Bonhams 1793 : Period Design
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Discover the Styles and Techniques of French Master Carvers and Gilders
LOUIS STYLE rench rames F 1610–1792F SEPTEMBER 15, 2015–JANUARY 3, 2016 What makes a frame French? Discover the styles and techniques of French master carvers and gilders. This magnificent frame, a work of art in its own right, weighing 297 pounds, exemplifies French style under Louis XV (reigned 1723–1774). Fashioned by an unknown designer, perhaps after designs by Juste-Aurèle Meissonnier (French, 1695–1750), and several specialist craftsmen in Paris about 1740, it was commissioned by Gabriel Bernard de Rieux, a powerful French legal official, to accentuate his exceptionally large pastel portrait and its heavy sheet of protective glass. On this grand scale, the sweeping contours and luxuriously carved ornaments in the corners and at the center of each side achieve the thrilling effect of sculpture. At the top, a spectacular cartouche between festoons of flowers surmounted by a plume of foliage contains attributes symbolizing the fair judgment of the sitter: justice (represented by a scale and a book of laws) and prudence (a snake and a mirror). PA.205 The J. Paul Getty Museum © 2015 J. Paul Getty Trust LOUIS STYLE rench rames F 1610–1792F Frames are essential to the presentation of paintings. They protect the image and permit its attachment to the wall. Through the powerful combination of form and finish, frames profoundly enhance (or detract) from a painting’s visual impact. The early 1600s through the 1700s was a golden age for frame making in Paris during which functional surrounds for paintings became expressions of artistry, innovation, taste, and wealth. The primary stylistic trendsetter was the sovereign, whose desire for increas- ingly opulent forms of display spurred the creative Fig. -
State Historic Preservation Officer Certification the Evaluated Significance of This Property Within the State Is
Form No. 10-300 REV. (9/77) UNITED STATES DEPARTMENT OF THE INTERIOR NATIONAL PARK SERVICE NATIONAL REGISTER OF HISTORIC PLACES INVENTORY -- NOMINATION FORM SEE INSTRUCTIONS IN HOW TO COMPLETE NATIONAL REGISTER FORMS ___________TYPE ALL ENTRIES - COMPLETE APPLICABLE SECTIONS______ NAME HISTORIC Louisville Free Public Library AND/OR COMMON Louisville Free public Library LOCATION STREET&NUMBER 301 West York Street _NOT FOR PUBLICATION CITY, TOWN " . , " , CONGRESSIONAL DISTRICT Louisville . .VICINITY OF 3&4 STATE CODE COUNTY CODE Kentucky 021 llMll.'Jeff«r5»rvn 111 HCLASSIFICATION CATEGORY OWNERSHIP STATUS PRESENT USE _DISTRICT -XPUBLIC X.OCCUPIED _ AGRICULTURE —MUSEUM ^BUILDING(S) —PRIVATE —UNOCCUPIED —COMMERCIAL —PARK —STRUCTURE —BOTH —WORK IN PROGRESS .^EDUCATIONAL —PRIVATE RESIDENCE —SITE PUBLIC ACQUISITION ACCESSIBLE —ENTERTAINMENT —RELIGIOUS —OBJECT _JN PROCESS J-YES: RESTRICTED —GOVERNMENT —SCIENTIFIC —BEING CONSIDERED .X-YES: UNRESTRICTED —INDUSTRIAL -^TRANSPORTATION —NO —MILITARY —OTHER: OWNER OF PROPERTY NAME Louisville Free Public Library Board STREET & NUMBER 301 West York Street STATE CITY, TOWN Louisville VICINITY OF Kentucky 40203 LOCATION OF LEGAL DESCRIPTION COURTHOUSE, » REGISTRY OF DEEDS; ETC. Jefferson County Courthouse STREET & NUMBER 517 West Jefferson Street CITY, TOWN STATE Louisville Kentucky 40203 TITLE Kentucky Survey of Historic Sites DATE 1978 —FEDERAL <LsTATE —COUNTY —LOCAL DEPOSITORY FOR SURVEY RECORDS Kentucky Heritage Commission CITY, TOWN Frankfort, Kentucky STATE DESCRIPTION CONDITION CHECK ONE CHECK ONE -
The Arts of Early Twentieth Century Dining Rooms: Arts and Crafts
THE ARTS OF EARLY TWENTIETH CENTURY DINING ROOMS: ARTS AND CRAFTS, ART NOUVEAU, AND ART DECO by SUE-ANNA ELIZA DOWDY (Under the Direction of John C. Waters) ABSTRACT Within the preservation community, little is done to preserve the interiors of historic buildings. While many individuals are concerned with preserving our historic resources, they fail to look beyond the obvious—the exteriors of buildings. If efforts are not made to preserve interiors as well as exteriors, then many important resources will be lost. This thesis serves as a catalog of how to recreate and preserve an historic dining room of the early twentieth century in the Arts and Crafts, Art Nouveau, and Art Deco styles. INDEX WORDS: Arts and Crafts, Art Nouveau, Art Deco, Dining Room, Dining Table, Dining Chair, Sideboard, China Cabinet, Cocktail Cabinet, Glass, Ceramics, Pottery, Silver, Metalworking, Textiles, Lighting, Historic Preservation, Interior Design, Interior Decoration, House Museum THE ARTS OF EARLY TWENTIETH CENTURY DINING ROOMS: ARTS AND CRAFTS, ART NOUVEAU, AND ART DECO by SUE-ANNA ELIZA DOWDY B.S.F.C.S, The University of Georgia, 2003 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF HISTORIC PRESERVATION ATHENS, GEORGIA 2005 © 2005 Sue-anna Eliza Dowdy All Rights Reserved THE ARTS OF EARLY TWENTIETH CENTURY DINING ROOMS: ARTS AND CRAFTS, ART NOUVEAU, AND ART DECO by SUE-ANNA ELIZA DOWDY Major Professor: John C. Waters Committee: Wayde Brown Karen Leonas Melanie Couch Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May, 2005 DEDICATION To My Mother. -
Introduction
1 INTRODUCTION “It is not the strongest of the species that survives, nor the most intelligent that survives. It is the one that is the most adaptable to change.” Charles Darwin. This study is a retelling of a story of mistaken identity that has persisted in the annals of decorative arts for almost a century. The subjects are three examples of exceptional curvilinear chairs made out of exotic wood and forged in the great change and cultural upheaval in the first third of the nineteenth century in the United States. The form of these chairs has been assumed to belong to a later generation, but the analysis in the pages that follow attempt to restore their birthright as an earlier transitional step in the evolution of American furniture. These three curvilinear chairs – significantly different in design from earlier nineteenth-century forms – are remarkable as they exemplify how exquisite the curvilinear form could be in its early stages. Despite the fact that these chairs are an important link in furniture history, they have not been fully appreciated by either scholars or connoisseurs. Although there were many curvilinear chairs produced in the period, this study will focus on three remarkably similar examples: The Metropolitan Museum of Art’s side chair (68.202.1); the Merchant’s House Museum’s twelve side chairs (2002.2012.1-12); and, finally a set of sixteen owned by a descendent of the New York cabinetmaker Duncan Phyfe (Cat. 46 in An Elegant Assortment: The Furniture of Duncan Phyfe and His Contemporaries, 1800-1840).1 It has been suggested this set was 1 The Metropolitan Museum of Art’s curvilinear side chair (68.202.1) is described on website: “As craftsmen transitioned from the Early to the Late Grecian style (the latter is also referred to as the Grecian Plain Style), they began to incorporate more curvilinear shapes and new 2 made by Duncan Phyfe for his daughter Eliza Phyfe Vail. -
Antique English Empire Console Writing Side Table 19Th C
anticSwiss 02/10/2021 08:28:16 http://www.anticswiss.com Antique English Empire Console Writing Side Table 19th C FOR SALE ANTIQUE DEALER Period: 19° secolo - 1800 Regent Antiques London Style: Altri stili +44 2088099605 447836294074 Height:73cm Width:60cm Depth:40cm Price:2250€ DETAILED DESCRIPTION: This is a beautiful small antique English Empire Gonçalo Alves console with integral writing slide and pen drawer, circa 1820 in date. This dual purpose table has a drawer above a pair of elegant tapering columns with gilded mounts to the top and bottom, behind them is a pair of rectangular columns framing a framed fabric slide that lifts up when required. This screen serves as a modesty / privacy screen. This piece has a single drawer with a writing slide with its original olive green leather writing surface over a pen drawer that can be pulled out from the side of the drawer whilst the writing surface is in use. This gorgeous console table will instantly enhance the style of one special room in your home and is sure to receive the maximum amount of attention wherever it is placed. Condition: In excellent condition having been beautifully restored in our workshops, please see photos for confirmation. Dimensions in cm: Height 73 x Width 60 x Depth 40 Dimensions in inches: Height 28.7 x Width 23.6 x Depth 15.7 Empire style, is an early-19th-century design movement in architecture, furniture, other decorative arts, and the visual arts followed in Europe and America until around 1830. 1 / 3 anticSwiss 02/10/2021 08:28:16 http://www.anticswiss.com The style originated in and takes its name from the rule of Napoleon I in the First French Empire, where it was intended to idealize Napoleon's leadership and the French state. -
Ze Studiów Nad Recepcją Problemów Architektury Między Neoklasycyzmem I Historyzmem W Sztuce Krajów Nordyckich XIX Wieku
NAUKA SCIENCE Zdzisława i Tomasz Tołłoczko* Ze studiów nad recepcją problemów architektury między neoklasycyzmem i historyzmem w sztuce krajów nordyckich XIX wieku The studies on reception of architectural problems between neoclassicism and historicism in the art of Nordic countries in the 19th century Słowa kluczowe: Dania, Norwegia, Szwecja, Finlandia, Key words: Denmark, Norway, Sweden, Finland, historia architektury i urbanistyki, klasycyzm, empire, history of architecture and urban design, classicism, narodowy romantyzm, neogotyk, neorenesans, neobarok, empire, national romanticism, neo-Gothic, styl ok. 1900 neo-Renaissance, neo-Baroque, style around 1900 Rozwój architektury w Skandynawii w dziewiętnastym The development of architecture in Scandinavia in the stuleciu przebiegał w ogólnym zarysie podobnie jak w innych nineteenth century in general outline followed the same course państwach europejskich, atoli w krajach nordyckich neoklasy- as in other European countries, however in the Nordic coun- cyzm był na tym obszarze szczególnie stylem preferowanym. tries neoclassicism was the particularly preferred style. Political Polityczne przemiany, które wstrząsnęły fundamentami ancien changes which shook the foundations of ancien régime in the régime’u w czasie efemerycznego cesarstwa zbudowanego przez times of the ephemeral empire built by Emperor Napoleon I, cesarza Napoleona I, miały marginalne znaczenie dla rozwoju were of marginal signifi cance to the development of art in the sztuki na obszarze Danii, Szwecji i Norwegii. Pozostawała territories of Denmark, Sweden and Norway. Scandinavia re- przeto Skandynawia poza głównym obszarem teatru wojen na- mained outside the main theatre of Napoleonic wars, although poleońskich, aczkolwiek owe brzemienne w skutkach polityczne those political events fraught with consequences did not com- wydarzenia nie ominęły również monarchii nordyckich. -
American Factory-Mad
INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality o f the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)” . I f it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image o f the page can be found in the adjacent frame. I f copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. I f necessary, sectioning is continued again-beginning below the first row and continuing on until complete. -
Sacred Places Europe: 108 Destinations
Reviews from Sacred Places Around the World “… the ruins, mountains, sanctuaries, lost cities, and pilgrimage routes held sacred around the world.” (Book Passage 1/2000) “For each site, Brad Olsen provides historical background, a description of the site and its special features, and directions for getting there.” (Theology Digest Summer, 2000) “(Readers) will thrill to the wonderful history and the vibrations of the world’s sacred healing places.” (East & West 2/2000) “Sites that emanate the energy of sacred spots.” (The Sunday Times 1/2000) “Sacred sites (to) the ruins, sanctuaries, mountains, lost cities, temples, and pilgrimage routes of ancient civilizations.” (San Francisco Chronicle 1/2000) “Many sacred places are now bustling tourist and pilgrimage desti- nations. But no crowd or souvenir shop can stand in the way of a traveler with great intentions and zero expectations.” (Spirituality & Health Summer, 2000) “Unleash your imagination by going on a mystical journey. Brad Olsen gives his take on some of the most amazing and unexplained spots on the globe — including the underwater ruins of Bimini, which seems to point the way to the Lost City of Atlantis. You can choose to take an armchair pilgrimage (the book is a fascinating read) or follow his tips on how to travel to these powerful sites yourself.” (Mode 7/2000) “Should you be inspired to make a pilgrimage of your own, you might want to pick up a copy of Brad Olsen’s guide to the world’s sacred places. Olsen’s marvelous drawings and mysterious maps enhance a package that is as bizarre as it is wonderfully acces- sible. -
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ART NOUVEAU AND THE RESISTANCE TO GERMANIZATION IN ALSACE-LORRAINE, CA. 1898-1914 Peter Clericuzio University of Pennsylvania Between August of 1870 and May of 1871, the French and the Germans fought each other in a conflict whose effects reverberated for the next fifty years. The Franco-Prussian War, sometimes known as the “war that split France and united Germany,”1 had its most long-lasting consequences in the region of Alsace-Lorraine (Fig. 1). Grudgingly handed over to the Germans by the French as one of the spoils of victory, Alsace-Lorraine became the focus of a complex cultural debate that continued at least until the end of World War II. Alsace-Lorraine was returned to France in 1919 (and—except for a brief re-annexation by the Nazis—has remained French territory ever since), but the legacy of its precarious geopolitical situation still can be seen today in the unique sets of laws, customs, and traditions that survive.2 In the decade and a half preceding World War I, the debate over the identity of Alsace- Lorraine and its ties to both France and Germany intensified with the appearance of the style known as Art Nouveau, particularly around the city of Nancy that was located barely thirty kilometres from the post-1871 border established by the Treaty of Frankfort. In Nancy, Art Nouveau became at once an emblem of defiance of the political reality that Alsace-Lorraine was now a German province and a rallying point for the hope that France might someday recapture these “lost provinces.” As the new rulers systematically began to physically and culturally rebuild Alsace-Lorraine after 1871 with a more recognizably German cultural character—bringing it in line with the rest of the Second Reich—many of the regionʼs residents resisted their efforts. -
A Pair of Neoclassical Style Porcelain Mounted Side Cabinets
Jules Piret A Pair of Neoclassical Style Porcelain Mounted Side Cabinets Circa: Circa 1855 110 x 63 x 42 cm (43¹/ x 24³/ inches) Mahogany Gilt-Bronze Porcelain France 1855 Stamped to the reverse of the bronze mounts to the doors ‘J Piret’. The back of each cabinet branded with ‘LPI’ below a crown for Louis-Philippe-Joseph II, Duc d'Orléans (1747-93). A Rare and Highly Important Pair of Neoclassical Style Gilt-Bronze and Biscuit Porcelain Mounted Mahogany Side Cabinets, by Jules Piret. French, circa 1860 incorporating 18th century elements. The porcelain plaques late 18th century. Stamped to the reverse of the bronze mounts to the doors ‘J Piret’. Stamped to the interior of one cabinet ‘J.H. RIESENER JME’. The back of each cabinet branded with ‘LPI’ below a crown for Louis-Philippe-Joseph II, Duc d'Orléans (1747-93). Each cabinet has a gilt-bronze three-quarter gallery and an inset grey marble top, above a cupboard door centred by a very fine biscuit porcelain plaque depicting a maiden with a vase of flowers against a pale blue reserve, set within finely cast gilt-bronze acanthus frames, the corners of the door mounted with flower head rosettes and the lock concealed by a thumb slide to the gilt-bronze encadrement; the uprights carved as fluted half columns adorned with gilt-bronze harebells and each cabinet raised on turned tapering legs headed by lotus cast mounts and terminating in whorl cast feet. This exceptional pair of cabinets epitomise the sophistication of furniture created in Paris during the mid-nineteenth century; the simpler neo-classical forms, that came to predominate during the Restoration, being enlivened with a refined ornamentation taken from the XVI period to achieve a successful aesthetic balance whilst affirming a positive continuity with the ancien regime. -
An Illustrated History of Interior Decoration from Pompeii to Art Nouveau
AN ILLUSTRATED HISTORY OF INTERIOR DECORATION FROM POMPEII TO ART NOUVEAU Mario Praz with 400 illustrations, 64 in colour Thames & Hudson TABLE OF CONTENTS Introduction 13 Notes to the Introduction 68 Illustrations and commentary 75 Greek and Roman Furnishings 76 The Medieval House 78 Late Medieval Interiors 82 Late Gothic Furniture 90 15th Century Italian Interiors 92 Interiors in the Paintings of Vittore Carpaccio 94 Interiors in Florentine Renaissance Painting 96 The Scholar's Cell 98 16th Century Interiors in the Engravings of van der Straet 106 17th Century Flemish Interiors in the Paintings of Frans Franken 108 Dutch Interiors in 17th Century Emblem Books 110 Opulent Flemish Interiors in the Paintings of van Bassen 114 Louis XIII Interiors in the Engravings of Abraham Bosse 118 Interiors in 17th Century Dutch Painting 122 Wanderkammern and Patrician Galleries 138 English Interiors of the 18th Century 147 Gothic Taste in 18th Century England 150 Louis XV Interiors: Innovations in Furniture and the Distribution of Apartments 152 The Classical Influence and the Development of the Louis XVI Style 160 An Interest in Humble Interiors and Precious Furniture 162 Early Neoclassical Interiors 170 Interiors by Percier and Fontaine: The Inspiration of Herculaneum 178 The Recueil of Percier and Fontaine: The "Bible of Empire Style" 180 Archeological Trends in England: Interiors and Furniture by Thomas Hope 186 Empire Interiors 188 TABLE OF CONTENTS Watercolor Interiors by Garnerey 193 Empire Interiors in Naples 198 From Empire to Biedermeier -
French Furniture Under Louis Xiv
UC-NRLF inni«^fctM»i-tHrtftrtrirtiii-tftrtrtfrrirtr»rtrtitfl THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA IN MEMORY OF Carl and Lucia Gr onraie LITTLE ILLUSTRATED BOOKS ON OLD FRENCH FURNITURE II. FRENCH FURNITURE UNDER LOUIS XIV Large Arm-chair covered in Wool Velvet (End of the Louis XIV style) LITTLE ILLUSTRATED BOOKS ON FRENCH FURNITURE II FRENCH FURNITURE UNDER LOUIS XIV BY ROGER DE FELICE Translated by F. M. ATKINSON ILLUSTRATED. NEW YORK FREDERICK A. STOKES COMPANY '^'/^^ , ? u4 eKJ\J\ Printed in Great Britain ' hi K- 5 b f'i> INTRODUCTION: SOME SETS OF FURNITURE UNDER m \/ LOUIS XIV The Louis XIV style is one that chance has en- dowed with a splendid name, Louis Ouatorze. Those sonorous, sumptuous syllables, as rich as the gold of the Gallery of Mirrors at Versailles, are they not in themselves completely expressive ? If the Louis XV style was to ex- press a whole society of voluptuous refinement, the Louis XIV style is verily the style of the King. It was to satisfy his taste, to express his mind, to titillate his pride and to proclaim his glory that Le Brun and Le Pautre devised their pompous decorations, that Perrault and Mansard marshalled their columns and raised their cupolas, that Le Nostre planted his alleys on lines meted out by stretched cords, that the Kellers founded bronze, that Domenico Cucci and Claude Ballin chased precious metals, that Andre-Charles Boulle cunningly wedded brass and tortoise shell with ebony in the Louvre, and at the Gobelins the lapidaries matched the stones of Florence, the cabinet-makers put together their ingenious cabinets, the silver- smiths made tables and pots for orange trees out of solid silver, the tapestry workers wove their enormous hangings stitch by stitch, while at vi INTRODUCTION Tourlaville the glass workers made mirrors larger and clearer than those of Venice, Whole volumes might be written on the Louis XV and Louis XVI styles without even a mention of the princes whose names they bear, but this would be quite impossible with the style we are about to discuss in this little book.