120 INTERIORS 
 IN COLOURS 
 
 DESIGNED BY MODERN ARTISTS 
 EDITED BY C H. BAER 
 
Univ. of 111. Library 
 
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 79 
 
120 INTERIORS IN COLOURS 
 
Digitized by the Internet Archive 
 
 in 2012 with funding from 
 
 University of Illinois Urbana-Champaign 
 
 http://archive.org/details/120interiorsinco00baer 
 
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 120 INTERIORS 
 IN COLOURS 
 
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 DESIGNED BY MODERN ARTISTS 
 
 EDITED BY C. H. BAER 
 
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 CLEVELAND 
 
 J. H. JANSEN, Successor to M. A. VINSON 
 
 323—4 CAXTON BUILDING 
 
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PRINTED BY HOFFMANN-STUTTGART 
 
THE FORCE AND SIGNIFICANCE 
 OF COLOUR IN THE ROOM 
 
 The profound influence exercised upon the 
 spiritual and physical well-being- of modern 
 man by the surroundings in which he lives and 
 works is more and more fully recognised in the 
 present day. There is a growing conviction that 
 beneficent and lasting impressions are only to be 
 achieved by harmoniously conceived and executed 
 interiors, governed by a delicate feeling for pro- 
 portion, colour and the distribution of light. But 
 whereas distinguished artists devote themselves 
 with increasing zeal and success to the invention 
 of beautiful and appropriate forms for rooms and 
 furniture, and architects deal with the question of 
 natural and artificial lighting as a fundamental one 
 in their plans, the colour-harmonies of the rooms 
 are for the most part left to laymen — the future 
 inhabitant and his decorators. One or the other 
 of two results generally follows: either the tradi- 
 tional terror of colour leads to the drowning of 
 all gaiety and variety in rich shades of brown, or 
 the opposite extreme of crude vulgarity is adopted. 
 
 V And yet colour plays a more important part in 
 the harmony of an interior. If it is bad, insistent 
 and unmodulated, it will destroy the most care- 
 fully planned scheme of the architect, and if it is 
 good, quiet and delicately gradated, it will mask 
 and even neutralise many a defect of form. It may 
 be laid down as an initial precept, that all colours 
 in our living rooms must be background-colours, 
 the quietly resolved harmonies of which leave the 
 leading motives to man and his implements, and 
 serve to give fullness and resonance as the frame 
 and foil for the most varied moods, personalities 
 and habits. V 
 
 V Such unity must, however, necessarily be "a 
 unity in multiplicity." V 
 
 The theory that colours harmonise the better 
 the more they lend to produce a mutual grayness, 
 or in other words, the more strongly they are 
 opposed to each other in a colour-circle, has never 
 been justified either by Nature or by the concensus 
 
 of artistic opinion, and it has been proved faulty 
 in the decoration of rooms. It is, of course, 
 possible to get a harmonious effect by the juxta- 
 position of green and red in a room, but only 
 when we are sensible of a common fundamental 
 tone, which brings these two contrasting colours 
 into relation. For though it is true that man loves 
 contrasts, he is most sensitive to those, which, in 
 spite of their opposition, are evolved from one 
 another, or at least bear some relation to one 
 another. On the other hand, the fundamental tone 
 should not be too definite. The apparent harmony 
 between the warm light yellow tones of certain 
 woods in expensive furniture, and the cold yellow 
 of a wall behind them, is never agreable ; at the 
 best, it has an effect of chilly refinement, and even 
 this is easily disturbed by the intrusion of some 
 piece of colour from the outside world. But if the 
 warm yellows of this furniture are relieved against 
 a wall of indigo blue or Indian red, the harmony 
 of these distinct yet correlated tones, which are 
 all characterised by a strain of reddish yellow, 
 produces a "unity in multiplicity" which brings 
 everything together, and cannot be reduced to 
 discord even by a variety of other brilliant colours, 
 such as those of flowers or fashionable dresses. 
 Thus we see that colour-harmony in a room is a 
 result of contrasts, with inherent affinities; some- 
 times the former, sometimes the latter should 
 predominate, sometimes they should balance each 
 other, but neither should ever be absent. V 
 
 V The colour-scheme of a room should bring floor, 
 walls and ceiling into unity. These three boun- 
 daries of a room, which form an indissoluble whole 
 structurally, since not one of them could exist 
 without the other two, serve not only to form the 
 room, but also, as the vehicles of colour, create 
 the tone of the interior, that quality which 
 makes passages and halls, saloons, living-rooms 
 and bedrooms habitable, and suitable for their 
 various purposes. V 
 
 V 
 
V The colouring of the floor is often looked upon 
 as unimportant , even by those who admit the 
 necessity of well considered effects of colour in a 
 room. This is a mistake. Though there are limits 
 to be observed, though the effect of well scrubbed 
 boards is always cosy, that of polished parquet 
 interesting, that of marble flags and artistic mosaic 
 rich and aristocratic, periods of healty delight in 
 colour have always sought for stronger effects over 
 and above these possibilities of expression; they 
 have found them in the closely woven beauty of 
 brilliant carpets, or, as in recent times in quiet 
 flat-patterned linoleums full of novel and charming 
 combinations of colour. But the floor must always 
 give colouristic expression to the fact that it is 
 the base of the room; it must accommodate itself 
 to the fundamental tone of the walls and of the 
 furniture; it should be deeper and fuller in tone 
 than these, but should never noisily disturb the 
 peace and unity of the interior. V 
 
 V A wall without any garb of colour is incom- 
 plete. Its monotony may be modified and its 
 relation to furniture, the proportions of which are 
 regulated by those of the human form, may be 
 established by its devision into dadoes, panels, 
 and friezes; but colour is essential to the complete 
 fulfilment of its purpose. Clothed in quiet, uni- 
 form tones, it creates the characteristic fundamental 
 tone proper to every room, the most important 
 element in the creation of a room-harmony. Fur- 
 niture and pictures, utensils of metal or lustrous 
 pottery, stuffs, gaily coloured carpets and brilliant 
 flowers make up the concentrated decoration, 
 which becomes livelier and more vital in its effect 
 by contrast with the repose of the background. In 
 the choice and arrangement of these objects again, 
 the essential colour-relation must be borne in mind, 
 even in aiming at effects of contrast, in order to 
 preserve the all-important "unity in multiplicity." 
 
 The intrusity and the quality of the dominent 
 fundamental colour must be determined by the 
 purpose for which the room is to be used. Rooms 
 which are designed for the work and daily life of 
 their inhabitants, require simple, unobtrusive tones; 
 rooms devoted to entertainement and feasting 
 demand more vivacious and striking colour-schemes. 
 A deep, good red, the colour of life itself, unites 
 to gaiety and alertness; its effect is sensuous and 
 stimulating; yellow, in all its original shades, is 
 sometimes cold and aristocratic, full of solemnity 
 
 and ceremonial splendour, sometimes, when it 
 shows a slight strain of red, cheerful and refreshing. 
 Blue, heavy, soft and comfortable, soothes and 
 quiets, conduces to repose and peaceful meditation, 
 while green recalls the verdure of woods and 
 meadows, awakens hope and longing, and yet is 
 free from the exhilarating force of a deep red. 
 White, golden and black rooms finally are full of 
 festal sounds; they demand mirrors, gleaming lights, 
 glittering metals and heavy, costly stuffs, melodious 
 music and handsome, patrician denizens, unop- 
 pressed by the burden of work. 
 
 V Various materials are suitable for giving colour 
 to walls; their special quality should be carefully 
 considered in conjunction with the choice of colour. 
 We may take it as an elementary principle that 
 only natural colours should be used, that is to say, 
 colours which agree well with the nature of the 
 material to be coloured. V 
 
 V The warm tones of wood-panelling tend to 
 destroy that neutral character which in these days 
 is considered the essential quality of a wall; as a 
 consequence, they are now rarely introduced, as 
 compared with their popularity in past centuries. 
 But in those rooms, the uses and furniture of 
 which do not change with every inhabitant, panel- 
 led walls, treated with a natural stain, may be 
 combined with fittings and furniture to produce an 
 uncommonly agreable harmony. 
 
 V Gaily coloured wall-hangings, which used to 
 give a warm beauty to saloons and cabinets in 
 olden days, have become very rare. They no 
 longer fulfil our practical and hygienic require- 
 ments, and attempts to revive their use fail for 
 the most part on account of their costliness. 
 Coloured flocks and mattings, with which excellent 
 effects may be obtained here and there, are hardly 
 likely to find a more general popularity. Though 
 they have the warmth and colour of stuff, the are 
 difficult to clean , comparatively expensive , and 
 their colours are not always durable. V 
 
 V Wall-papers, hitherto the distinctive bourgeois 
 wall-decoration, have a long development in colour 
 and pattern behind them. After the period of 
 debasement at the end of the last century, real 
 artists applied themselves to the creation of tones 
 and patterns which fulfil most admirably the modern 
 demand for quiet backgrounds. We have now not 
 only strong self-coloured papers, but patterns soft 
 in outline and in colour-transitions, in which the 
 
 VI 
 
flat quality of printed ornament is admirably 
 expressed. And as their designers carefully avoided 
 the imitation of textiles, wall-papers successfully 
 assumed the character of substitutes for these. 
 
 V The larger the room, the greater the distance 
 at which the inmate of the room may be placed 
 from the wall, the stronger the colour and the 
 bolder the masses of the pattern may be. But 
 one of the latest manifestations of bad taste is the 
 present fashion of hanging small, low rooms with 
 papers, the large blossoms and bouquets of which 
 are out of all proportion to the other parts of the 
 room. If it be necessary to paint the woodwork 
 of doors, windows and wainscot, this again must 
 be subordinated to the general harmony of the 
 room. But it is not in the least essential that the 
 paint should repeat the tone of the wallpaper. White 
 and dull blue generally make an excellent effect. 
 
 V Walls painted, and decorated with stucco are 
 in these days only beautiful and significant when 
 they represent the ornamental features of the room, 
 when, in other words, the walls themselves have 
 something to say. But if the walls are to preserve 
 their character of a background, the wall-painting 
 must also bow to the demand for subordination, 
 and must cover the surface quietly and unobtrusi- 
 vely with a fundamental tone. V 
 
 V The ceiling must not be allowed to disturb the 
 rythm of the room, it must permit this rythm to 
 die away above, and in addition, it must add to 
 the effect of height and space in rooms, which in 
 accordance with modern domestic necessities, are 
 for the most part of restricted dimensions. It fol- 
 lows that, in general, the ceiling should be smooth 
 and white. Perhaps we are carrying this precept 
 rather too far at the present moment. The enclo- 
 sing function of the ceiling, and its relation to 
 the wall, which is so powerfully reinforced by 
 colour in its quality of a boundary, should not be 
 lost sight of altogether; a pale tint, light stucco 
 
 ornaments, or reticent decorative paintings on the 
 ceiling often give greater seclusion and a deeper 
 sense of intimacy to a room. V 
 
 V Of course there are exceptions. If the wall is 
 architectonically treated, with strong colour applied 
 to the divisions, such treatment may be extended 
 to the ceiling. If it should be desired to make a 
 lofty room look lower and more cosy, a dark-toned 
 ceiling will be suitable; and artistic ceiling-pain- 
 tings, as well as rich, tinted stucco ornamentation 
 will always be the most valuable adornment of lofty 
 halls and vaults. V 
 
 V The harmony of the interior is unquestionably 
 one of the most important elements of a happy, 
 well-ordered dwelling; as we have tried to show, 
 it is influenced, not only by structure and illumi- 
 nation, but by the garb of colour in which the 
 enclosing elements are clothed. It is the more 
 remarkable therefore, that a systematic development 
 and education of the colour-sense inherent in every 
 human being whose taste has not been vitiated is 
 so seldom essayed. In the whole range of tech- 
 nical literature there is up to the present no work 
 dealing exhaustively with the important question 
 of the application of colour to our rooms from 
 the modern point of view. The present book 
 aspires to fill this void to some extent. It contains 
 120 careful reproductions in colour of the works 
 of the most distinguished German and English 
 decorators, and offers its help to stimulate and 
 instruct, not only the artist and the craftsman but 
 the layman in the application of colour to our 
 dwellings. V 
 
 V The greater the number of those whose refined 
 taste looks to colour as a medium of enjoyment, 
 the more surely do we approach that healthiness 
 in the art of the interior which is so necessary as 
 the basis of true domestic culture. To give a 
 powerful impetus to this process is another im- 
 portant object of this work. V 
 
 VII 
 
Hans & Henry Lassen -Bremen 
 
 Vestibule — Watercolour by L. Gunkel -Bremen 
 
Schneidereit & Wuensche-Friedenau-Berlin 
 Vestibule — Watercolour and decorative paintings by M. Pechstein- Berlin 
 
Kurt Boschen-Moers on -the -Rhine 
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Schneidereit & Wuensclic-Friedenau- Berlin 
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Prof. Oswin Hempel - Dresden 
 
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 Prof. Oswin Hempel- Dresden 
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 Hans & Henry Lassen -Bremen 
 
 Hall — Watercolour by L. Gunkel- Bremen 
 
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CONTENTS 
 
 Ashbee, C. R., London 
 
 Hall 19 
 
 Bauer, Leopold, Vienna 
 
 Hall 20 
 
 Bembe, A., Mayence 
 
 Hall 23 
 
 Dining-Room 69 
 
 Benirschke, Max, Dusseldorf 
 
 Dining-Room 80 
 
 Berndl, H., Munich 
 
 Dining-Room 71 
 
 Panelled Dining-Room 75 
 
 Berndl, Richard, Prof., Munich 
 
 Hall 4 
 
 Hall of a Country House 34 
 
 Music-Room 60 
 
 Dining-Room 66 
 
 Council-Chamber in a town-hall 118 
 
 Billing, H., Prof., Karlsruhe 
 
 Exhibition Room 53 
 
 Music-Room 59 
 
 Birkenholz, Peter, Munich 
 
 Hall 27 
 
 Music-Room 58 
 
 Dining-Room 79 
 
 Boschen, Kurt, Moers on-the-Rhine 
 
 Vestibule 3 
 
 Cissarz, J. V., Prof., Stuttgart 
 
 Stained windows and decorations of a staircase 28 
 
 Curjel & Moser, Karlsruhe 
 
 Dining-Room 63 
 
 Bedroom 106 
 
 Bedroom Ill 
 
 Danner, Hans, Munich 
 
 Dining-Room 72 
 
 Erlwein, Hans, Prof., Dresden 
 
 Council-Chamber 119 
 
 Fischer, Theodore, Prof., Munich 
 
 Room in a Country Inn 116 
 
 Gesellius, Lindgren & Saarinen, Helsingfors 
 
 Design for a hall 16 
 
 Smoking-Room 49 
 
 Drawing-Room 62 
 
 Dining-Room 77 
 
 Smoking-Room 88 
 
 Smoking-Room 98 
 
 Grenander, Alfred, Berlin 
 
 Fireplace 51 
 
 Drawing-Room 92 
 
 Guhr, Richard, Prof., Dresden 
 
 Decorative Paintings 10 
 
 Hahn, O., Dresden 
 
 Sitting-Room 89 
 
 Halmhuber, G., Prof., Hanover 
 
 Library 50 
 
 Heller, Hans, Hamburg 
 
 Hall 29 
 
 Dining-Room 74 
 
 Sitting-Room 83 
 
 Living-Room 86 
 
 Dining-Room 96 
 
 Hempel, Oswin, Prof., Dresden 
 
 Hotel Vestibule . . . 6 
 
 Hall 15 
 
 Breakfast-Room for a hotel 85 
 
 Hoffmann, Joseph, Prof., Vienna 
 
 Hall 18 
 
 Hohlwein, L., Munich 
 
 Hotel Bedroom 107 
 
 Hohrath, Alexander, Dresden 
 
 Dining-Room 99 
 
 Holub, Adolphe, Vienna 
 
 Living-Room 90 
 
 Hommes, Robert, Darmstadt 
 
 Drawing-Room 38 
 
 Jochem, F. W., Kiel 
 
 Hall Fireplace 31 
 
 Corner of Smoking-Room 47 
 
 Kaldenbach, Fritz, Aachen 
 
 Dining-Room 64 
 
 Kammerer, Marcel, Vienna 
 
 Hotel dining-room 67 
 
 Kolbe, Rud., Dresden 
 
 Cottage dining-room 102 
 
 Kreis, W., Prof., Dusseldorf 
 
 Smoking-Room 48 
 
 Exhibition Room of a Porcelain Manufactory 54 
 Dining-Room 70 
 
 Krug, Jacob, Darmstadt 
 
 Drawing-Room 39 
 
 Kuehne, Max Hans, Dresden 
 
 Hall 25 
 
Kuehne, Max Hans, Dresden 
 
 Winter-Garden, executed by Villeroy & Boch 81 
 
 Interior of a Villa 87 
 
 Lassen, H., Dresden 
 
 Staircase landing ... 8 
 
 Lassen, Hans & Henry, Bremen 
 
 Vestibule 1 
 
 Hall 22 
 
 Drawing-Room 42 
 
 Dining-Room 68 
 
 Linnemann, R., Frankfort 
 
 Dining-Room 76 
 
 Lossow,William, Prof. & Kuehne, M.Hans, Dresden 
 
 Hall 30 
 
 Room for a Connoisseur 52 
 
 MacLachlan, L., London 
 
 Boudoir 43 
 
 Reading-Room 57 
 
 Hotel Bedroom 108 
 
 Margold, Emanuel J., Vienna 
 
 Hotel Dining-Room 78 
 
 Merry, Tom, London 
 
 Hall 32 
 
 Hall 35 
 
 Bedroom 112 
 
 Moelter, Anton, Berlin 
 
 Sitting-Room 93 
 
 Paul, Bruno, Prof., Berlin 
 
 Hotel Drawing-Room 40 
 
 Smoking-Room 46 
 
 Pfeifer & Grossmann, Karlsruhe 
 
 From Hall to Garden 82 
 
 Corner of a Studio 101 
 
 Design for a Stove 105 
 
 Poessenbacher, Anton, Munich 
 
 Bedroom 110 
 
 Prutscher, O., Prof., & Geyling, R., Vienna 
 
 Dining-Room 73 
 
 Ranninger, Jean, Mayence 
 
 Hall 104 
 
 Runge & Scotland, Bremen 
 
 Scheme of a Hall for a cottage 33 
 
 Music-Room 61 
 
 Sitting-Room 84 
 
 A servant's bedroom 115 
 
 Saarinen, Eliel, Helsingfors 
 
 Boudoir 44 
 
 Schaefer, Philip, Dusseldorf 
 
 Smoking-Room 45 
 
 Living-Room 91 
 
 Bedroom 109 
 
 Schaudt, Emil, Berlin 
 
 Staircase Landing 9 
 
 Hall 26 
 
 Exhibition Room 55 
 
 Schilling & Graebner, Dresden 
 
 Bath-Room 113 
 
 Schleinitz, M., Dresden 
 
 Anteroom 13 
 
 Schneidereit & Wuensche, Friedenau 
 
 Vestibule 2, 5 
 
 Schumacher, Prof., Hamburg 
 
 Dining-Room 95 
 
 Scott, M. H. Baillie, Bedford 
 
 Hall in Country House 41 
 
 Sitting-Room 100 
 
 Village Hall 120 
 
 Staynes, P. A. & Wolfe, A. T., London 
 
 Vestibule 12 
 
 Troost, P. L., Munich 
 
 Dining-Room 65 
 
 Van den Bosch, Jac, Amsterdam 
 
 Dining-Room 103 
 
 Vogelgesang, A., Warmbrunn 
 
 Drawing-Room . . , 37 
 
 Smoking-Room 97 
 
 Wipf, J., London 
 
 Hall 36 
 
 Dining-Room 94 
 
 Wood, Edgar, Manchester 
 
 Staircase 7 
 
 Staircase landing 11 
 
 Hall 14 
 
 Hall 17 
 
 Staircase 21 
 
 Hall 24 
 
 Library 56 
 
 Attic Studio 114 
 
 Hall 117 
 
 Ziesel & Friederich, Cologne 
 
 Staircase 28