Reason Basis Art (2 results)

LeatherBound. Condition: New. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. Leatherbound edition. Condition: New. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. Pages: 38. A perfect gift for your loved ones. Reprinted from 1974 edition. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. IF YOU WISH TO ORDER PARTICULAR VOLUME OR ALL THE VOLUMES YOU CAN CONTACT US. Resized as per current standards. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Language: English Pages: 38.

Half title. Orig. purple paper wrappers, lettered in navy; spine sl. faded with small ink mark. 30pp. Authorial ink gift inscription on leading f.e.p.: 'James Morton, With kind remembrance from C.F.A. Voysey. March 18, 1906'. A beautiful and important presentation copy. OCLC records only one copy in the U.S. at the Metropolitan Museum of Art; UC Berkeley lists a reproduction. A wonderful association copy of one of the most important and uncommon works of the English Arts and Crafts Movement. Charles Francis Annesley Voysey, 1857-1941, furniture and textile designer and one of the pioneers of industrial design and modern architecture; he was heavily influenced by the ideas and works of William Morris. He is particularly remembered today for his distinctive delicate, colourful designs and bold, simple buildings. The V&A Museum calls him 'one of the most important and influential architects and designers of all forms of decorative arts working at the end of the 19th century'. This is the first of the two works he wrote outlining his philosophy as an architect and designer, the more substantial second text is called Individuality (1915). This copy is inscribed to James Morton, 1867-1943, the son of textile manufacturer Alexander Morton who inherited the family business after training to be a chemist in Carlisle. Morton and his wife Beatrice were devotees of the Arts and Crafts Movement, particularly the work of Morris, who was also an important influence in his approach to dyeing fabric. James became committed to creating colours that would maintain their shade and lustre after noticing that his textiles had faded after only one week in the window at Liberty's. With the help of young chemist John Christie, he created a palette of dyes that would not fade even in sun and snow, which he then sold to high-end fashion houses including Liberty and Burberry, who called his dyes 'indelible'. Voysey and Morton had a productive and long-lasting professional relationship. Voysey's first designs for Morton were exhibited at the Arts & Crafts Society exhibition in London in 1896, and the following year he signed a five-year renewable contract to produce a minimum of ten exclusive designs annually for the sum of £120. Over the next 10 years, Voysey produced as many as 40 designs a year for Morton. He also designed a bookplate for Morton to commemorate his marriage to Beatrice Emily Fagan on 21 March, 1901. Voysey here explores the importance of motivation in designing and building: 'It would be interesting to trace, if we could, the reasons why we are surrounded by so much ugliness - why the common articles of everyday use are intrinsically ugly. We must admit that man is by nature a creative being; a builder of character if not of houses. Not only are we daily building up our own characters, but consciously or unconsciously laying the foundations of those which are yet unborn. Reason, conscience, and love are the three faculties that should operate in all we say and do; and by love we mean that emotion of reverence, respect, and admiration for all that we regard as noblest and best. What we ought to aim at is the right relation and healthy action of all three. On the purity and healthy vitality of these faculties will depend the quality of our work. That is to say, a sickly and feeble reason will cause unstable and erratic action, senseless imitation, and blind following the blind. A weak conscience causes unfaithful service and deception, while a low, perverted love makes for selfishness, egotism, and corruption. If we would erect a building, the question of supreme importance must be, not where and how shall we build it, but why. Motive is the key-note to all subsequent action and the fruit of character. No matter whom we employ to carry out our desires, the true motive of our desire will dominate, and turn the scales for good or evil.'.