The Decorative Arts Society 1850 to the Present

EDITOR'S NOTEAuthor(s): Peter RoseSource: The Journal of the Decorative Arts Society 1850 - the Present, No. 9, ASPECTS OFBRITISH DESIGN 1870 - 1930 (1985), p. 1Published by: The Decorative Arts Society 1850 to the PresentStable URL: http://www.jstor.org/stable/41809139 .

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EDITOR'S NOTE

The period from the mid-eighties until 1914 was a time of particular strength and influence for British design. There was a confidence in the role of the applied arts in architecture, interior decoration and craftsman-made article for everyday use which was never fully re-established after the Great War. In 1984 the Art Workers' Guild, an organisation founded to promote the interests of the Arts and Crafts movement, celebrated the centenary of its foundation. An exhibition 'Beauty's Awakening', held at Brighton Museum in the autumn, displayed the rich diversity of work produced by members of the Guild. The Decorative Arts Society organised activities, described more fully in the 'Review of the Year', in support of the event.

So the ninth annual Journal of the Decorative Arts Society is concerned with British design during the period of its most striking achievements. The scope of the review has been broadened, however, by concentrating on aspects not included in last autumn's Art Workers' Guild based activities. The advent of the twentieth century was much heralded by the 'New Art' movements throughout Europe, perhaps the most influential of which was the Glasgow style. The article by Juliet Kinchin, who organised 'The Glasgow Style' exhibition at Kelvingrove last summer, on the Wylie & Lochhead style, provides a salu- tary reminder of the extent and strength of the Scottish tradition. The exhibition, 'The Folding Image' shown at Yale and Washington, included an outstanding product of that tradition, the George Logan and Jesse M. King 'Rose Screen'. Michael Komanecky who co-organised the exhibition has provided an account of the restoration of the screen which gives a remarkable insight into the scholarship and skill demanded by such a task.

Irish design followed a different route from its Scottish counterpart. Dr. Nicola Gordon Bowe, who has published extensively on the subject, has provided an account of the fortunes of the Irish Arts and Crafts movement with special reference to the work of Harry Clarke. Adrian Tilbrook, author of 'The Designs of Archibold Knox for Liberty & Co.' has undertaken an extremely useful analysis of the Christopher Dresser and Dresser-influenced designs manufactured by Elkington & Co. Min ton's Secessionist ware was a successful attempt to market fashionably styled objects by leading designers at prices within the reach of the less affluent levels of society. Grant Muter whose previous article on Secessionist ware in 'The Connoisseur' had provided a new insight into the genesis of the style, has gathered much new information for his article on the design contribution of Léon V. Solon and John Wadsworth. Lastly, the editor has contributed a piece on the light fittings of W. A. S. Benson, a foun- der member of the Art Workers' Guild who helped to formulate its objectives and character: at the same time he embraced industrial methods wholeheartedly, forshadowing twentieth century attitudes to design. The editor of this Journal and the Committee of the Decorative Arts Society are indebted to the con- tributors who have shown themselves to be particularly generous in sharing their knowledge and exper- tise. The copyright of each article is retained by the contributor.

Peter Rose

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