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JC-Catalogue-Cabinetry.Pdf
jonathan charles fine furniture • cabinetry & beds catalogue • volume 1 volume • furniture fine cabinetry • & beds catalogue jonathan charles USA & CANADA 516 Paul Street, P.O. Box 672 Rocky Mount, NC.27802, United States t 001-252-446-3266 f 001-252-977-6669 [email protected] HIGH POINT SHOWROOM chests of drawers • bookcases, bookshelves & étagères • cabinets • beds 200 North Hamilton Building 350 Fred Alexander Place High Point, NC.27260, United States t 001-336-889-6401 UK & EUROPE Unit 6c, Shortwood Business Park Dearne Valley Park Way, Hoyland South Yorkshire, S74 9LH, United Kingdom t +44 (0)1226 741 811 & f +44 (0)1226 744 905 Cabinetry Beds [email protected] j o n a t h a n c h a r l e s . c o m printed in china It’s all in the detail... CABINETRY & BEDS JONATHAN CHARLES CABINETRY & BEDS CATALOGUE VOL.1 CHESTS OF DRAWERS 07 - 46 BOOKCASES, BOOKSHELVES... 47 - 68 CABINETS 69 - 155 BEDS 156 - 164 JONATHANCHARLES.COM CABINETRY & BEDS Jonathan Charles Fine Furniture is recognised as a top designer and manufacturer of classic and period style furniture. With English and French historical designs as its starting point, the company not only creates faithful reproductions of antiques, but also uses its wealth of experience to create exceptional new furniture collections – all incorporating a repertoire of time- honoured skills and techniques that the artisans at Jonathan Charles have learned to perfect. Jonathan Charles Fine Furniture was established by Englishman Jonathan Sowter, who is both a trained cabinet maker and teacher. Still deeply involved in the design of the furniture, as well as the direction of the business, Jonathan oversees a skilled team of managers and craftspeople who make fine furniture for discerning customers around the world. -
The Furnishing of the Neues Schlob Pappenheim
The Furnishing of the Neues SchloB Pappenheim By Julie Grafin von und zu Egloffstein [Master of Philosophy Faculty of Arts University of Glasgow] Christie’s Education London Master’s Programme October 2001 © Julie Grafin v. u. zu Egloffstein ProQuest Number: 13818852 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818852 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 l a s g o w \ £5 OG Abstract The Neues SchloB in Pappenheim commissioned by Carl Theodor Pappenheim is probably one of the finest examples of neo-classical interior design in Germany retaining a large amount of original furniture. Through his commissions he did not only build a house and furnish it, but also erected a monument of the history of his family. By comparing parts of the furnishing of the Neues SchloB with contemporary objects which are partly in the house it is evident that the majority of these are influenced by the Empire style. Although this era is known under the name Biedermeier, its source of style and decoration is clearly Empire. -
The English Claim to Gothic: Contemporary Approaches to an Age-Old Debate (Under the Direction of DR STEFAAN VAN LIEFFERINGE)
ABSTRACT MARY ELIZABETH BLUME The English Claim to Gothic: Contemporary Approaches to an Age-Old Debate (Under the Direction of DR STEFAAN VAN LIEFFERINGE) The Gothic Revival of the nineteenth century in Europe aroused a debate concerning the origin of a style already six centuries old. Besides the underlying quandary of how to define or identify “Gothic” structures, the Victorian revivalists fought vehemently over the national birthright of the style. Although Gothic has been traditionally acknowledged as having French origins, English revivalists insisted on the autonomy of English Gothic as a distinct and independent style of architecture in origin and development. Surprisingly, nearly two centuries later, the debate over Gothic’s nationality persists, though the nationalistic tug-of-war has given way to the more scholarly contest to uncover the style’s authentic origins. Traditionally, scholarship took structural or formal approaches, which struggled to classify structures into rigidly defined periods of formal development. As the Gothic style did not develop in such a cleanly linear fashion, this practice of retrospective labeling took a second place to cultural approaches that consider the Gothic style as a material manifestation of an overarching conscious Gothic cultural movement. Nevertheless, scholars still frequently look to the Isle-de-France when discussing Gothic’s formal and cultural beginnings. Gothic historians have entered a period of reflection upon the field’s historiography, questioning methodological paradigms. This -
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14_464333_bindex.qxd 10/13/05 2:09 PM Page 429 Index Abacus, 12, 29 Architectura, 130 Balustrades, 141 Sheraton, 331–332 Abbots Palace, 336 Architectural standards, 334 Baroque, 164 Victorian, 407–408 Académie de France, 284 Architectural style, 58 iron, 208 William and Mary, 220–221 Académie des Beaux-Arts, 334 Architectural treatises, Banquet, 132 Beeswax, use of, 8 Academy of Architecture Renaissance, 91–92 Banqueting House, 130 Bélanger, François-Joseph, 335, (France), 172, 283, 305, Architecture. See also Interior Barbet, Jean, 180, 205 337, 339, 343 384 architecture Baroque style, 152–153 Belton, 206 Academy of Fine Arts, 334 Egyptian, 3–8 characteristics of, 253 Belvoir Castle, 398 Act of Settlement, 247 Greek, 28–32 Barrel vault ceilings, 104, 176 Benches, Medieval, 85, 87 Adam, James, 305 interior, viii Bar tracery, 78 Beningbrough Hall, 196–198, Adam, John, 318 Neoclassic, 285 Bauhaus, 393 202, 205–206 Adam, Robert, viii, 196, 278, relationship to furniture Beam ceilings Bérain, Jean, 205, 226–227, 285, 304–305, 307, design, 83 Egyptian, 12–13 246 315–316, 321, 332 Renaissance, 91–92 Beamed ceilings Bergère, 240, 298 Adam furniture, 322–324 Architecture (de Vriese), 133 Baroque, 182 Bernini, Gianlorenzo, 155 Aedicular arrangements, 58 Architecture françoise (Blondel), Egyptian, 12-13 Bienséance, 244 Aeolians, 26–27 284 Renaissance, 104, 121, 133 Bishop’s Palace, 71 Age of Enlightenment, 283 Architrave-cornice, 260 Beams Black, Adam, 329 Age of Walnut, 210 Architrave moldings, 260 exposed, 81 Blenheim Palace, 197, 206 Aisle construction, Medieval, 73 Architraves, 29, 205 Medieval, 73, 75 Blicking Hall, 138–139 Akroter, 357 Arcuated construction, 46 Beard, Geoffrey, 206 Blind tracery, 84 Alae, 48 Armchairs. -
Excavations of Aztec Urban Houses at Yautepec, Mexico
- - EXCAVATIONSOF AZTECURBAN HOUSES AT YAUTEPEC, MEXICO Michael E. Smith, CynthiaHeath-Smith, and Lisa Montiel Our recent excavations at the site of Yautepecin the Mexican state of Morelos have uncovered a large set of residential struc- turesfrom an Aztec city. Weexcavated seven houses with associated middens, as well as several middens without architecture. In this paper, we briefly review the excavations, describe each house, and summarizethe nature of construction materials and methods employed. Wecompare the Yautepechouses with other knownAztec houses and make some preliminary inferences on the relationship between house size and wealth at the site. En nuestras excavaciones recientes en el sitio de Yautepecen el estado mexicano de Morelos, encontramosun grupo grande de casas habitacionales en una ciudad azteca. Excavamos siete casas con sus basureros,tanto como otros basurerossin arquitec- tura. En este artfeulo revisamos las excavaciones, decribimos cada casa y discutimos los patrones de materiales y me'todosde construccion. Hacemos comparaciones entre las casas de Yautepecy otras casas aztecas, y presentamosalgunas conclusiones preliminaressobre la relacion entre el tamanode las casas y la riqueza. Most Aztec urban sites today lie buried Yautepec under modern towns, and, of those that still exist as intact archaeological sites, Socialand Economic Context most have been heavily plowed, causing the Yautepecwas thecapital of a powerfulcity-state, and destruction or heavy disturbance of residential its king ruled over severalsubject city-states in the structures(Smith 1996). Intensive surface collec- YautepecRiver Valley of central Morelos (Smith tions can provide important information about 1994). This area,separated from the Valleyof Mex- social and economic patternsat these plowed sites ico to the northby theAjusco Mountains(Figure 1), (e.g., Brumfiel 1996; Charlton et al. -
69. Il Novecento (15)
Blitz nell’arte figurativa 69. Il Novecento (15) Il linguaggio figurativo trovò maggiore spazio nell’Espressionismo, opponendosi al Dada che tanta parte ebbe, e ha tuttora, nell’arte moderna, soprattutto in versione Surrealista. Però, la figurazione adattata ai nuovi concetti si caricò di una responsabilità che appare superiore a quella dei tardi dadaisti. In particolare modo, gli Espressionisti moderni, attivi fra le due guerre mondiali e maggiormente dopo la Seconda, cercarono punti di riferimento precisi, sconosciuti ai cultori dell’onirismo. Questi ultimi hanno avuto, e hanno ancora, il pregio di presentare varie suggestioni e dunque varie possibilità di aprirsi a un reale privo di finalismo e di determinismo. La relatività delle cose non è un vicolo cieco, bensì la chance di aprire nuovi orizzonti. Come rovescio della medaglia, abbiamo spesso una sorta di resa a questo programma che, infatti, diventa un manierismo destinato all’inefficienza. Il linguaggio figurativo tradizionale è invece costretto a cercare punti di appoggio e, insieme a una specie di possibile chiusura, esso offre visioni che richiedono profonde riflessioni: magari banali anche nella consistenza, talvolta però più incisive e prolifiche di quanto costatabile e ipotizzabile. Si dimostra che la manipolazione della figura, fatta non a caso, fatta cioè non seguendo il mito del gesto, può arricchire la dinamicità dell’alfabeto usato dalle arti figurative dalla notte dei tempi. A questo punto, ispirazione Dada e rigore analitico perseguito con mezzi classici, trovano contatti, pur se solo raramente riescono a condizionarsi a vicenda. La finalità è la conoscenza possibile e probabile. Si tratta di una conoscenza nuova che chiama in causa l’intera personalità umana scaturita da esperienze pratiche, molto avanzate rispetto al passato, e da interrogativi sentimentali eterni che ora reclamano una risposta: talvolta, negli animi più sensibili e attenti, in modo disperato, per quanto mascherato da una sicurezza formale o semplicemente esecutiva. -
Italian Painting in Between the Wars at MAC USP
MODERNIDADE LATINA Os Italianos e os Centros do Modernismo Latino-americano Classicism, Realism, Avant-Garde: Italian Painting In Between The Wars At MAC USP Ana Gonçalves Magalhães This paper is an extended version of that1 presented during the seminar in April 2013 and aims to reevaluate certain points considered fundamental to the research conducted up to the moment on the highly significant collection of Italian painting from the 1920s/40s at MAC USP. First of all, we shall search to contextualize the relations between Italy and Brazil during the modernist period. Secondly, we will reassess the place Italian modern art occupied on the interna- tional scene between the wars and immediately after the World War II —when the collection in question was formed. Lastly, we will reconsider the works assem- bled by São Paulo’s first museum of modern art (which now belong to MAC USP). With this research we have taken up anew a front begun by the museum’s first director, Walter Zanini, who went on to publish the first systematic study on Brazilian art during the 1930s and 40s, in which he sought to draw out this relationship with the Italian artistic milieu. His book, published in 1993, came out at a time when Brazilian art historiography was in the middle of some important studies on modernism in Brazil and its relationship with the Italian artistic milieu, works such as Annateresa Fabris’ 1994 Futurismo Paulista, on how Futurism was received in Brazil, and Tadeu Chiarelli’s first articles on the relationship between the Italian Novecento and the São Paulo painters. -
Flying Buttresses • Openings and Spans • Bar Tracery and Linear Elements • Large Scale Construction and Transmission of Knowledge
HA2 Autumn 2005 Gothic Architecture: design and history Outline • Main design issues and innovations • Structural outline • Chronological development • Classical styles (France) • Outside the canon • Gothic in the UK • Case study: Burgos Cathedral Gothic Architecture: design and history 2 Gothic Architecture: design and history Dimitris Theodossopoulos 1 HA2 Autumn 2005 Main design issues • Definition – a sharp change from Romanesque? (St Denis 1130) • Major elements pre-existing (ribs and shafts, pointed arches, cross vaults) • Composition and scale • Light and height • Role of patrons (royal vs. secular foundations) and cathedral buildings • Strong technological input • European regional characteristics • Decline: decorative character and historical reasons Gothic Architecture: design and history 3 Main design issues Gothic Architecture: design and history 4 Gothic Architecture: design and history Dimitris Theodossopoulos 2 HA2 Autumn 2005 Technological innovations • Dynamic composition • Dynamic equilibrium • Linearity – origin in Norman timber technology? • Role of the ribs (and shafts) • Spatial flexibility of cross vaults – use of pointed arch • Flying buttresses • Openings and spans • Bar tracery and linear elements • Large scale construction and transmission of knowledge Gothic Architecture: design and history 5 The role of geometry Gothic Architecture: design and history 6 Gothic Architecture: design and history Dimitris Theodossopoulos 3 HA2 Autumn 2005 Light Contrast Durham Cathedral (1093-1133) and Sainte Chapelle in Paris -
Export / Import: the Promotion of Contemporary Italian Art in the United States, 1935–1969
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2016 Export / Import: The Promotion of Contemporary Italian Art in the United States, 1935–1969 Raffaele Bedarida Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/736 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] EXPORT / IMPORT: THE PROMOTION OF CONTEMPORARY ITALIAN ART IN THE UNITED STATES, 1935-1969 by RAFFAELE BEDARIDA A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2016 © 2016 RAFFAELE BEDARIDA All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the Dissertation requirement for the degree of Doctor of Philosophy ___________________________________________________________ Date Professor Emily Braun Chair of Examining Committee ___________________________________________________________ Date Professor Rachel Kousser Executive Officer ________________________________ Professor Romy Golan ________________________________ Professor Antonella Pelizzari ________________________________ Professor Lucia Re THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT EXPORT / IMPORT: THE PROMOTION OF CONTEMPORARY ITALIAN ART IN THE UNITED STATES, 1935-1969 by Raffaele Bedarida Advisor: Professor Emily Braun Export / Import examines the exportation of contemporary Italian art to the United States from 1935 to 1969 and how it refashioned Italian national identity in the process. -
One Or Several Rationalisms
One or Several Rationalisms DAVID RlFKlND Columbia University In the Jvears between the two world wars. Italian archtects. critics (Architettura, Casabella, Quadrante, Dedalo, etc.). Such classification, and historians vigorously debated the proper role and form of however, is misleadmg.The major polemical figures of this period often architecture.The stakes in these debates were hgh -polemicists from found themselves collaborating with the same people whom they had, all camps saw architecture as part of a broader project of cultural renewal or would later, criticize strongly. A prime example is Pagano's and tied to the political program of fascism, and argued that archtecture Piacentini's work together at the City University and E'42 .Though the must represent the goals and values of the fascist regime. As such, they former's functionalist modernism and the latter's stylized neoclassicism addressed the issues of modernization, technology, functionalism and seem incomoatible.I both architects shared an exoressedI interest in structural expression raised by international modernism alongside developing an appropriate architectural expression of Italianitri. soecificallv Italian concerns. such as the tradition of classicism and i Eventually, however, Pagano would join the attack on Piacentini's architecture's relationship to the urban fabric. persistent use of classical ornament .2 Ths paper is part of my ongoing dssertation research into the role To some degree the level of collaboration in interwar Italv was also 0 J of the magazine Quadrante, one of the key vehicles of interwar Italian the result of a pragmatism among its architects, who were practitioners architectural discourse, and its relationship to other journals, such as as well as theorists, and thus found compromise a neccesary step toward Casabella. -
Theodore Roosevelt Middle School), in Assessor's Parcel Block No. 1061, Lot No
FILE NO. 180003 ORDINANCE NO. 37-19 1 [Planning Code - Landmark Designation - 460 Arguello Boulevard (aka Theodore Roosevelt Middle School)] 2 3 Ordinance amending the Planning Code to designate 460 Arguello Boulevard (aka 4 Theodore Roosevelt Middle School), in Assessor's Parcel Block No. 1061, Lot No. 049, 5 as a Landmark under Article 10 of the Planning Code; affirming the Planning 6 Department's determination under the California Environmental Quality Act; and 7 making public necessity, convenience, and welfare findings under Planning Code, 8 Section 302, and findings of consistency with the General Plan, and the eight priority 9 policies of Planning Code, Section 101.1. 10 NOTE: Unchanged Code text and uncodified text are in plain Ariai font. Additions to Codes are in single-underline italics Times New Roman font. 11 Deletions to Codes are in strikf!through italics Times New Roman font. Board amendment additions are in double-underlined Arial font. 12 Board amendment deletions are in strikethrough Arial font. Asterisks (* * * *) indicate the omission of unchanged Code 13 subsections or parts of tables. 14 15 Be it ordained by the People of the City and County of San Francisco: 16 Section 1. Findings. 17 (a) CEQA and Land Use Findings. 18 (1) The Planning Department has determined that the proposed Planning Code 19 amendment is subject to a Categorical Exemption from the California Environmental Quality 20 Act (California Public Resources Code section 21000 et seq., "CEQA") pursuant to Section 21 15308 of the Guidelines for implementation of the statute for actions by regulatory agencies 22 for protection of the environment (in this case, landmark designation). -
AZTEC ARCHITECTURE -Part 1 by MANUEL AGUILAR-MORENO, Ph.D
AZTEC ARCHITECTURE -Part 1 by MANUEL AGUILAR-MORENO, Ph.D. PHOTOGRAPHY: FERNANDO GONZLEZ Y GONZLEZ AND MANUEL AGUILAR-MORENO, Ph.D. DRAWINGS: LLUVIA ARRAS, FONDA PORTALES, ANNELYS PÉREZ, RICHARD PERRY AND MARIA RAMOS. TABLE OF CONTENTS INTRODUCTION Symb lism TYPES OF ARCHITECTURE General C nstructi n f Pyramid-Temples Temples Types f pyramids R und Pyramids T,in Stair Pyramids Shrines -Ad rat ri s) Early Capital Cities City-State Capitals Ballc urts A.ueducts and Dams Mar/ets Gardens BUILDING MATERIALS AND TECHNI0UES THE PRECINCT OF TENOCHTITLAN Intr ducti n Urbanism Cerem nial Pla1a -Interi r f the Sacred Precinct2 The Great Temple Myths Symb li1ed in the Great Temple C nstructi n Stages F und in the Archae l gical E4cavati ns f the Great Temple C nstructi n Phase I C nstructi n Phase II C nstructi n Phase III C nstructi n Phase I6 C nstructi n Phase 6 C nstructi n Phase 6I C nstructi n Phase 6II Emper r7s Palaces H mes f the Inhabitants Chinampas Ballc urts Temple utside the Sacred Precinct OTHER CITIES Tenayuca The Pyramid 8all f Serpents T mb-Altar Sta. Cecilia Acatitlan The Pyramid Te pan1 lc Tlatel lc The Temple f the Calendar Temple f Ehecatl-0uet1alc atl Sacred 8ell Priests7 Residency The Mar/etplace Tet1c t1inc Civic M numents Shrines Hue4 tla The 8all La C munidad -The C mmunity2 La Estancia -The Hacienda2 Santa Maria Gr up San Marc s Santiag The Ehecatl- 0uet1alc atl Building Tep 1tlan The Pyramid-Temple f Tep 1tlan Cali4tlahuaca Temple f Ehecatl-0uet1alc atl The Tlal c Cluster The Calmecac Gr up Ballc urt C atetelc Malinalc Temple I -Cuauhcalli2 9 Temple f the Eagle and :aguar Knights Temple II Temple III Temple I6 Temple 6 Temple 6I Figures Bibli graphy INTRODUCTION Az ec archi ec ure reflec s he values and civiliza ion of an e.pire, and s ud0in1 Az ec archi ec ure is ins ru.en al in unders andin1 he his or0 of he Az ecs, includin1 heir .i1ra ion across Me2ico and heir re-enac .en of reli1ious ri uals.