Gimson’s relationship with his craftsmen

Gimson usually knew whether his designs could be translated into reality and, if he had made a mistake, he was happy to be corrected by his craftsmen. Their relationship was coloured by mutual respect and the quality of the workmanship was high. Drawers and doors open and close smoothly and precisely while the fire tools are perfectly balanced. The designer C. R. Ashbee visited Gimson and described being shown round the smithy:

‘In the middle of our talk Gimson suddenly seized the iron fire clippers. “There,” said he “Can any smith of yours make a piece like that? Oh yes, you may well pore over it - it is the most difficult double joint you can forge’

The blacksmith, Alfred Bucknell, remembered that Gimson would discuss design issues with his craftsmen and take advice if he considered it good.

 

On one occasion at least he used the attitude of his craftsmen to deflect any criticism of his designs. When the architect, Philip Webb, wrote commenting critically on the plain outline of a cabinet, Gimson replied:

‘It is astonishing how my joiners grumble when they are asked to make a projecting top with the mortice and tenon construction or slip dovetail construction (dowels are not allowed). The cabinet we are talking about was originally drawn with four posts tenonned onto a thick projecting top but my good foreman would take no pleasure in it till I had changed it to its present bald outline.’

 

Harry Davoll who joined Gimson’s workforce in November 1901 appreciated the fact that Gimson always gave credit to his craftsmen. Ernest Smith, another of the cabinet-makers, had begun his working life in London making wardrobes on piece rate. He was used to making furniture for the trade as cheaply and quickly as possible. He subsequently recalled answering Gimson’s advertisement for cabinet-makers in 1902 and the shock of being told to take his time and do things properly. This altered his whole approach to furniture making.