3 William Morris Volumes Now Available in the TLG Design Library

Along with history and design, one of our favorite pastimes is reading and designing books and publications, and through our publishing arm, American Biblioverken, we've set out to offer some quality paperback editions of important works from the past. 

 Our TLG Design Library now includes 3 volumes, including the latest - William Morris: Some Thoughts on His Life, Work and Influence. This is a newly-created reprint of a long form work about William Morris that originally appeared in The Craftsman magazine in 1901. Published by Gustav Stickley, The Craftsman featured articles about the American Arts & Crafts Movement, as well as home designs and examples of Stickley's popular furniture.

Originally written by Irene Sargent for the magazine, this profile of William Morris was a tribute to the primary role he played in art and design in the late 19th century. This is not a poor scan of an old publication, but an all new, re-designed edition, with an attractive, Morris-inspired cover design that is appropriate to its historic subject.

While they certainly can't match the beauty of a Kelmscott Press product, we feel they provide a far superior product than many of the commonly-available reprints available today, which often deliver a poorly-scanned copy of an old book and an ugly, generic cover that doesn't even relate to the material in the book. The interiors have been designed and typeset in fonts that enhance the material, and best of all, perhaps--the price is lower than most other new editions currently available.

These 6" x 9" editions make a great addition to anyone's bookshelf, and the low price make them great for casual reading on a trip, handy reference, or for students and classrooms. 

WILLIAM MORRIS: SOME THOUGHTS ON HIS LIFE, WORK AND INFLUENCE / on Amazon $7.59  on Amazon UK £5.75
6" x 9" (15.24 x 22.86 cm)
82 pages
ISBN-13: 978-1983825606
ISBN-10: 1983825603

HOPES AND FEARS FOR ART /   on Amazon   $9.50    on Amazon UK  £7.00
6" x 9" (15.24 x 22.86 cm)
Black & White on Cream paper
198 pages
ISBN-13: 978-1492919186
ISBN-10: 1492919187

THE ART AND CRAFT OF PRINTING /  on Amazon $7.60   on Amazon UK  £5.00
6" x 9" (15.24 x 22.86 cm)
Black & White on Cream paper
100 pages
ISBN-13: 978-1493538973
ISBN-10: 1493538977 

A Long Overdue Porch Project

When I first designed our house and had it built, there wasn't much available in The States in terms of decorative features--at least not in an appropriate Tudor or Old English style. When the style flourished during the early part of the 20th Century, you could find all kinds of plaster and wood architectural detailing available in catalogs, but by 1992 all that was commonly available were variations of Victorian gingerbread or classically-inspired pieces. Cost and time were also factors; our budget was modest for both and all I could manage to make myself during construction were the large corbel brackets that reside under the jettied story above the entrance.

While I'd expect the search for such items to be easier in the UK, it hasn't changed much in the U.S.--unless you want something custom-made or a very expensive antique.

Finally, last year I was able to do exactly that; custom-make a proper Tudor arch for the entry of our house, replacing the gingerbread scrolls that adorned the entry alcove for two-and-a-half decades. Since this had a southern exposure, and with maintenance in mind, I used 1-inch thick Azek board, backed with another inch of white pine, sandwiched together to provide the appropriate width for the small corbels on each side. As you may know, Azek is a PVC material that will last practically forever, never rot, and carves very much like wood. Also, since the trim is to be painted white anyway, it was an easy choice.

A New Fireplace for The Basement

First of all, allow me to apologize for the long time between posts; it has been a busy year with no shortage of distractions both at home and at work. For now, let me begin anew by recapping some of the progress I have been making down in our basement.

As you may recall, I have already enclosed the area under the stairs for a wine/beer cellar, almost finished a bar-height counter/island, built in some storage closets and enclosed my electrical panel. Across one side of the main room I have constructed a fireplace with two cabinets on either side, which are used not only for storage, but to hide two very large, vintage Pioneer speakers that are part of the music system.

The fireplace. The mantel is extra deep, as the wife likes to decorate it  during the holidays. While the paneling above is nice, it will be covered by a larger, mounted TV in due time.

I had some of the paneled bi-fold doors left over from my island project, and used some of these in the structure above the fireplace mantel; I used two more on the side, which are hinged to open for some extra storage space. The fireplace structure is all framed with 2" x 4" lumber and plywood, as are the cabinets built on either side. For the doors, I simply framed them with 1" x 4" pine and covered the open spaces with an off-white burlap, which allows the sound from the speakers to go right through.

One issue that had to be addressed was access to my water meter and main shut-off, which is located at the bottom of the wall directly behind the fireplace. Our city uses an electronic remote-read device, so we don't have a reader coming into the house anymore, but if they ever replace the system, or I need to shut off the water supply to the house from the inside, I still need to get back there. Since the fireplace is electric (a rustic-looking Duraflame unit that heats and looks rather convincing, if I do say) this was not an insurmountable problem.

The firebox and its decorative frame are separate from the rest of the fireplace surround and can be rolled out to access the water meter and shutoff valve.

What I did was build the firebox as a separate unit that rolls in-and-out on hidden casters, fit into the fireplace opening with a decorative frame attached to it. When in place, it looks permanently attached, though it only take a second to pull the whole thing out and access the meter behind. I covered the inside of the firebox with some leftover floor tile I had from another project, and finished up the fireplace surround with some corbels and a length of decorative exterior molding I had on hand. All in all, my carpentry skills are just passable, but I am happy with the result; it is certainly up to snuff for a basement entertainment space.

One happy footnote to the project was the effect it had on my sound system. My two large speakers date from the mid-1970s; they are 6-way designs, with huge 15" woofers. They weigh a ton, and while they are very, very efficient, they sacrifice some true bottom end as a trade-off in this respect. However, I found that inserting them into an even larger cabinet significantly extended the bass response, to where the sound is more reminiscent of the old Altec-Lansing Voice-of-the-Theater speakers that are so legendary. Combined with the smaller rear speakers I use in the back of the room, the result works for everything from sporting events on the TV to a symphony...or a disco dance party.

Stan Hywet Celebrates with Deck The Halls 2017

One of the highlights of the local holiday season is Stan Hywet’s annual Deck The Halls celebration, which is one of Ohio’s largest and most spectacular holiday traditions. The celebration runs from December 14-23 and December 26-30.

A million lights ensure that the holiday season always remains merry and bright.

The former Seiberling estate is illuminated inside and out with over ONE MILLION lights and this year, the historic Manor House is decorated and inspired by the theme of  Postcards from the Past. DAZZLE is a fantastic outdoor light show choreographed to three new songs this year and Gingerbread Land, the popular play garden has also been “dressed up” for the holiday season as well.

As always, the Great Hall is decked out in its holiday finest.

This year, the celebration is bigger and better than ever, and includes:

•Nightly tree lighting at 5:30pm. After Christmas, look for the Gingerbread Man.

•Live music in the Music Room, courtesy of area choirs and musicians.

•Self-guided tours of the Manor House included in ticket purchase.

•Freshly baked gingerbread cookies, savory warm pretzels, cocoa, hot cider, beer and wine for purchase in the Courtyard.

•Enjoy all of the above treats at the cozy warming fire in the Courtyard.

•Visit with Santa and Rudolph the Red-Nosed Reindeer in the Corral in the Courtyard.

•Take a family photo at two featured photo spots—perfect for that family holiday picture.

•Marvel at our new animated Gingerbread Bakeshop Window in the Courtyard.

•The tropical Corbin Conservatory is beautifully decorated for Christmas with a 20ft poinsettia tree.

•Shop for unique holiday gifts in Molly’s Shop.

•Enjoy light fare or a sweet treat in Molly’s Café after your tour.

For more information, go to: www.stanhywet.org

Christmas Comes and The Cats Carry On

The joy of floodlights. No climbing on ladders to hang lights from the gutters.

As Christmas approaches this year, I’m rather happy that I have managed to keep ahead of the holiday decorating. When the children were small, I usually started breaking out Christmas trees, lights, nutcrackers and all the other holiday gimcracks on the day after Thanksgiving, in the hope that I could get the balance of it done by the end of that weekend. As they have grown up (and one has left home) my efforts have gradually slipped into early-December; while there are some traditional decorations that must go up every year, there are always a few that have been forgotten or fallen out of favor.

The Nutcracker Army stands at attention. I think the cats find them intimidating.

One year, we had four full-size Christmas trees in the house—the primary tree in the bay window in the front room, the traditional “children's tree” (covered with Disney, Muppet, Looney Tunes etc.) in the family room, a basic "lights-and-balls” tree in the sun porch, and a large old tree passed down from my in-laws, which was erected in the basement one year and covered with tinsel, white lights and a host of those old-fashioned, blown-glass German-style bulbs. That was not long after we moved into the house; we had the basement partially fixed-up for kids to play in, and we invited all my aunts, uncles and cousins over. Note: My mother was from a family of twelve, and I have at least 64 first-cousins, so you may understand when I tell you we only did this once.

The foyer, with it's nutcrackers and much-abused floor.

Currently we had been hosting my three older brothers and their families for Christmas on a rotating basis every three years—now my nephews and nieces are beginning to join the entertaining queue, since it has become more of a challenge for my aging siblings and the younger generations are eager to pick up the slack. This is an “off” year for us, but we do plan on doing some entertaining over the holidays, and our daughter will also be coming home from Manhattan Christmas week.

In Praise of The Pargetter's Art (updated)

Pargetting can be very bold in concept & execution, as seen in this example.

Pargetting is one of the less-common elements found in Tudor and Elizabethan buildings. Perhaps the inherent nature of exterior plasterwork and its comparative durability vs. brick, timber and stone makes this inevitable - but there are still existing examples to be found dating from the 16th and 17th centuries. New or old, it is always a delightful feature whenever it is found.

Any number of natural or stylized designs and motifs can be found in plaster.

The term Pargetting derives from the word 'parget', an old Middle English term that is probably derived from the ancient French 'pargeter' / 'parjeter', which means to to throw about, or 'porgeter'- to roughcast a wall. With the ‘wattle and daub’ method of construction (since pargetting is really best suitable for a lathed and timbered backing) the craft became an important and integral part of the building trade until bricks became more freely available. The term is more usually applied only to the decoration in relief of the plastering between the studwork on the outside of half-timber houses, or sometimes covering the whole wall.

A Bird’s Eye for Country House Design

While I imagine a number of people throughout the UK are familiar with the handsome work of artist Jonathan Myles-Lea, he is clearly not a household name here in the US. Best known for his house and landscape portraits, his work recalls past masters like John Constable and Johannes Kip. My personal favorites feature the traditional “bird’s eye views” of country houses—a style popular throughout the sixteenth and seventeenth centuries.

A view of Burghley House - from the west. Image Rights: Jonathan Myles-Lea.

Though Myles-Lea had been well-established as a noted painter of landscapes and houses, the commission he received for the April 29, 2009 cover of Country Life, featuring a fantasy 10-acre estate, clearly solidified his reputation as a worldwide talent. The resulting Dream Acres project was a central part of the 10-week series appearing in the magazine—featuring the stylized aerial views for which he has become particularly celebrated.

A Refreshing Houzz Take on Tudor Revival Interiors

A Tudor Revival interior that embraces its unique details and original
woodwork. Courtesy Stonewood, LLC

I was heartened to see a story on Houzz the other day regarding the continued popularity of the Tudor Revival style in American homes, including an outline of its basic visual elements. Architect Steven Randal does a fine job of distilling the style's most essential design cues, and best of all, the story includes some excellent photographic examples of contemporary Tudor Revival interiors. The collection of images included with the article fully dispels the notion that these rooms are dark and dusty museum set-pieces.

Another room that blends with contemporary style.
Courtesy Margot Hartford Photography

The story was refreshing for another reason (one which I have noted more than once) regarding the “typical” rooms one sees when visiting Houzz. More and more, it seems that almost every room featured on the website is bathed in white; white woodwork, white cabinets, white floors, white furniture…all combined with a very trendy, “hip” design aesthetic that looks like it was inspired by any one of a hundred DIY-design-craft -blogs. I’ve found this to become fairly tiresome, and it’s only remedied by entering a more specific site search for rooms offering more traditional styles, more color, or more of anything not defined by “trendy.”

As I noted, the photos accompanying this story are helpful, in that they offer a clean and contemporary look that embraces each home’s Tudor details instead of painting them out (in white) or de-emphasizing them. This is not always an easy problem to solve, as we will eventually be looking to update the interiors of our own house, and need all the inspiration we can find.

You can reference the full article HERE.

The Challenge of Sourcing Appropriate Period Items

Decorative plaque - provided by TudorArtisans.com - USA

If you are interested in architectural and interior design of the Tudor and Elizabethan periods, or you’re looking to restore a home built in a revival of these styles, one of the primary challenges is to find appropriate materials here in the States. Eighty years ago, it was easy to source such items as plaster cornice and mouldings, fireplaces, brackets, corbels, light fixtures, hardware and furniture that would look right in a Tudor-revival home. Today, there is little available. Other than the handful of legacy remnants available from old line US suppliers like Decorators Supply or Fischer & Jirousch, almost no one makes them anymore, aside from high end custom crafters and cabinetmakers.

Today, most suppliers offer a range of classically-inspired products that would fit well into a colonial or Georgian home, but provide almost nothing that is suitable to an earlier time period. Whether it’s a chair rail moulding, a wooden mantel, or even a wooden interior door—the choices are generally limited to very common traditional designs. Think of egg-and-dart, dentil mouldings, colonial casings or the ubiquitous colonial six-panel door and you know what I mean.

Duretta and O'Kast: The Look of Wood for Less

I have long been fascinated by old building technologies; in particular, some of the materials and designed that were developed during the early 20th century. A few months ago, I discussed magnesite stucco, and this time we’ll take a look at a synthetic stand-in for traditional carved woodwork known as Duretta.

Aside from design, one of the foremost properties considered by architects and builders was the ability to be fireproof. This is precisely why stucco, concrete and brick were so popular, and why asbestos was so common in stucco mix, shingles, siding, flooring and other items used in construction.

The New York firm of G.E. Walter developed Duretta for use as a cast material, used to replicate carved wood and metal. It was used for carved wood paneling and wainscoting, door panels, wall friezes, grilles, fireplaces, rails and even exterior half-timber work. Company literature only describes it as a “plastic, fibrous, composition material” – though its exact formula is not known, the fact that it was clearly described as being fireproof would lead one to think that asbestos and perhaps some gypsum may have made up at least part of the mix.

Finishes for Duretta varied; most items were finished to look like wood, and the company claimed that when so finished, it was practically indistinguishable from the real think. Other pieces were finished to look like hammered metal, and still others were provided a special, more durable finish for exterior work.

And You Thought the Academy Awards Were WHITE...

Years ago, when I first dreamed of building a house of my own, I often dropped into newsstands and book stores to pick up copies of magazines like Country Life, British Home & Garden, Period Home, BBC Homes & Antiques and many others, seeking inspiration. I knew I would never have the means to build what I really wanted, but I hoped that by reading, training my eye and getting a “feel” for what was appropriate, I could come fairly close to envisioning my dream.

Over the years, I have amassed quite a library of books on English architecture and traditional home design. I also managed to horde a lot of those old magazines, which are still well-preserved in my basement.

FREE STUFF: Enjoy These Very Large Wallpapers

We've been determined for some time to try and offer some free items for our visitors, and here are some wallpapers we've created as a start. Sized at 1920 x 1200 pixels, they are great for large, wide-screen monitors, and can be easily re-sized to fit smaller-size screens as well. We're working on adding some standard aspect-ratio sizes like 1280 x 1024, and should have those ready soon.


Our first design features a painting titled the Embarkation at Dover, featuring Henry VIII’s English fleet setting sail from Dover en route to the Field of the Cloth of Gold on 31 May, 1520. This painting was created about 25 years later, and one of the ships is probably supposed to represent the Mary Rose, though it did not make that particular trip.


The second design features Rembrandt's well-known depiction of The Night Watch, completed in 1642. The painting may be more properly titled The Company of Frans Banning Cocq and Willem van Ruytenburch. It is on prominent display in the Rijksmuseum in Amsterdam, and is its most famous painting.


The last design features this year's set of Royal Mail stamps, featuring well-known portraits of the Tudor Royal Family.

To download, simply click on the images above, they will open in Lightbox Mode in your browser window. Right-click to "View Image" - you will see a larger version of the image, then click on the magnifying glass to see it full size. Right click again to "Save As" in the folder of your choice. Go to the folder where you saved them and Right-Click again and select "Set as Desktop Wallpaper." Enjoy all of these, compliments of TLG!

In This Case, I'll Say Bravo to "Faux"

To some, the very thought of using one material to simulate another is a vile concept; the quest for “truthfulness” in every aspect of building construction is of utmost importance—and anything that might be considered “fake” or “simulated” should be shunned at all costs.

Of course, this truthfulness has a price, in pure monetary terms, maintenance requirements, or in sustainability. That’s why I gave up the game a long time ago, and decided that I would happily compromise when needed—and if the results looked fine from ten or twenty feet away.

I admire the philosophy of the Craftsman movement, but I cannot afford to sustain it in my own building projects. Clay wall tiles or even wood shingles are beautiful, but I have substituted vinyl where I wanted that effect. Clay or even slate roof tiles are always preferred, of course…but the very-expensive dimensional composite roof that I finally managed to afford 15 years after I moved into my house will have to do (and it does look wonderful). Likewise, the Tudor-style vertical timbering found in some of my gables is wood, yes—but wood that was wrapped in white aluminum, so I wouldn’t have to paint it every few years. I could go on, but I think you get my point.

I know this approach may sound like heresy, but the overall effect is pretty effective, and frankly, I think the house looks better than a lot of modern “Mock-Tudor” houses I’ve seen that do use slightly more traditional materials. This is probably due to the fact that the overall design and proportions are more authentic—the second floor really is jettied out over the front entrance porch, the roof is the proper pitch, and the extra detail I’ve added, like the carved floor-level banding, real wood corbels and even the flowerbox—make it look…right.

Which brings me to the subject of this post, which is a new product available in the UK: Telford-based Faux Wood manufactures and sells reproductions of English oak planks, which have been developed for replacing high-maintenance timber used on Tudor-revival homes. It turns out that a few years ago, one of their customers asked if they could replace the rotten mock Tudor planks on a house facade with a maintenance-free alternative, that better resembles timber than the smooth PVC.

The product that they finally developed is molded from original oak timbers, using high-density rigid polyurethane. It comes in a range of colors, and is designed to be as realistic as possible. While not cheap – about $45 wholesale/$62 retail for a 10 foot plank, I think the product certainly hits the sweet spot with a combination of great looks and low/no-maintenance qualities.

Overall, I think it represents a great example of when original thinking, great technology and good design come together to solve an age-old problem. To read more about Faux Wood, check out this article in the Shropshire Star.

Rich Colors, Exuberant Designs on Display in The Tudor Pattern Book

As a lover of beautiful books and illustrations, one of my favorite resources on the Internet is Bibliodyssey, which features a wide array of works highlighting the art and science of historical book illustration. Curated by Sidney's Paul Peacay, the site is a treasure house of beautiful and exquisite period book illustrations.

Of interest to many of our readers would be this collection of designs from a volume known as the Tudor Pattern Book, (Bodleian MS. Ashmole 1504 ) which includes a wide range of illustrations, including herbal and bestiary images, as well as other decorative motifs. The images are full of imagination, color and detail, and are a great source of inspiration for those interested in Late Medieval and Tudor design. This particular example deserves to be treasured, as the site explains:

"Pattern books were practical tools and also helped to circulate artistic traditions and ideas around the manuscript making community. Because they were working documents, passing between many different people, few medieval pattern books have survived.

Researchers have estimated that this particular book was actually created about 1520; a slightly older (twin) version is now part of the Yale Center for British Art collection, which is housed in New Haven, Connecticut. To see all of the Tudor Pattern Book designs featured in this Bibliodyssey post, you can check out the article, HERE. Paul Peacay is also on Twitter at http://twitter.com/BibliOdyssey.

Tudor Oak: Using Original Techniques to Create Inspired Reproductions

Founded in 1970 by Richard Foreman, Tudor Oak is a specialist UK manufacturer of not only fine English Oak reproduction furniture, but also makes some selected pieces in English Cherry, Walnut and Yew wood. The company's high-quality, hand finished pieces are fully distressed and colored to simulate the warmth and character of genuine antiques. Tudor Oak also offers an very comprehensive selection, with over 350 different designs available.

One of the first examples of their work which we'd like to highlight is this excellent #472 bookcase and display unit, which features 6-pane glazed top doors, 3 panelled lower doors, highly detailed hand carving, and bun feet. It's a useful and substantial piece that - while certainly echoing Tudor designs - isn't so period-specific that you couldn't use it in many different situations.

The #5 oak chair we have pictured is a very traditional Late Tudor or Jacobean design, with an ornately-carved back panel. It's solid piece that may not be for every situation, but which would certainly deserve pride-of-place in a foyer or library.

Lastly, we've included the #105 sideboard from their Parsonage Collection, which offers something a little different from their more traditional Tudor-styled furniture designs. Produced in a lighter oak, the design of this range is less ornate and much simpler, yet the general lines we see reflect an appreciation of the arts-and-crafts period, and thus are quite appropriate for Olde English style homes as well as more contemporary interiors.

Tudor Oak can either offer standard or heavy distressing of select pieces, depending on how "old" you prefer them to appear; they can also match color at an additional cost. It's also good to know that in addition to manufacturing fine furniture, Tudor Oak also undertake specialist period architectural joinery - working closely with architects, specifiers and builders to create custom designs using their traditional skills and kiln-dried timber.

To find out more about their lines and pricing, visit Tudor Oak's website HERE.

Hunters & Gatherers: Found Objects

One of the funnest aspects of appreciating the Ancient Styles is searching for and finding various objects which can be incorporated into a new creation or some room design. I'm not averse to pulling over to the curb when someone sets out an unwanted treasure on trash pickup day, and I'll always stop in at the local Goodwill or Salvation Army store to see what the truck has brought in. Fortunately, most of what I'm looking for is clearly out-of-fashion, and unless it's an antique of some obvious value, the object is usually left sitting on the shelves for me to claim.

This Renaissance-style candle sconce (left) is a great example of just such an item; it's ornate strap work and flourishes modeled in the very best heavy plastic that you could find in 1963, when it was manufactured by Homco. Though I know most would be totally dismissive of anything plastic, this sconce is actually quite well-done; the original finish certainly does not look like plastic, and at $1.50, it was a nice fit for my current budget. My only regret is that I could not find a pair.

The second example I've included here today wasn't really found by me, but obtained as a gift from my best friend, who was a former city councilman. Back in the 1990's a local redevelopment project required a partial demolition of the huge M. O'Neil Co. department store on Akron's Main Street. Though most of the building was thankfully preserved and renovated, the back portion was taken down, and my friend claimed a few of these cast concrete parts from the Italian-renaissance balustrades that graced some of the upper office windows. About 12" long, I once thought to make some type of lamp or candle-base from it, but for now, it remains an interesting and sentimental relic.

If you have any interesting found objects of your own, send us a photo - we'd love to see them.

Found: Digital Library Preserves Decorative Arts Books Online

We recently came across The Digital Library for the Decorative Arts and Material Culture, and online image and text collection that forms a part of the University of Wisconsin's Digital Collection. We all know there are thousands of valuable architecture and design resources out there in the from of old books that hopefully will be scanned and organized in the years ahead; this particular collection is a nice example of how these books can be made available online.

PHOTO CREDITS: Univ. of Wisconsin Digital Collection.

The book we've highlighted here is titled The house decorator and painter's guide; containing a series of designs for decorating apartments, suited to the various styles of architecture - by Henry William Arrowsmith. Originally printed in London by Thomas Kelly in 1840, the 120-page book features 61 illustrations, many of which are hand-colored. The full online version of the book can be found HERE.


The Digital Library collects and creates electronic resources for study and research of the decorative arts, with a particular focus on Early America. Included are electronic texts and facsimiles, image databases, and Web resources. Made possible by the Chipstone Foundation, the project is produced at the University of Wisconsin Madison General Library System.

Found: Great Repository of Beautiful, Hand-Colored Prints

Doing a recent image search, I came across this wonderful source for antique, hand-colored prints that would look good in any traditional home. Hamburg, Germany-based le voyage en papier - marc dechow is a specialized gallery offering fine antique prints, old maps and rare books. The gallery sells only genuine prints, guaranteed to be over a hundred years old, printed at or near the date stated. Each example is completely hand colored by an expert colorist.

PHOTO CREDITS: le voyage en papier - marc dechow

While the European collections were of most interest to us, the gallery's catalog cover vast subject matters and geographic locations, including the Americas, Asia, Africa and Oceana, as well as subjects like costumes, fashion and orientalism. The selection is vast and impressive in quality, and any one of the many examples available would make a great gift or decoration for any home or office.


The gallery ships worldwide and prints can be ordered online from the catalog. To see what's available, go to http://www.antique-prints.de or contact the gallery at:

le voyage en papier - marc dechow
abendrothsweg 55
20251 hamburg
germany

phone: +49 40 420 421 4
email: info@antique-prints.de

Tudor Lion Statues Come Home to Hampton Court Palace

As noted in this interesting Telegraph article we came across, returning two handsome stone beasts to pride of place at Hampton Court Palace seems a fitting way to celebrate the 500th anniversary of Henry VIII's accession in 2009. After sitting in a pub for who-knows-how-long, they were removed in the 1980's during a demolition job, where they were stored in a home until being taken by the owner to a campground in France.

Historians and antiquarians were aware of the statues' existance, and it was discovered that the the lions would have been known as "kyng's beestes" - heraldic animals that once been sprinkled generously around royal residences. Additionally, the pub where they had been originally rescued was on a direct path between two Tudor royal palaces - Hampton Court and the legendary Nonsuch Palace - so the theory that they might well have graced one of the royal palaces seemed to fit.



To celebrate Henry's 500th anniversary year, a new garden in Tudor style was commissioned from historian and garden designer Todd Longstaffe-Gowan. His design for what is now known as the Chapel Court Tudor Garden included a number of hand-carved and painted heraldic beasts standing post among the flowerbeds - traditional ornamentation that would have been familiar in Tudor times. Longstaffe-Gowan was thrilled to have the beasts returned to England as part of the display. He says historians "are agreed that these are early 16th century carving, undoubtedly royal, from which palace we don't know. They're made from Taynton stone - from Oxfordshire - which is very hard and was commonly used by all Henry VIII's stonemasons. They may have been polychromed originally."

To read the entire article and see more photos, go HERE.

Books on The Wall

Books are great for a lot of things besides reading. I can't find the book from which I copied these illustrations from King Arthur; they are not from the original edition, but the artist is Louis Rhead. They're also typical of some of my favorite illustrated fiction; I just love the style of late-19th and early 20th century books, often inspired by Pre-Raphaelite art & design, and usually they look great in an olde english home.

This example, and another depicting Arthur and Mordred, have been gracing my dining room wall for about 15 years now. However, they are not simply scans of the book illustrations, which are originally black and white. The process used for this (long before I even owned a computer) was to zoom the image on an office copier to about 10 x 14 inches, insert some high, quality, acid-free 11 x 17 paper into the copier and print. Subsequently, I hand-colored the output with colored pencils, then matted and framed them.

The frames are indeed very plain, but the images are so detailed and the wallpaper behind them is rather busy, so I thought it would be a nice contrast. I really think a more ornate frame would be a distraction; then again, I couldn't afford a more ornate frame at the time, and that may have been a factor.

I've used similar techniques in the past, and you could certainly do this all using today's illustration software, but I like the hand-rendered quality of the colored pencil. In a similar vein, I've scanned some B&W images from old architecture books and hand-tinted them in Photoshop, usually to match a special single color in a room--like a particular wall paint, for example. Of course, I also know some people also cut books apart to use the illustrations as art, but normally I would consider this a high crime, unless the book is damaged beyond repair / incomplete...or still in print, and therefore easily replaceable.