Professional Documents
Culture Documents
Arts & Crafts Homes 2017 Winter
Arts & Crafts Homes 2017 Winter
KITCHEN IDEAS
A Ranch
Redeemed
by Design
Visit an Iconic
English Arts
& Crafts Home
BEAMED CEILINGS
decorative possibilities
living in a
BUNGALOW
DIY projects, hand stenciling &
budget upgrades for a cozy home
Carpets: behind, The Celtic Knot PC-40A, front, The Celtic Knot PC-40B Image: Brantewood Estate Helensburugh, Scotland
Furniture that fits.
HORI ZONS
COM E E NDLE S S
POSS IBILITIES.
The Omni Grove Park Inn has been a haven for arts and crafts collectors for over a
century. Discover how you can be a part of what The New York Times calls, “The most
38
contents
RESTORATION
38 Simple Living in Santa Barbara
Their bungalow isn’t big, even with an upstairs rear
addition. But with a pleasing plan and period details,
it has been a charming family home.
by Brian D. Coleman | photos by William Wright
THE GUILD
46 Cindy Lindgren
Custom-designed notecards, fabrics, and wallpaper come
from a former illustrator and graphic designer who
combines her skills with Arts & Crafts nature themes.
by Mary Ellen Polson
NEW WORK
48 Ranch Redemption
A generic 1949 Ranch in Dallas, Texas, is remade
with Spanish, Modern, and Arts & Crafts elements.
by Patricia Poore | photos by Jeanine Michna–Bales
HISTORIC HOUSE
10
56 Vernacular to a Fare-thee-well
A visit to Stoneywell, an iconic house built in 1898 by British
Arts & Crafts designer Ernest Gimson, using local materials.
by Brian D. Coleman
RETROfit
SALES DIRECTOR
MARKETING MANAGER
Carolyn Walsh
Eads Johnson Your Kitchen
WEB DEVELOPER Matt Michnal
PRODUCTION EDITOR Emily O’Brien Looking for originality?
You’ve found it.
ElmiraStoveWorks.com
1-800-295-8498
Crystal Clear
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Luminous Flyers
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Moroccan Textures
The Marrakesh Collection includes the intricate 5" x
5")H]WLOHLQFKLƪRQWKHVKDSHG0DUUDNHVKƬHOGWLOHLQ
green tea, and 1" x 1"ƬHOGWLOHLQDEULJKWJUHHQEOHQG
Lushly Draped
An original design by artists Richard Keit and Mary
The tiles are $112 to $160 per square foot. From Lilywork
Kennedy, the Fuchsia two-tile repeat is a draping,
Art Nouveau design suitable for installations in-
doors or out (the tiles are frost-proof). The pattern
measures 18" high x 12" wide. The set is $150. From
RTK Studios, (805) 640-9360, rtkstudios.com
Feast for
Fowl
Birds and Berries is
based on a C.F.A. Voysey
design from 1893 or
earlier. The cotton
fabric is 54" wide with a
13½" vertical repeat. It
sells for $110 per yard.
Trustworth Studios,
(508) 746-1847,
trustworth.com
Baronial Hearth
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from a hand-forged IronWorks face and optional
lodge ring handle, all in a hand-rubbed bronze patina
ƬQLVK:LWKDOHGJHVWRQHƬUHEDFNLQWHULRUWKHƬUHSODFH
is about $7,300 as shown. For a dealer, contact
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REALITY
Marmoleum® Click is a high quality, easy to install flooring system made from natural
materials. Available in a wide choice of colors, this water- resistant floor is ideal for every
room in your home. Marmoleum® Click comes in 12” x 36” panels and 12” x 12” squares
and features a patented click system, which guarantees easy, problem-free installation.
Because it’s easy to clean, Marmoleum® Click makes life easier for people with asthma,
allergies and other respiratory disorders. With Marmoleum® Click, it really is easy to
turn your wildest dreams into a beautiful reality.
Lattice Lantern
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Ginkgo Casting
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Trough Sink
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14
A N N E R YA N M I L L E R
Creating Exceptional
Stained Glass Designs
for your Unique
Environment
SINCE 1976
812.988.9766
AnneRyanMillerGlassStudio.com
Where Gustav
Dreamed Big
When fire devastated the interior of his late Victorian Queen Anne
home in Syracuse, New York, Gustav Stickley dreamed up a new con-
cept as part of his renovation. By the time he was finished, Stickley had
created the first Arts & Crafts interior in America.
Nearly 115 years later, the long-vacant house is due for major
structural repairs. Held in trust for many years by the L. & J.G. Stickley
furniture company, the house was transferred last May to a local non-
profit, which will manage construction. Another nonprofit, the Gustav
Stickley House Foundation, is raising funds for restoration. Among the
tasks ahead are masonry and roof repairs, window and woodwork pres-
ervation, and reconstructing the original front porch.
That said, the interior is in remarkable condition. Much of the orig-
inal chestnut woodwork is intact, from floors and wall paneling to ceiling
beams. Striking interior doors feature horizontal and vertical planking.
While there has been significant support from the state and local
foundations, a total of $2.5 million still needs to be raised to complete ABOVE FROM TOP Stickley’s Syracuse home
was built in 1900 in the late Queen Anne style.
the project. To make a donation, contact David Rudd at the Foundation,
,QVLGHURRPVRQWKHƬUVWƮRRUDUHODYLVKHGZLWK
(315) 463-1568, gustavstickleyhousefoundation.org vertical chestnut paneling and ceiling beams.
www.arroyocraftsman.com 626-960-9411
Aspen
Carpet Designs
Prairie, Craftsman, Bungalow, Mission, Usonian,
Style Hand-Knotted Wool Area Rugs.
Custom Designs • Custom Sizes
AspenCarpetDesigns.com • 815.483.8501
Winter 2017 ARTS & CRAFTS HOMES | 17
UP FRONT &BOOKS
A FIELD GUIDE TO
AMERICAN HOUSES
Revised second edition
by Virginia Savage McAlester.
Knopf, 2015 (pb.), 849 pp., $29.95
We humans like to classify things. Science It is big, over 800 pages, but this is no lavishly
guides us when it comes to rocks and VW\OHGFRƪHHWDEOHERRN,WoVDEOLQGLQJUXVK
primates. Architecture is thornier, though, of detailed drawings and b&w photos of real
manifesting not through atomic structure KRXVHVWDNHQLQWKHƬHOGRURQWKHVWUHHW
or DNA but rather subject to changing tech- with exhaustive descriptions of window types
nologies and fashions, designer whim or and porches, entry doors and roof lines, plus
ignorance, local conditions, and the money subtypes, and vernacular or regional variants,
at hand. “What style is my house?” is often and information on occurrence or range,
a question not easily answered. along with historical tidbits.
Since the mid The revised book includes a new
1980s I’ve kept on my section on neighborhoods; expanded and
desk a copy of A Field all-new house style categories; an appen-
Guide to American dix on recent construction approaches
Houses. It is the best (including prefab and “green”); and 600 new
MISSION REVIVAL and most compre- photos and line drawings. The timeline now
hensive taxonomy of extends from 17th-century settlers’ houses
American domestic architecture (i.e., houses). through Postmodern, New Traditional, and
,WRƪHUVDQHGXFDWLRQDQGDYRFDEXODU\1RZ Millennium houses. Helpful introductory
it has been revised by its original author, texts help us “see” neighborhood devel-
Virginia McAlester, who added new sections; opment and individual houses as an urban
the paperback edition was recently released. planner or architect might. —Patricia Poore
ABOVE From the chapter on Craftsman houses, “some typical porch supports and porch
railings.” PHOTOS McAlester created a taxonomy for Styled Ranch houses of the mid-20th
century. They include Spanish and Colonial Revival Ranches (top), and also Neoclassical,
French, Tudor, and “Other” Ranches, this one with a pagoda roof (right, top to bottom).
“Almost 80 percent
of the [extant] houses
WINDOW INSERTS THAT INSTALL
in the United States WITH NO MOUNTING BRACKETS.
today were built
after 1940.”
“…typical Hispanic design elements were
borrowed and freely adapted to adorn
traditional shapes. It was not uncommon for
Keep the comfort inside.
a typical four-square shape, with massive
square porch supports and double-hung indowwindows.com | 503.822.3805
windows, to have a tile roof and one or
more shaped parapets added to create a
VLPSOLƬHG0LVVLRQKRXVH,QDIHZODQGPDUN
examples, however, the forms of the early The World’s Greatest Thoughts Carved in Premium Solid Wood
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Kitchen in the
Craftsman Spirit
Its new custom kitchen is the heart of a modest
1980s house that’s been given a style upgrade.
by Patricia Poore
F
in the metro Detroit area, cabinets were
OR THIS HOUSE offers the clean lines preferred by the client. Sharer chose a
designed by the Sharer Design Group for a newly timeless Shaker door style. Quarter-sawn oak was a favorite
imagined, family-friendly kitchen in the Arts & Crafts choice during the bungalow era. The center island is hardwork-
spirit. “We used our personal line of Michigan-made ing (accommodating the microwave oven and storage drawers
cabinets—Sharer Cabinetry,” says Justin Sharer. “The family at the business end), but it’s also a handsome bit of period-style
were clients of Hancock Construction, with whom we often craftsmanship. The oak top features walnut plugs and support
partner. They wanted to push the outdated 1980s house toward brackets. It functions as a center table for casual dining, and
classic Craftsman style.” faces a built-in upper wall cabinet that deftly hides a flat-screen
Cabinet design began with frameless construction, which TV. “It’s function with fun,” Sharer grins.
REF .
SINK
ISLAND TO
COOKTOP
SEATING FAMILY
ROOM
DOUBLE
OVEN PANTRY TV CABINET
HALL TO TO FOYER
GARAGE
The house was built in the late 1980s; the current owners have pushed the interior
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addition was needed to create a generous, live-in kitchen and dining area.
the company
DESIGN Justin Sharer, SHARER
DESIGN GROUP, Plymouth, MI:
sharerdesigngroup.com
C A B I N E T S SHARER CABINETRY,
Plymouth, MI: sharerdesign
group.com/cabinetry
C H A I R M A K E R AMISH
TABLES, Plymouth, MI:
amishtables.com
resources
LIGHTING (pendants)
QUORUM LIGHTING
quoruminternational.com
• (shades) SCHOOLHOUSE
ELECTRIC schoolhouse
electric.com
C A B I N E T H A R DWA R E
Aspen Collection in light
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topknobs.com
PA I N T custom-mix ‘Camp-
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S I N K 33" single-bowl
apron-front BLANCO
blanco-germany.com
FAU C E T polished
nickel WATERSTONE
waterstoneco.com
A P P L I A N C E S THERMADOR
thermador.com
24
BLOCKPRINTS &
LETTERPRESS CARDS
by Yoshiko Yamamoto
info@artsandcraftspress.com
www.artsandcraftspress.com
(360)871-7707
Sage-green paint on cabinets and island table separate a full-service interior renovation company. He also has a signa-
the entertainment space from the natural oak kitchen prep ture line of Michigan-made custom cabinetry. “I want to keep
area. Custom chairs match the wood stain of the cabinets to as much of our product as possible made in Michigan, show-
extend the furnished look of the room. The flooring is also oak, case young talent, and keep everybody working,” Sharer says.
installed by Hancock Construction. The kitchen flows seamlessly into other spaces in the
Justin Sharer has an interesting resume. His degree is open floor plan. “We didn’t have to add on to get a generous
in architectural construction technology, and afterward he ap- kitchen,” Sharer says. Past the powder room and laundry, a
prenticed with a remodeling company in Dearborn. He became hall connects the kitchen to the garage. Just beyond the island
adept at kitchen and bath design, from cabinetmaking to proj- seating is a full-scale dining area, which leads through a wide
ect management, then became a licensed residential builder opening into the family room with a fireplace. The interior has
and lead designer. He founded Sharer Design Group in 2012 as been remade in contemporary Craftsman style. a
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BEAMS
& in between by Patricia Poore
F
or a cohesive scheme, espe- mentary ceiling fill papers were light in where wood coffers, colored stains,
cially one alluding to our deco- tone and favored “natural” hues, such as painted decoration, and stenciling on or
rating past, don’t overlook the limestone and sand colors, accented with between beams were popular treatments.
ceiling. Before Modernism, eggplant, amber, and olive green. Tudor Revival houses had ceilings with
even residential ceilings were embel- After the First World War, Europe- heavy beams, or with “Jacobean” plaster
lished with color, striping, cast-plaster or- an-influenced Romantic Revival house featuring intricate strapwork. In librar-
naments, borders, specialty papers, and styles were built in the growing suburbs. ies and dining rooms, panels between
murals. Ceilings still were decorated be- Many walls and the occasional ceiling beams were painted with medieval or Tu-
tween 1901 and 1945. Particularly in Arts were troweled with textured plaster, to dor motifs, or covered in embossed leath-
& Crafts and English Tudor houses, main give an impression of age and patina. er or Lincrusta, or even fabric.
rooms often had beams along with subtle Ceilings were not universally monochro-
ornamental treatments. matic in this period, as they mostly were BOX BEAM SYSTEMS From planbook
In some rooms, the ceiling treat- in Colonial Revival homes. Ceiling dec- bungalows to the Gamble House, hous-
ment played off the frieze, picking up oration was revived for Spanish Revival es of this period very often had a beamed
its colors or repeating a motif. Comple- and Renaissance or Beaux Arts homes, ceiling or two. Beams typically appeared
28 | ARTS & CRAFTS HOMES Winter 2017 COURTESY LANTERMAN HOUSE (LEFT); BRADBURY & BRADBURY (RIGHT)
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edge that has been beveled or angled beams and panels
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Ceiling borders, frieze
ceiling is one with a grid of sunken and SDSHUDQGZDOOƬOO
are a suite of Arts
raised areas, in plaster, stone, or wood; & Crafts patterns
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stencil Repeating ornament
applied in paint through a design
cut out of a template.
in dining rooms (along with a high wain- low beams to match the scale and any de-
scot), in libraries, and in living rooms. tails already in the room.
These were decorative rather than struc-
tural, alluding to ancient construction BETWEEN THE BEAMS Chamfers were
methods and low-ceilinged intimacy. The highlighted in a complementary paint
beams are not timbers but rather boards color during the Victorian period, less of-
rabbeted together, leaving a hollow space. ten after 1910. Stenciling was common as
So-called box (or boxed) beams had many a subtle border along beams, in stylized
variations—in size, intersection plans, nature motifs: irises, a Glasgow rose,
wood and finish, and details—but most oak leaves and acorns, done in the blue-
were relatively simple and could be or- greys and browns of fieldstone, sum-
dered from catalogs. mer-squash yellow or zucchini green.
Some people have homes with Deeper tones included crimson, moss
original box beams intact, but for the green, ochre, terra cotta, Pompeiian red,
rest, modern technology makes it easy and indigo. Dining rooms had the most
to get the look. Evoba Wood Ceilings has elaborate stencils.
systems made of grids of wooden panels When crossing beams create re-
and beams (available in nearly any fin- cessed panels, these may be shadowed
ish to match existing woodwork). Barron or bordered at the edges—or hung with
Designs can help you make your own gilded burlap. Bradbury & Bradbury has
box beams. They supply faux-grained, a gilded faux-burlap paper for this pur-
high-density polyurethane beams as well pose. In the 1910s, recesses were dark; by
as the real McCoy: wooden box beams 1920, a lighter effect was in vogue. a
made of reclaimed lumber.
Your finish carpenter can build hol- FOR SOURCES, see p. 71.
Fairly Traded
Products
Since 1994
Susan Hebert Imports
503-248-1111
www.ecobre.com/ac
the pleasures of
Handwork
E
lements of a decorating aes- Embroidery and other needlework
Stitchery and thetic from a simpler time, em- became an appropriate artistic and fi-
stenciling enlivened broidery, appliqué, and stencils nancial pursuit for 20th-century Amer-
nevertheless look fresh and ican women, thanks largely to American
Arts & Crafts table bright in modern interiors. Stitchery was designer Candace Wheeler—by way of
linens, pillows, bed done on slightly rough, natural fabrics Great Britain. Wheeler, who produced
including unbleached linen, and hand- exquisite embroidered draperies and
covers, and curtains. worked with naturally dyed thread. Sur- portières for clients such as author Mark
by Mary Ellen Polson
viving textiles are sought after. So, too, Twain, was influenced by the work of the
are new designs from artists who con- British Royal School of Needlework, an
tinue to reinvent practical home furnish- exhibitor at the Philadelphia Centennial
ings in the Arts & Crafts spirit. in 1876.
RIGHT $QHPEURLGHUHGDQGDSSOLTXÄG
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needlework for
Arts & Crafts textiles
a ANN WALLACE / PRAIRIE TEXTILES
annwallace.com Embroidered & sten-
ciled table linens, pillows, bed cover-
LEFT A custom ings, roller shades; curtain hardware
bedspread from
Arts & Crafts Period a APPLIQUÉ ARTISTRY applique
Textiles features an artistry.com Original Arts &
appliquéd design of Crafts appliqué pillow designs
stylized Mackintosh
a ARTS & CRAFTS STITCHES acstitches.com
roses and leaves with
stem-stitch embroidery. Hand-embroidered textiles & kits
a ARTS & CRAFTS PERIOD TEXTILES
textilestudio.com Embroidered &
stenciled table linens, pillows, bed
coverings, kits, fabric from Dianne
Ayres; also curtain hardware
a COOPER LACE cooperlace.com
Artisan-designed collection of lace panels
in historical & contemporary patterns
A second influence was the design- py to wild carrot. Designs were usually
a FORD CRAFTSMAN STUDIOS
er and father of the British Arts & Crafts simple yet stylized and sophisticated in fordcraftsman.com Embroidered
movement William Morris, who exper- terms of visual impact. pillows, table linens, stencils
imented with natural dyes to produce Unlike the needlework of previ- a GRAFFITI MATS JUDƯWLPDWVFRP
Table mats with Arts & Crafts motifs
saturated colors in embroidered designs, ous eras in America, which was often
a THE HANDWERK SHADE SHOP
and who collaborated with his wife, Jane, largely white, Arts & Crafts designs
thehandwerkshop.com Roller
and daughter May Morris to execute his were colorful and notably graphic. The shades with or without stencils
vision. A third was Scottish architect softness of the materials and a prefer- a INGLENOOK TEXTILES inglenook
Charles Rennie Mackintosh, who mem- ence for slightly subdued colors used to textiles.com Arts & Crafts
textiles; embroidery workshops
orably recast the notion of what a rose create the patterns kept them from an
a PAINT BY THREADS paint-by-threads.com
should look like in the new century. unseemly boldness. The most memora- Period-inspired embroidered & stenciled
Women interested in furnishing ble make use of the negative space on textiles, kits; fabrics & notions
their homes absorbed these new ideas the face of the textile to accentuate a sin- a TRIMBELLE RIVER STUDIO AND DESIGN
through magazines, which provided il- gle motif, connected by slender runs of trimbelleriver.com Large collection of
Arts & Crafts textiles, kits, sundries
lustrations and instructions on how to stitches or punctuated by small round or
create household textiles in the Arts & rectangular accents.
Crafts genre. Manufacturers of color- Embroidery kits and designs sold
ful silk embroidery floss partnered with as patterns were easy to find and buy—
publications like The Modern Priscilla and in fact, Wallace writes, they were much
Ladies’ Home Journal to promote what more prevalent than were Arts & Crafts
textile designer Ann Wallace, in her book furnishings in general. Favorite colors
Arts & Crafts Textiles, calls the Art Needle- included dark red, forest green, terra
work movement. cotta, Loden green, teal blue, burgundy,
Among the most evocative patterns sage, and gold.
were those promoted by Gustav Stickley, The stitches, too, were simple, and
both through his artistic guild, United the most prevalent included satin stitch,
Crafts, and his influential magazine The stem stitch, and outline stitch (often
Craftsman. Favorite motifs for embroidery done in black). Finishing was as simple
and stencils included stylized versions of as possible. Flat pieces such as table run-
ABOVE Flowers, done in faded sunset colors
trees, leaves, pinecones, and innumera- ners or scarves have a blind hem, embroi-
for an early 20th-century table scarf, are
ble flowers, from rose to periwinkle, pop- dered edge, or pull-thread hemstitch. a SXQFWXDWHGE\)UHQFKNQRWVLQFRUQƮRZHUEOXH
Publication includes:
• Hard-to-find, high quality, • 738 handpicked listings
period-inspired • Additional companies
products for all styles and contact information
38 RESTORATION
A pleasing plan and
period details define
a bungalow.
46 THE GUILD
Designer Cindy Lindgren
is by nature inspired.
48 NEW WORK
A 1940s ranch redeemed
by the owners’ vision.
56 HISTORIC HOUSE
Ernest Gimson imagined
Stoneywell in the Arts
& Crafts vernacular.
SIMPLE LIVING
in Santa Barbara
Their bungalow isn’t big, even with an upstairs
rear addition. But with a pleasing plan and period
details, it has been a charming family home.
BY BRIAN D. COLEMAN | PHOTOGRAPHS BY WILLIAM WRIGHT
39
LEFT The bungalow is warm and welcoming
in a palette of natural greens. The entry piers
were enhanced with hand-selected Colorado
River stones. BELOW The staircase leading to the
loft addition is lit by a ca. 1900 stained-glass
panel found on eBay. It features a Mackintosh
rose motif. BOTTOM The McDonald family on
the porch: Maggie, Kelly, Rick, and Brenda.
T
HESE TWO WERE LOOKING for a house with potential,
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MATERIALS
a-DVFROLTXLG a Homefront Decorator
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fir was lightly stained and protected with Polycoat sealer. The aSURSDQHWRUFK SDLQWV#WXEHn/LEHUW\
dining room was given a period sensibility with wainscoting aDVVRUWHGSXWW\
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(painted in Valspar ‘Elk Horn Cactus’ green) topped with a plate n6DQGVWRQHon%ODFNo
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rail. Above it in the frieze, a stylized rose stencil was painted in a0LQZD[3RO\FU\OLF
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a garden-fresh palette of yellow, pale orange, and green. Ghost DQGƬQHOLQHEUXVK
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marks in the flooring revealed that an 18" built-in buffet had aFOHDQOLQWIUHHUDJV aJORYHV
once sat beneath the windows; they found a quarter-sawn oak TOTAL COST $189
replacement to match the original outline. A pool-table light it has a plate rail displaying Brenda’s collection of hand-painted
was replaced with a more period-appropriate, antique brass Italian plates.
dual pendant fixture from Rejuvenation. As the family grew, the two-bedroom bungalow felt in-
The previous owners had awkwardly remodeled the creasingly cramped, so a second-floor addition with a loft mas-
kitchen with dark-stained oak cabinets, a faux-brick vinyl floor, ter bedroom and bath was added to the rear in 2001. The ad-
and somber grey tiled counters. To keep costs down, Brenda dition was designed to carefully complement the original lines
and Rick kept the cabinets but refreshed them with a coat of of the façade and gables. Brenda and Rick admit it took two
‘Devonshire Cream’ (Sears paint), and installed basic white tries to get it right: Initially, they installed MDF plywood trim,
porcelain Amerock knobs. The Plexi panels and weatherbeaten painted white, and carpeted the floors. But as their knowledge
windows were removed, replaced with Milgard double-glazed of Arts & Crafts design evolved they realized their mistakes. A
casements. Countertop tiles in butterscotch yellow completed decade later, they upgraded the wood trim with flat-grain fir,
the kitchen’s sympathetic update, complete with new plumb- matching that in the old house. They hung solid wood doors
ing and electrical service. A breakfast nook already had been with period knobs, and laid white-oak flooring. It was worth
created from a former laundry at the far end of the room. Now sleeping in the dining room for a month. a
&,1'</,1'*5(1
AFTER YEARS WORKING as a freelance illustrator and Modern Yardage (modernyardage.com), are in keep-
graphic designer, Cindy Lindgren wanted to explore ing with the Arts & Crafts tradition. “There’s no
her interests in a more personal way. She’d become waste, nothing is printed until it’s ordered. We can
intrigued by the Arts & Crafts movement after see- create these very custom images that a big company
ing a period textiles exhibit in St. Paul: “I was struck could not offer.”
by the abstract textile and embroidery designs.” Lindgren still starts every design the old-fash-
Concentrating on her own region—Lindgren ioned way, by sketching with a pencil. “Then I refine
grew up in Iowa and now lives in Minneapolis—she the sketches until I get a tight pencil line, and then
began to shape images for note- finish it on the computer in Illustrator, where I re-
cards and art prints using local draw all my lines and fill the shapes with colors.”
CINDY LINDGREN LLC
Craftsman Nouveau Art motifs including the thistle, luna She starts with a single image, usually the
0LQQHDSROLV01 moth, and Solomon’s seal. She basis for a notecard, which is the biggest part of
(612) 929-0657 adapted quickly when tradition- her business (sold online through etsy.com). “I can
cindylindgren.com
al graphic design went digital. expand it into a pattern if I think it will work as a
Knowing how to create designs fabric. Once you have your design, you can do it in
by hand and mix her own colors made for an eas- multiple colorways.”
ier transition, she says. Her mastery is apparent in You do need to know how to make a repeating
her catalog of 100 or more nature-inspired designs square, a technique used in most patterned wallpa-
for fabric and wallpaper. She was one of the earliest per and textile design, to create a template image
designers for Spoonflower, an online marketer of called a tile. While some designs are less successful
custom fabrics (see the box on the opposite page). in repetition, others can be startling in their appeal,
Despite the use of cutting-edge technology like the Scalloped Pine panel. “When that tiled, it
and the limitless potential for reaching customers looked really cool. It was fun to flip it in different
through the internet, Lindgren feels that Spoon- ways so that the pinecones came together.” a
flower and another company for which she designs, —Mary Ellen Polson
RANCH REDEMPTION
Stone, tile, and reclaimed wood were used to transform a generic 1949 ranch.
BY PATRICIA POORE | PHOTOGRAPHS BY JEANINE MICHNA – BALES
with direct access to the courtyard patio. Before the redesign, ABOVE New tilework —
with a cruciform motif cued
grade changes had made access to the backyard difficult. by the low, exterior entry
With small collections of pottery, books, and paintings, wall—adds texture to the
modern hearth. Reissues
rooms have a layered, serene feeling. “But the best room in the of Stickley and Hickory
house,” Chas says, “is more-or-less outside: the screened porch.” furniture mix with antiques,
classic pieces, and leather.
In Texas, a covered porch, properly oriented for sun and Collections include green
weather, gets plenty of use. Equipped with a ceiling fan, screens, Arts & Crafts pottery
and Western textiles.
and a fireplace, the room is comfortable in most weather. “At
Thanksgiving we can set two parties, one in the dining area and
the second on the porch,” Chas says. “The kitchen island is set
as a buffet. We have both fireplaces blazing.”
Living space extends outside as well, to the courtyard
and a series of garden rooms carved out of the nearly half-
acre lot. Chas was the landscape architect; “I’m registered but
do not practice,” he says. The courtyard is now a neat square
formed by the house, the ell that was the former garage, a new
detached garage, and black bamboo in a contained bed. The
area had been a concrete driveway. Native flagstone was laid
on top in some areas, while in others the concrete was saw-cut
and removed, then repurposed in the building of retaining
walls and garden steps.
With the serenity of an Asian garden, the landscape
around the house has a Texas Ranch theme: the koi pond was
constructed like a concrete water trough for cattle, and the
fence has a pipe-rail frame with cattle-wire mesh. a
R
AMBLING, UNASSUMING, FACING AWAY
from the road, hill’s contours. Stones were gathered from the land, occasion-
Stoneybrook is an iconic house of the English Arts ally supplemented with a few from local dry-laid walls (rocks
& Crafts movement. The architect and furniture reportedly were liberated when a cart was backed into the old
designer Ernest Gimson built it in 1898–99, in walls, which were then rebuilt without the most desirable
collaboration with architect and master builder Detmar Blow, stones). Enormous stone lintels and, later, roofing slates came
for Gimson’s brother Sydney and his family. The Gimson from the abandoned Swithland slate quarries nearby.
family were prominent Leicester industrialists; Ernest de- The undressed stones are left natural on the exterior, but
signed homes for several siblings. Stoneybrook is the most parged and whitewashed inside. Large structural timbers pre-
unchanged of them. pared off site follow the irregularities of the plan, attesting to
Inspired by William Morris’s call for a return to crafts- the well-planned design.
manship and a simpler life, Ernest designed a vernacular cot- Sydney and Jeannie Gimson did not wish to furnish
tage that was one with the landscape. Sited so that it nestles Stoneywell with fancy items from their city residence. They
into a rocky bank, the house’s eleven rooms zigzag over seven had Ernest and his circle of craftsmen build solid pieces for
levels within its earthy setting, and it was built purposefully them by hand. As the house could be damp and cold during
with local labor and materials. Following the Z-shape of the the unoccupied winter months, they avoided veneered and in-
plan, windows and roofline step downwards, following the laid furniture. On his pole lathe, Ernest turned rush-seated
C O U R T E S Y N AT I O N A L T R U S T A N D R E W B U T L E R (OPP.), N AT I O N A L T R U S T
JAMES DOBSON (LEFT), N AT I O N A L T R U S T A N D R E W B U T L E R (RIGHT) Winter 2017 ARTS & CRAFTS HOMES | 57
ash chairs for the dining room. Gimson’s lifelong collabora-
tor Sidney Barnsley made the massive oak dining table from
a single plank. A high-backed settle was designed by Sidney’s
older brother and partner, Ernest Barnsley, to be placed near
the front door to help exclude drafts. The door opened directly
into what is today the dining room. (The room was used as the
kitchen up into the 1950s.)
Broad slate steps lead from the dining room to the large
sitting room on the next level. A collection of stoneware hot-
water bottles sat on the steps to warm cold winter evenings,
as the house had no central heat until 1969. The sitting room
features a window seat with garden views, along with an ingle-
nook fireplace across the room for winter evenings. A small,
protruding slate shelf was left for Sydney’s tobacco tin, an ex-
ample of the intimate and practical nature of the construction.
Narrow steps lead up another level to the master bed-
room, where a window on the gable end allows one to step
straight into the garden—a feature much enjoyed by children
playing tag. Furnishings include a handsome walnut coffer
with carved bands of walnuts and acorns by Joseph Armitage
(who designed the National Trust’s oak-leaf logo in 1935). Ad-
ditional bedrooms include a walkthrough nursery, a five-sided
ABOVE In the dining room at Stoneywell in Leicestershire, rush-seated
bedroom with a solid oak bed made by Sidney Barnsley, and the
ladderback chairs by Ernest Gimson join an oak refectory table designed by
Well Room (so-called as one steps down into it). Sydney Gim- Sidney Barnsley. BELOW A window seat reveals the thickness of the stone walls.
C O U R T E S Y N AT I O N A L T R U S T J A M E S D O B S O N
About Ernest Gimson
The architect and furniture designer Ernest
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the tenets of the Arts & Crafts movement.
At age 19, Gimson had met William Morris
and been inspired. He often said that his
chief aim was to bring pride and joy back
into the work of the British working man.
After attending the Leicester School of
Art, Gimson, on Morris’s recommendation,
completed his training in London with the
architect John Sedding. The studio was next
door to the Morris & Co. showrooms, and
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Crafts design. Through Sedding he met the
Barnsleys, master builders and furniture
designers. Gimson and the Barnsley broth-
ers moved to the Cotswolds in 1893, where
they combined crafts such as chair making
with more traditional architectural work.
They made everything from the ivory-inlaid
stalls in St. Andrew’s Chapel in Westminster
Cathedral to the plasterwork for Debenham
House in London’s Holland Park. Gimson
planned to found a utopian crafts village.
Unusual geometry marks an interior passage. BOTTOM , FROM LEFT Original
ABOVE
He died when he was just 54, but his work
furnishings remain in this house owned by the Gimson family for 114 years. Parging softens
the large timbers and thick walls of local stone. Whitewash creates bright interiors. continues to be appreciated a century later.
son’s son Basil was an avid reader, and so bookcases were built family for the next three generations. The house was let for
to fit beneath the Well Room’s eaves; Basil eventually became nine years during World War II, and then Basil moved in full-
schoolmaster at the nearby Bedales School in Hampshire. time in 1947. Basil’s son Donald inherited Stoneywell in 1953
Stoneywell was wired for electricity in 1938, which meant and moved in with his wife, Anne. They did little to change the
rainwater could be collected in roof tanks and heated for bath- cottage, other than installing central heat and creating a peri-
ing, so a landing was partitioned for an Art Deco bathroom in od kitchen. They maintained the rough landscape strewn with
black and white. Shortly after the project was completed, an granite outcroppings, and added heathers, rhododendrons,
electrical fault started a fire in the thatch roof. Although the azaleas, and magnolias tolerant of the acidic soil. The cottage
cottage and its contents were saved, the bathroom had to be re- is surrounded by four acres of gardens amid eleven acres of
built, and the thatch roof was replaced with slate. At this time protected woodland. a
the Gimsons raised the roof to create larger rooms upstairs.
Sydney and Jeannie Gimson, and their sons Humphrey
and Basil, would spend their summers at Stoneywell for the Following a national appeal, the National Trust was able to pur-
next four decades, and return for Christmas as well. The house chase Stoneywell and its furnishings from Donald Gimson in 2013.
and most of its original furnishings remained in the Gimson It was opened to the public in 2015. nationaltrust.org.uk/stoneywell
30 BUCKS COUNTY
SOAPSTONE
y ears
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AMY BRANDENBURG STUDIO ARCHIVE EDITION ARTS & CRAFTS PERIOD TEXTILES
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THE BUNGALOW
CRAFT
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ARTS & CRAFTS PRESS BRIAN BOGGS CHAIRMAKERS
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LANTERNLAND
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MODERN BUNGALOW
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TERRA FIRMA
Handmade Arts & Crafts Tile
STICKLEY SUNDIAL WIRE Whether creating an entire room or adding a
Stickley’s 2016 Collector Edition Cloth-covered electrical wire, newly strategic embellishment, bring the outdoors and
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WISDOM IN WOOD
HEIRLOOM QUALITY
PANEL CARVING
The world’s greatest thoughts, quotes and
WEAVER TILE THE WILLIAM MORRIS STUDIO mottos beautifully carved in 32” wide panels
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HENRY BOSCH CO. WITH AT LEAST HALF A DOZEN different wall and ceiling papers in an unusu-
ally elaborate arrangement, a rather masculine Arts & Crafts den has sev-
From the catalog
eral panels from Schmitz–Horning’s famed San-kro-mura ‘Automobile’
“Modern Home frieze. (The full treatment, 30" high, has six 60" panels and runs 30 linear
Decoration,” 1912 feet without repeat.) Its humorous vignettes showing the perils of “a mid-
Apparently pastoral but with a winter tour of Southern California”—road racing, road rage, and road-trip
decidedly modern twist, the frieze repairs—are an ambivalent commentary on life with the era’s new-fangled
phenomenon in personal transport.
takes center stage in this highly
Pictorial friezes, many of them imported from Europe, were popular
decorated period room. from about 1905 until the Great Depression. Intaglio-printed in durable
oil-based inks, these papers allowed for more colors and a finer gradation
of tone than did traditional wallpapers. Subjects tended toward historical
scenes, lush landscapes, and whimsical or quirky themes known as novel-
ty papers. Will we celebrate new technologies with digital patterns today?
Or has progress rudely dispensed with novelty decorative treatments, leav-
ing them, like that old horse and buggy, in the ditch? a — B o S u l l i v a n
arts & crafts homes and the revival (usps #015-930) (issn 1559-6117) is published quarterly with an Annual Resource Guide in December for $29 by the Home Group of Active
Interest Media Inc. The known office of publication is located at 5720 Flatiron Parkway, Boulder, CO 80301. Editorial office is located at 5720 Flatiron Parkway, Boulder, CO 80301.
Periodicals Postage paid at Boulder, CO and additional offices. • Vol. XI, No. 5. • Postmaster: Send address changes to Arts & Crafts Homes, PO Box 420235, 11 Commerce Blvd., Palm
Coast, FL 32142. © Copyright 2016 by Cruz Bay Publishing, Inc., El Segundo, CA.
Fine handmade
merchandise & yardage
www.ArchiveEdition.com
(310) 676-2424
HIGHLANDS Modern. Tapered. Light. The Highlands Group is Stickley like you have never
imagined. Crafted in solid wood with hand-rubbed finishes and made in
Central New York, using time honored Stickley construction techniques.
With Stickley’s Highlands Collection you will find something beautiful
for every room in your home.
Family owned and finely handcrafted in the USA for over 100 years.
For the dealer nearest you or a catalog, visit stickley.com | L. & J.G. Stickley, Inc. | Manlius, NY 13104 | 315.682.5500