Fireplace Screen Curtain -Fireplaces were a crucial feature of Arts and Crafts design. In the era that the Movement drew its inspiration the fireside was just starting to be sited on the sidewalls of great halls within the houses of the very most rich. So the design adopted by Arts and Crafts would be a 1800s day pastiche of what was really constructed throughout the Wars of the Roses Fireplace Screen Curtain. Designs were often in brick although stone might be used where it would be a local material.
The fireplaces were large, often rounded together an inglenook feel. Bricks would vary in space, with courses laid vertically as well as conventionally or even in the herringbone pattern. Later designs often included tiles along with the form of sinuous designs that are related to Charles Rennie Macintosh and Art Nouveau Fireplace Screen Curtain. Tiles could have a pastoral scene or perhaps a complex flower motif along with the Rockwood Pottery that produced early designs was closely related to Morris & Co, the company that William Morris ran from 1875. We still experience the Arts & Crafts legacy in mock Tudor houses, last century wall panelling and old brick fireplaces. Like the majority of styles of the last 2 hundred years the popularity declines just to reappear approximately 100 years later.
Charles Rennie Mackintosh is considered one of the greatest influences on architecture this century. His much too short career spanned the turn of the century and produced a variety of innovative buildings and interiors around his birthplace of Glasgow. Some see Mackintosh like a modernist, others because the link between Art Nouveau and Art Deco. He was probably neither, drawing his inspiration as much from classical shapes because the new industrial art which has been starting to prevail all over Europe.
Mackintosh has not been just an architect. His design brilliance extended towards the interiors of the buildings that he designed. Together with his wife Margaret, Mackintosh thought that the inner layout was as important because the exterior form and designed individual what to compliment the total look of the building. Fireplaces were, in their opinion, the 'glowing focus with decorative and symbolic interest'. It was important for him that each design should meld to the room and become personalised for your needs of the owner Fireplace Screen Curtain. His most popular brief was Hill House in Dumbarton, which he designed for your publisher, Blackie. In this house each fireplace differs. The living room design has niches for ornaments, while the fireside within the library links areas of the room to create a whole. Each has been considered and tailored to ensure that is a component of the room, not simply a fitting.
Today's fireplaces within the Mackintosh style usually reflect his graphic style as opposed to his design flair. Art Nouveau roses interpreted by Mackintosh are typical features and evoke turn of the century style. His designs for mantelpieces and handle fireplaces are extremely personal for 'off the shelf' production and will remain unique within the houses where they were installed.
Whilst the name of Charles Rennie Macintosh first one thinks of when early 1900s architecture is mentioned, it's probably Edwin Lutyens that has left the best impression on country houses and official buildings within the UK and beyond Fireplace Screen Curtain. Macintosh, from his base in Glasgow rose just like a shooting star round the turn of the last century just to disappear as fast after only 10-15 many years of architectural design. Lutyens, often as well as garden designer Gertrude Jykell, produced houses in the wonderful late Victorian / Edwardian vernacular style that still impresses today.
An examination of most of Lutyens Country House designs highlights the importance that he, and most importantly his clients, placed on the design of fireplaces. Many of his major, well-known designs - Castle Drogo, Great Dixter, Little Thakeham and others - feature more than 10 fireplaces - many specially engineered to enhance the ambience of the room.
Barton St. Mary near East Grinstead is a just to illustrate. Designed in the rendered, South of England style, Barton St. Mary resembles two cottages joined together. Internally, massive stone inglenooks, helpful oak beams and vaulted ceilings evoke a period much prior to when its actual turn-of-the-last century construction. In the living area a sizable fireplace with projecting shelf and converging firesides in herringbone brickwork carries a beautiful simplicity that is certainly almost ageless.
Fireplace Screen Curtain
Built for local industrialist, Arthur Hemmingway, Heathcote near Ilkley is altogether a different proposition from Barton St. Mary. Finished in local stone, it is really an imposingly grand house with echoes of a stately home. Internally neo-classical design reigns with pillars and ornate coving. In the Dining Room we have seen a straightforward bolection design using a massive Adamesque fireplace design superimposed over it. This is a strange combination, possibly specified by Mr. Hemingway himself. Bolection designs, making use of their unpretentious moulded shape were extremely popular, some within larger Adam-style designs, others forming the whole fireplace were common in other Lutyens houses - Great Maytham in Kent, Nashdom in Taplow, Berkshire and Temple Dinsley in Hertfordshire. Lutyens was often involved in modernisation of older houses where once again the simplicity of the bolection design helped blend new with old. Even today, bolection fireplaces have become much admired.
Lutyens designs were undoubtedly extremely influential inside select moneyed class who employed him. However, it was Minsterstone as well as a several other local manufacturers of stone, marble and brick designs who adapted his designs for your smaller fireplaces to cater for your emerging middle class. Many of the fireside manufacturers out of this era have disappeared leaving Minsterstone, having its 120-year history like a lone survivor from the time once the gap between rich and poor was much larger than it is today.
The dawning of the last century also saw a variety of different stylistic influences on the fireside in the way that no other century had experienced. The heavy, gothic style that so typified the middle of the Victorian era was still being stated in vast numbers. But present and favored by the cognoscenti was the powerful Art Nouveau look, that have taken the nation by storm, following a Paris Exhibition of 1881.
The roots of Art Nouveau lay within the great European capitals of Vienna and Paris in which the artistic elite rebelled against the constraints of the previous generation. The movement took aboard the cast iron fireplaces, for way too long the trade mark of the suburban growth and development of our large cities, and added sinuous ornamentation, which gave these utilitarian items today's look. Tiles on tile sliders begun to appear in the helpful designs inspired by rural images as well as classic Art Nouveau references such because the grapevine.
William Morris' Arts & Crafts movement continued to exert an influence well in towards the last century. The inglenook was a favorite revival feature of Arts and Crafts' fireplaces because it created seating round the fire - usually the only warm part of the house. In fact Morris' followers liked many options that come with medieval and Tudor fireplaces which they adapted and incorporated into their designs - some adding features like overmantels which may never have been part of the original.
The 1920s looked for a different approach that combined industry with art. After the First World war, revival was still being the name of the game for your middle classes who wanted their suburban houses gentrified with mock Tudor beams and fireplaces. However, the rich along with the artistic longed for designs that reflected the twin ethos of labor and leisure.
Art Deco filled this void and was given birth to at the 1925 Paris based exhibition titled 'L'Exposition Internationale des Arts Deco et Industriels Modernes'. At the time, the design was known as Paris 25. The concepts behind the Art Deco included:
The sacrifice of decorative detail to work.
The rejection of history towards modern ideas
The adaptation and adoption of industry - its designs and methods. Art Deco design was quickly translated right into a helpful designs, which used traditional fireplace materials, but in the more spectacular, avant-garde way. Simple understated lines were tripped by way of reflective chrome, lacquered wood or tiles to present today's feeling, which shouted 'Modern!' without having to be too ornate.
Like many of the other trends, Art Deco somewhat the preserve of the wealthy. The newly enriched suburban middle classes were very likely to have a straightforward tiled fireplace, normally in green beige or buff. Designs could reflect the Art Deco influence of the Mexican stepped pyramid or could possibly be asymmetric, relying on the social realism movement. Many 1930s tiled fireplaces also featured a wooden surround or mantelshelf in English oak.
In the shires the hearth surround was very likely to maintain a nearby material, - brick within the South of England, stone within the North and tiles around Stoke on Trent. Designs during these areas were not so relying on decorative trends. Functional features for example bread ovens and hooks for hanging cooking pots lingered on fully or partial use inside country cottage well to the 1930s and 40s.
World War II witnessed a whole halt within the house building programme as resources were funnelled into replacing and repairing bombed houses and within the late 1940s the push to re-house families saw a move away from conventional fireplaces in favour of the 'easy to install' electric fire. However because the UK became more prosperous throughout the 1950s local authorities and private house builders started to install tiled fireplaces again making a regular demand for your slabbed designs produced by members of the National Fireplace Manufacturer's Association, that have been formed in 1945Fireplace Screen Curtain. These fireplaces were made right down to specification as opposed to including any design flair and, through the middle of the decade, the wooden mantel shelf had disappeared.