126 
House & Garden 
Early 18 th Century American Maple Dresser, by Kensington 
T HE simplicity and the beauty of pro¬ 
portion that are the charm of early 
colonial architecture and the native 
flavor which makes it seem so sympathetic 
to its environment also characterize the fur¬ 
niture made by our American craftsmen 
toward the end of the 17th and in the early 
years of the 18th Century. 
Kensington reproductions of this furni¬ 
ture, because of its fidelity in design and the 
old-time hand processes of the Kensington 
craftsmen, retain the quaint spirit of the 
originals and satisfyingly restore to an in¬ 
terior the charming atmosphere of old co¬ 
lonial days. 
Kensington furniture is made in 
all the decorative styles appro¬ 
priate for American homes. 
Write for Illustrated 
booklet H and pam¬ 
phlet, “H o w K e n- 
sington F u r n i t u r c 
May Be Purchased.” 
MANUFACTURERS AND ^—-» IMPORTERS 
FINE FURNITURE ART OBJECTS 
NEW YORK 
Showrooms : 14 East 32 nd Street 
Bradley & Merrill 
This pictorial landing of Champlain is 
in soft colors on a pinkish tan ground. 
Courtesy of Thomas Strahan 
Wall Papers for a Variety of Hallways 
(Continued from page 70) 
The long narrow hall in the average than any single color, but we can’t live 
city apartment is perhaps the most with it. The next strongest reflector 
difficult to decorate. No light comes is yellow. Very well. Yellow it shall 
directly into it and opening from it be. Now that doesn’t mean that our 
are several rooms which, if all the doors poor little hall must be drenched in 
are left open, will give a moderate, bright, vivid canary yellow. Not at all. 
very moderate amount of illumination. It simply means this—yellow pigment 
It is usually very long and narrow in any tone of cream, ivory, yellow 
with one unbroken surface extending brown, sepia, etc., will give the maxi- 
from the entrance door to the wall of mum of light reflection provided it is 
the living room. What happens be- kept light in tone, in value, as the 
yond that is known only to the people artists say. There may be a dozen other 
who live in the next apartment. That colors in the paper, provided this light 
bit of light and air belongs to them, yellow tone shows in sufficient quantity 
The other side is broken by a series of to do the work. Often there are. papers 
doors making a veritable patch-work which show various tones of gray, light 
quilt of the effect with the little patches gray, all through the pattern. These 
of light and color sputtering at the are seen against a soft light warm 
darkness all along the way. cream, ivory; or sepia, as is the case 
What can we do? We want to in- of many landscape papers. This is one 
crease the light, get rid of the prison reason why they are ideal for dark 
corridor effect of that left wall, and halls, and perform wonderful feats, 
make it a pleasure to walk down the But color cannot be separated from 
entire length. Can it be done? Not pattern. And before we begin to talk 
perfectly, because the architect had no about individual papers that will serve 
decorative heart. But a great deal can the purpose, we must have a pretty 
be accomplished to better the effect. clear idea of how these colors and pat- 
Everyone knows that light colors re- terns interact and play upon each other, 
fleet more light than dark ones. Every- Even the paper which we call plain 
one knows that white reflects more (Continued on page 130) 
A paper that would create 
the effect of height in a low 
hall has bright green stems 
and leaves on a white ground. 
From F. J. Emmerich 
A striped paper in tones of 
buff and tan with a hairline 
black stripe would be good in 
a Colonial hallway. Courtesy 
of F. J. Emmerich 
