English: Chair, high back, adze-hewn jarrah, with drop in cushion, four central vertical slats - cushion covered in red velvet fabric chair circa 1910 James Walter CHAPMAN - TAYLOR (b 1878 - d 1958) jarrah with velvet cushion 1320 x 740 x 620 mm purchased with funds provided by the Charles Disney Art Trust, 1997.71.1 this high back chair in jarrah with drop-in red velvet cushion, four vertical slats was designed and made by James Walter Chapman Taylor James Walter Chapman-Taylor was born in Bloomsbury, London on 24 June He was brought to New Zealand by his mother two and a half years later. His father had travelled ahead and purchased farm land in the Stratford area. The young James had no interest in the land, and at an early age showed enthusiasm for building. He worked with a pioneer builder in Stratford, and constructed cottages and various public buildings in the district. He completed his architectural studies by correspondence, and once qualified he began to travel. He journeyed to Great Britain in 1909. His aim was to study at first hand the work of men whose names were famous in the field of domestic architecture. It was then he met Charles Voysey, Baillie Scott, Parker and Unwin, and became familiar with the ideas of William Morris, which were alive at the time. On return to New Zealand he lived for some years in Auckland and built houses. He travelled continually, and his house are constructed in Taranaki, Manawatu, Hawkes’ Bay, one in the Wairarapa and many in Wellington. There is only one known house in the South Island. He was also well skilled in photography, as he had become an art student at the Elam School of Fine Arts, Auckland for some years where he studied photography. He was an enthusiastic member of the Wellington Camera Club, and was elected an Associate of the Royal Photographic Society in about 1950. Interiors and furniture in Chapman Taylor homes were mostly in jarra. He was most enthusiastic about jarra, and was often referred to as ‘Jarra-Taylor’. This timber particularly suited his interiors and the adze-hewn treatment. He wrote about hand adzing- ‘This gives a woody character, and the forest of origin f the timer is not lost. The evidence of human handiwork and the reflection of the innumerable lights form the adze cuts gives an interest and beauty to the woodwork which is totally lost in a machine finish.’ Remains a unique architect in that he wore outside the growing body of professional architects • consistency of subject and design for over a period of forty years • insistence on designing and building the commissions entrusted to him - his adherence to the William Morris philosophy of personal involvement and handcraft • in his writings he enjoyed a delightful disdain and disrespect for other peoples’ working his field and a healthy respect for his own source; New Zealand Institute of Architects Journal, 20 April 1968 about 70 C-T designed homes throughout the country Shortly before his death in 1958, James Chapman Taylor wrote- ‘A good house should be imbued not so much with mood as character. Permanence, serenity, quiet cheerfulness, unassuming good taste, honesty of purpose. I believe that these are the qualities that should be embodied in the design and structure of all good homes.’ photos available self-portrait in chair business card ex catalogue