide range of forms, such as kettles, vases, tables, dishes and firescreens. Benson’s elegant and spare designs were admired for their modernity and minimal use of ornament. He is best known for his lamps and lighting fixtures, mostly in copper and bronze, which are fitted with flat reflective surfaces (e.g. c. 1890; London, V&A). These items were displayed in S. Bing’s Maison de l’Art Nouveau, Paris, and were used in the Morris & Co. interiors at Wightwick Manor, W. Midlands (NT), and Standen, East Grinstead, W. Sussex. Many of Benson’s designs were patented, including those for jacketed vessels, which keep hot or cold liquids at a constant temperature, and for a ‘Colander’ teapot with a button mechanism for raising the tea leaves after the tea has infused. Benson sold his designs, labelled ‘Art Metal’, through his showroom on Bond Street, which opened in ...
Athena S. E. Leoussi
(b Villefranche, Rhône, 1872; d Paris, 1909).
French designer and lithographer. He began his training in Villefranche, where he studied painting, and in 1893 he moved to Paris, entering the Ecole Normale d’Enseignement du Dessin. There he became a pupil and disciple of Eugène-Samuel Grasset, the Professor of Decorative Arts, and was also influenced by Luc Olivier Merson. Berthon’s main output consisted of posters and decorative panels. However, he also produced bookbindings and furniture designs, both of which he exhibited at the Salon in 1895; designs for ceramics for Villeroy & Boch in the late 1890s; and a few designs for the covers of such magazines as L’Image (July 1897) and Poster (May 1899). His work is in an Art Nouveau style, and he adopted that movement’s plant and figural motifs, especially the motif of the femme fatale, and also its long sinuous lines. These features can be seen in such works as the poster ...
French family of cabinetmakers, antique dealers and collectors. The dynasty was founded by Jean Beurdeley (1772–1853), who, after service in Napoleon’s armies, opened a small antique shop in the Marais district of Paris and in 1830 bought the Pavillon de Hanovre, 28 Boulevard des Italiens, which was the Beurdeley firm’s principal gallery until 1894. His son (Louis-Auguste-) Alfred Beurdeley (1808–82) dealt in antiques and works of art and was also a cabinetmaker specializing in reproductions of 17th- and 18th-century furniture. His clients included Napoleon III and the Empress Eugénie. Alfred Beurdeley’s illegitimate son (Emmanuel-) Alfred Beurdeley (b Paris, 11 Aug 1847; d Paris, 20 Nov 1919) took over the gallery and workshops in 1875 and until 1894 concentrated on making luxury furniture, continuing the models sold by his father. He was one of the most important Parisian cabinetmakers, winning a gold medal at the Exposition Universelle in Paris in ...
(b Boston, MA, July 10, 1868; d La Mesa, CA, Jan 25, 1962).
American book-illustrator and designer of posters, typefaces and furniture. In 1893 Bradley began designing for Vogue magazine. He subsequently worked for Ladies’ Home Journal, and in 1901–2 published an influential series of eight articles on ‘The Bradley House’; the designs in these articles (and another three in 1905) seem not to have been implemented, but they nonetheless exerted a seminal influence on public taste and on subsequent furniture design; his designs for pianos were used by Chickering & Sons of Boston. Bradley also designed two series of plates for Royal Doulton: ‘Golfers’ (...
(b 1876; d 1962).
Maltese cabinetmaker and designer. He was trained exclusively in Malta, where one of his teachers was the painter Lazzaro Pisani. He was a gifted wood-carver, but his speciality was wood inlay, for which he developed his own distinctive technique. He designed and executed many items of church furniture, developing and elaborating a richly ornate Baroque style that reflects the Maltese love of exuberant decoration. He also produced designs for liturgical objects in precious metals and for church brocades....
(b Saverne, Lower Rhine, March 17, 1862; d Strasbourg, 1932).
French sculptor, decorative artist and draughtsman. He moved to Paris with his family after the Franco-Prussian War in 1870 and worked as an ornamental sculptor in a cabinetmaker’s studio in 1878. In the early 1880s he befriended painters such as Georges Seurat, Claude Monet and Toulouse-Lautrec. He is best known for the small number of pieces of furniture made before he became Director of the Ecole des Arts Décoratifs in Strasbourg in 1920. These objects had more in common with sculpture than with the work of traditional cabinetmakers. He often made use of female nudes in his furniture, not as decoration but literally as construction, for example in one of his earliest works, a wooden table (h. 760 mm; Paris, Maurice Rheims priv. col., see exh. cat., p. 98), in place of conventional legs he used carved human figures depicted as if supporting the table-top with their uplifted arms.
Carabin’s interest in the female form is further attested to by life drawings. Apart from the furniture, he also produced small decorative objects and medals (e.g. a commemorative medal for the magazine ...
(b Ath, Jan 7, 1875; d Brussels, Sept 1, 1952).
Belgian decorative artist, architect and painter. He began architectural studies at the Koninklijke Academie voor Schone Kunsten in Antwerp but broke off to pursue courses on the decorative arts at the Académie Royale des Beaux-Arts in Brussels, graduating in 1898. The tuition he received there from the painter Constant Montald gave him a taste for mural art and he soon developed a business that specialized in sgraffito painting, a technique that had recently come back into fashion. He completed some 440 design projects, most of which were for building façades and stairways. As an interior designer, painter and draughtsman, Cauchie was influenced by the Arts and Crafts movement and the work of Charles Rennie Mackintosh and the Glasgow style and he produced a variety of work in the applied arts. Towards 1905 his style became more geometrical. It was at this time that he built his own studio and house at Etterbeek, Brussels, in collaboration with the architect ...
(b Flensburg, March 6, 1866; d Wiesbaden, Jan 5, 1945).
German designer. After an early career as an interior designer he turned to the design of tapestries (subsequently woven at the Scherbeker Kunstgewerbeschule), porcelain (table wares), drinking glasses (for the Theresienthaler Kristallglasfabrik) and silver cutlery. After 1914 he worked primarily as a painter and writer.M. Zimmermann-Degen and H. Christiansen...
(b Oxford, March 16, 1840; d Southampton, Oct 7, 1924).
English architect. He studied architecture under R. W. Armstrong and later G. E. Street in London, subsequently working for Collinson & Lock, the fashionable furniture-makers. He designed their premises (1873–4; destr.) on Fleet Street, London, and a tall ebonized ‘Art’ cabinet (London, V&A), exhibited at the International Exhibition in London (1871). Although he worked in a variety of architectural styles, including the Queen Anne Revival for the Town Hall (1877), Wakefield, Yorks, he favoured a Hispano-Renaissance style with strong Moorish motifs, as in his best-known commission, the Imperial Institute (1887–93; destr.), South Kensington, London. The complex, of which only the 90 m campanile survives, combined effective massing with an attention to detail, displaying Collcutt’s debt to his earlier cabinet-making with Collinson & Lock. The exterior was faced with Portland stone and the animated roofline recalled a Moorish palace. The interior planning reflected the purpose of the building, with long arcaded corridors giving access to offices. Hopton Wood stone was used extensively on the interior, and the dramatic grand vestibule incorporated various coloured marbles and floors by the Paris-based ...
(b Portland, ME, March 4, 1832; d New York, March 26, 1920).
American painter, interior designer and writer. Colman grew up in New York, where his father, Samuel Colman, ran a successful publishing business. The family bookstore on Broadway, a popular meeting place for artists, offered Colman early introductions to such Hudson River school painters as Asher B(rown) Durand, with whom he is said to have studied briefly around 1850. Having won early recognition for his paintings of popular Hudson River school locations (see Storm King on the Hudson), he was elected an Associate of the National Academy of Design in New York in 1854. Most of Colman’s landscapes of the 1850s, for example Meadows and Wildflowers at Conway (1856; Poughkeepsie, NY, Vassar Coll., Frances Lehman Loeb A. Cent.), reveal the influence of the Hudson River school. An avid traveller, he embarked on his first European tour in 1860, visiting France, Italy, Switzerland and the more exotic locales of southern Spain and Morocco. His reputation was secured in the 1860s by his numerous paintings of romantic Spanish sites, notably the large ...
[Klönne, Eduard; Colonna, Eugène]
(b Mülheim, nr Cologne, May 27, 1862; d Nice, Oct 14, 1948).
German architect and designer. He studied architecture from 1877 to 1881 in Brussels and in 1882 went to New York where he worked briefly as a designer for Tiffany’s Associated Artists. From 1884 to 1885 he worked with the New York architects Bruce Price. From 1885 onwards he produced railway wagons for Barney & Smith, Dayton, OH, and for a Canadian railway company, and he also worked in the field of interior decoration. In 1893 Colonna went to Europe, settling in Paris, where in 1898 he started work as a designer for S. Bing’s Galerie Art Nouveau. His heyday came between 1898 and 1902, when he produced designs for jewellery, textiles and furniture, including exhibits in the famous Art Nouveau Bing pavilion (destr.) at the Exposition Universelle in Paris in 1900.
In 1902 Colonna returned to Canada, and for 20 years he worked as an interior decorator and designer there and in the USA. In ...
(b Liverpool, Aug 15, 1845; d Horsham, W. Sussex, March 14, 1915).
English painter, illustrator, designer, writer and teacher. He showed artistic inclinations as a boy and was encouraged to draw by his father, the portrait painter and miniaturist Thomas Crane (1808–59). A series of illustrations to Tennyson’s The Lady of Shalott (Cambridge, MA, Harvard U., Houghton Lib.) was shown first to Ruskin, who praised the use of colour, and then to the engraver William James Linton, to whom Crane was apprenticed in 1859. From 1859 to 1862 Crane learnt a technique of exact and economical draughtsmanship on woodblocks. His early illustrative works included vignette wood-engravings for John R. Capel Wise’s The New Forest: Its History and its Scenery (1862).
During the mid-1860s Crane evolved his own style of children’s book illustration. These so-called ‘toy books’, printed in colour by Edmund Evans, included The History of Jenny Wren and The Fairy Ship. Crane introduced new levels of artistic sophistication to the art of illustration: after ...
(b Alberobello, nr Bari, Oct 9, 1848; d Naples, Nov 16, 1916).
Italian architect and decorator. He attended the school of painting at the Istituto di Belle Arti, Naples (1865–9), and after a period spent in his native town, where he apparently began his architectural activity, he moved permanently to Naples. His earliest works included the façade decoration (1874) for Naples Cathedral and a plan for the building’s restoration, which was a prize-winning exhibit at the Esposizione Nazionale di Belle Arti (1877) in Naples. He later carried out many restoration works in religious buildings in Naples. In collaboration with Ernesto di Mauro he also decorated the Galleria Umberto I, which was built (1887–92) from designs by the architect Emanuele Rocco and the engineer Francesco Paolo Boubée. He became a decorative painter with a design (c. 1869) for the cradle of Prince Victor-Emanuel (later Victor-Emanuel III (reg 1900–46)), which was realized in collaboration with the sculptor ...
(b Warsaw, Jan 27, 1872; d Warsaw, July 27, 1947).
Polish architect, interior designer, teacher and painter. In 1891 he left Poland to study painting at the Akademie der Bildenden Künste, Munich, and later in Paris, under Jean-Paul Laurens, Benjamin Constant and James McNeill Whistler. He then studied (1894–5) at the School of Fine Arts, Kraków, and at the School of Industrial Art, also in Kraków. He was co-founder of the Polish Applied Arts Society (1901–14), a pioneering institution set up to develop the crafts in Poland. With other members of the society, including Tadeusz Stryjeński, he designed the interiors (1903–6) of the Old Theatre, Kraków, in a style influenced by Art Nouveau. He was also a co-founder of the Kraków Workshops (1913–26), which were housed in the town’s Museum of Technology and Industry, and he designed stucco reliefs for the façade of this building. Czajkowski was a leading supporter of the Arts and Crafts Movement in Poland, but he increasingly inclined towards the Polish ‘mansion house’ style, for example his design (...
(b Venarcy, Côte-d’Or, Jan 2, 1854; d Dijon, Sept 26, 1945).
French sculptor, jeweller and furniture designer. He studied at the Ecole des Beaux-Arts in Dijon and then, in 1874, under François Jouffroy and Paul Dubois (ii) at the Ecole des Beaux-Arts in Paris. He first exhibited at the Salon de la Société des Artistes Français in 1876 with his bust of an architect called Belot (Dijon, Mus. B.-A.) and in 1877 he came second in the Prix de Rome. In 1879 he was awarded a second-class medal for his plaster sculpture Ismael (Châlons-sur-Marne, Mus. Mun.) and in 1881 he won a first-class medal for the marble St John the Baptist (Paris, Mus. d’Orsay). He travelled in Italy from 1882 to 1883 and later visited Spain and Morocco on a travel scholarship. In 1889 he ceased exhibiting at the Salon de la Société des Artistes Français and instead exhibited at the recently established Salon de la Société Nationale des Beaux-Arts. He worked primarily in bronze but also in ivory, silver and gold, and produced some jewellery. His sculptures were mainly inspired by religious and mythological subjects executed in a highly finished academic style (e.g. ...