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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. -
How to Paint Black Furniture-A Dozen Examples of Exceptional Black Painted Furniture
How To Paint Black Furniture-A Dozen Examples Of Exceptional Black Painted Furniture frenchstyleauthority.com /archives/how-to-paint-black-furniture-a-dozen-examples-of-exceptional-black- painted-furniture Black furniture has been one of the most popular furniture paint colors in history, and a close second is white. Today, no other color comes close to these two basic colors which always seem to be a public favorite. No matter what the style is, black paint has been fashionable choice for French furniture,and also for primitive early American, regency and modern furniture. While the color of the furniture the same, the surrounds of these distinct styles are polar opposite requiring a different finish application. Early American furniture is often shown with distressing around the edges. Wear and tear is found surrounding the feet of the furniture, and commonly in the areas around the handles, and corners of the cabinets or commodes. It is common to see undertones of a different shade of paint. Red, burnt orange are common colors seen under furniture pieces. Furniture made from different woods, are often painted a color similar to wood color to disguise the fact that it was made from various woods. Paint during this time was quite thin, making it easily naturally distressed over time. – Black-painted Queen Anne Tilt-top Birdcage Tea Table $3,000 Connecticut, early 18th century, early surface of black paint over earlier red Joseph Spinale Furniture is one of the best examples to look at for painting ideas for early American furniture. This primitive farmhouse kitchen cupboard is heavily distressed with black paint. -
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. -
Phoenix Furniture Company Folios Collection 391
Finding aid for the Phoenix Furniture Company folios Collection 391 This finding aid was produced using ArchivesSpace on November 30, 2017. Describing Archives: A Content Standard Grand Rapids Public Library, Grand Rapids History and Special Collections Department 111 Library Street NE Grand Rapids, Michigan 49503 [email protected] URL: http://www.grpl.org Finding aid for the Phoenix Furniture Company folios Collection 391 Table of Contents Summary Information .................................................................................................................................... 3 Biographical / Historical ................................................................................................................................ 3 Scope and Contents ........................................................................................................................................ 4 Administrative Information ............................................................................................................................ 4 Controlled Access Headings .......................................................................................................................... 5 Collection Inventory ....................................................................................................................................... 5 - Page 2 - Finding aid for the Phoenix Furniture Company folios Collection 391 Summary Information Repository: Grand Rapids Public Library, Grand Rapids History and Special Collections -
Auctionwednesday
® WEDNESDAY AUCTION MARCH 8, 2017 ® AUCTION Wednesday, March 8, 2017 at 10am EXHIBITION ?? ????????? ??????????????????????????????? Saturday, March 4, 10am – 5pm Sunday, March 5, Noon – 5pm Monday, March 6, 10am – 6pm LOCATION Doyle 175 East 87th Street New York City 212-427-2730 www.Doyle.com www.Dwww.Doyle.com/BidLiveoyleNewYork.com/BidLive CATALOGUE $10 View the free, fully illustrated Internet catalogue and leave bids online at Doyle.com 6 9 PAINTINGS Attributed to Emile Bernard Theophile de Bock View of a Village Dutch, 1851-1904 1 Bears signature E. Bernard (ll) The Edge of a Wood William T. Aldrich Oil on board Signed Th. de bock (lr) INCLUDING PROPERTY FROM THE ESTATES OF CONTENTS American, 1880-1966 17 x 14 1/2 inches Oil on canvas (i) Architectural Rendering C 15 3/4 x 23 3/4 inches Elsie Adler Paintings 1 - 126 Signed William T. Aldrich $1,500-2,500 C The Eileen & Herbert C. Bernard Collection Prints 127 - 138 and dated Feb. 19, 1901 (lr) $2,000-3,000 Donald Brenwasser Furniture & Decorations 139 - 361 Graphite, ink, ink wash 7 and watercolor on paper Theresa Ferber Bernstein 10 Roberta K. Cohn & Richard A. Cohn, Ltd Chandeliers & Lighting 362 - 372 18 1/8 x 14 1/4 inches American, 1890-2002 Frank Myers Boggs Nan Rosenthal and Henry B. Cortesi Furniture & Decorations 373 - 397 (ii) Architectural Rendering for Park Monument Venice American/French, 1855-1926 The Nelson Doubleday, Jr. Collection Silver & Silver Plate 398 - 433 Signed William T. Aldrich (lr) Signed Bernstein (lr) Group of Three Studies of Boats, circa 1887 Graphite, ink, ink wash Oil on panel Each signed Boggs and inscribed Havre (lr), Julian C. -
Elements of Style in Furniture and Woodwork, Being a Series of Details
n »-•' »'- "f;'y,'- »',. 'i'^y'»"^'''f^/» i v ^^^i..J .tit.^^ ''^;^ai. ELEMENTS OF STYLE IN By ROBERT BROOK. Digitized by the Internet Archive in 2011 with funding from University of Toronto http://www.archive.org/details/elementsofstyleiOObroo £%«ta«»<W- 0iid 1^^ 1889 ¥/i c#o <€nnj ELEMENTS OF STYLE IN FURNITURE AND Miauv WOODWORK. ^^/;/^ ^ SERIES of DETAILS of the Italian, German Renaissance, Eliza- bethan, Lottis XlVth, Louis XVth, Louis XVIth^ Sheraton, Adams, Em- pire, Chinese, Japanese, and Moresque Styles, carefully dra'u.'n from the best ^K^ examples, for the use of Architects, Furniture Designers, Cabinet Makers, C-** and others. 33: «-t{« -'-T=>fe BY Robert Brook. u:j. PUBLISHED BY THE AUTHOR AT 15, Fitzroy Street, Fitzroy Square, LONDON, W. w'*'^^tKffitm*3tV£'m'i \ ;-y->^ Im<. IVyman ir' Sons, Printers, t¥^ Great Queen Si., London, W.C. ^^-^N, >^ xJSnj^V^ PRE FA CE. LTHOUGH many books have been published with a view of illustrating various phases of Art manufacture, I am not acquainted with an}' work which presents in a concise form the characteristic details of the different styles of domestic furniture. Feeling myself, the want of such an easily accessible hand-book, and believing that it will be equally useful to many others, both designers and manufacturers, I have endeavoured in the following series of sketches, in some measure to supply the deficiency. It is, of course, impossible in a work of moderate dimensions, to give more than a selection from each period. I have, therefore, only chosen those examples which I have thought to be typical or suggestive, and likely to be of practical value to designers, avoiding any which possess only an antiquarian interest. -
Items-Styles-Periods and Names of French Furniture We Are Looking to Buy at Sarasota Antique Buyers
Items-Styles-Periods and Names of French Furniture we are looking to buy at Sarasota Antique Buyers 19 TH CENTURY SCULPTURE ANTIQUE BRASS FIGURES ANTIQUE FRENCH BAKERS RACK ANTIQUE FRENCH COMMODE ANTIQUE FRENCH DESKS BERGERE FAUTEUIL BERGERE LOUIS XV BERGERE LOUIS XVI BLACK MARBLE MANTEL BRONZE DESK BRONZE ORMOLU BUREAU A CYLINDRE BUREAU LOUIS 16 BUREAU PLAT BUREAU PLAT DESK BUREAU PLAT LOUIS XV BUREAU PLAT LOUIS XVI BUREAU STYLE LOUIS PHILIPPE CABRIOLET LOUIS XVI CANAPÉ STYLE LOUIS XVI CANDELABRA WALL LIGHTS CHAISE LOUIS XVI CHAISE STYLE LOUIS XVI CHAISE STYLE LOUIS XVI CHANDELIER LOUIS XV CONSOLE LOUIS 15 DESK ACCESSORIES FAUTEUIL FAUTEUIL BERGERE FAUTEUIL BOUDOIR FAUTEUIL CABRIOLET FAUTEUIL CABRIOLET LOUIS XVI FAUTEUIL LOUIS 14 FAUTEUIL LOUIS 15 FAUTEUIL LOUIS XIII FAUTEUIL LOUIS XVI FAUTEUIL NOIR FAUTEUIL VINTAGE FINE FRENCH FURNITURE FRANÇOIS LINKE FRENCH ANTIQUE DESKS FRENCH BAROQUE FURNITURE FRENCH CHAIRS FRENCH ORMOLU DESK FRENCH DESKS FRENCH DRESSING TABLE FRENCH INKWELLS FRENCH LOUIS STYLE FURNITURE FRENCH MIRRORS ANTIQUE FRENCH ORMOLU FRENCH ORMOLU MANTEL CLOCK FRENCH PERIOD FURNITURE FRENCH SETTEE FRENCH SOFA FRENCH VITRINE CABINET FURNITURE LOUIS XVI GILTWOOD MIRRORS GOLD ORMOLU GUERIDON NAPOLEON 3 GUERIDON NAPOLEON III LOUIS 1V FURNITURE LOUIS DESK LOUIS QUINZE CHAIR LOUIS STYLE MIRROR LOUIS XIV FURNITURE LOUIS XV BUREAU PLAT LOUIS XV CHANDELIER LOUIS XVI CHAIRS LOUIS XVI CHANDELIER LOUIS XVI FURNITURE LOUIS XVI MANTEL CLOCK LOUIS XVI MIRROR LOUIS XVI SIDE TABLE LOUIS XVI WRITING DESK MEUBLE LOUIS XVI MEUBLES LOUIS XVI NAPOLEON III FURNITURE ORMOLU CANDELABRA ORMOLU VASE PAUL SORMANI FURNITURE SALON STYLE LOUIS 16 SCULPTURE 19TH CENTURY SECRETAIRE NAPOLEON III SECRÉTAIRE STYLE LOUIS XVI STYLE REGENCE TABLE DEMI LUNE LOUIS XVI TABLE LOUIS 16 TABLE LOUIS XVI VICTORIAN STYLE DESKS VITRINE LOUIS XVI . -
Upholstry Fabric for American Empire Furniture
University of Rhode Island DigitalCommons@URI Open Access Master's Theses 1987 Upholstry Fabric for American Empire Furniture Edna Anness University of Rhode Island Follow this and additional works at: https://digitalcommons.uri.edu/theses Recommended Citation Anness, Edna, "Upholstry Fabric for American Empire Furniture" (1987). Open Access Master's Theses. Paper 1352. https://digitalcommons.uri.edu/theses/1352 This Thesis is brought to you for free and open access by DigitalCommons@URI. It has been accepted for inclusion in Open Access Master's Theses by an authorized administrator of DigitalCommons@URI. For more information, please contact [email protected]. UPHOLSTERY FABRIC FOR AMERICAN EMPIRE FURNITURE BY EDNA ANNESS A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF MASTER OF SCIENCE IN TEXTILES, MERCHANDISING AND DESIGN UNIVERSITY OF RHODE ISLAND 1987 MASTER OF SCIENCE THESIS OF EDNA ANNESS APPROVED: Thesis Committee Major Professor UNIVERSITY OF RHODE ISLAND 1987 ABSTRACT The subject of this study is American furnishing fabrics for seating furniture, primarily chairs, in rural New England, 1812-1840. It was a period when fabrics were being imported from England and France and also being woven in new American textile mills. It is the goal of this research to study textiles and motifs in museums in England and France of comparable periods and compare the influence these imported fabrics had on fabrics used on Empire chairs in rural New England between 1812 and 1840. The objectives of the research were to determine: l. What fabrics and designs were biing used on household chairs and other seating furniture in New England between 1812 and 1840? 2. -
READINGS: NEO-CLASSICISM Background: Neo-Classicism. Term Coined in the 1880S to Denote the Last Stage of the Classical Traditi
READINGS: NEO-CLASSICISM Background: Neo-classicism. Term coined in the 1880s to denote the last stage of the Classical tradition in architecture, sculpture, painting and the decorative arts. Neo-classicism was the successor to Rococo in the second half of the 18th century and was itself superseded by various historicist styles in the first half of the 19th century. It formed an integral part of THE ENLIGHTENMENT in its radical questioning of received notions of human endeavour. It was also deeply involved with the emergence of new historical attitudes towards the past -- non-Classical as well as Classical -- that were stimulated by an unprecedented range of archaeological discoveries, extending from southern Italy and the eastern Mediterranean to Egypt and the Near East, during the second half of the 18th century. The new awareness of the plurality of historical styles prompted the search for consciously new and contemporary forms of expression. This concept of modernity set Neo-classicism apart from past revivals of antiquity, to which it was, nevertheless, closely related. Almost paradoxically, the quest for a timeless mode of expression (the 'true style', as it was then called) involved strongly divergent approaches towards design that were strikingly focused on the Greco- Roman debate. On the one hand, there was a commitment to a radical severity of expression, associated with the Platonic Ideal, as well as to such criteria as the functional and the primitive, which were particularly identified with early Greek art and architecture. On the other hand, there were highly innovative exercises in eclecticism, inspired by late Imperial Rome, as well as subsequent periods of stylistic experiment with Mannerism and the Italian Baroque. -
Material Culture in the Age of IKEA Maxwell Harling Fertik [email protected]
Trinity College Trinity College Digital Repository Senior Theses and Projects Student Scholarship Spring 2019 The omeH as an Object: Material Culture in the Age of IKEA Maxwell Harling Fertik [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/theses Part of the Asian Art and Architecture Commons, Contemporary Art Commons, Fashion Design Commons, Fine Arts Commons, Furniture Design Commons, Industrial and Product Design Commons, Interior Design Commons, Scandinavian Studies Commons, Sculpture Commons, and the Theory and Criticism Commons Recommended Citation Fertik, Maxwell Harling, "The omeH as an Object: Material Culture in the Age of IKEA". Senior Theses, Trinity College, Hartford, CT 2019. Trinity College Digital Repository, https://digitalrepository.trincoll.edu/theses/774 THE HOME AS AN OBJECT: MATERIAL CULTURE IN THE AGE OF IKEA A Senior Thesis Presented by Maxwell Fertik To the Art History Department In Fulfillment of the Requirements for Honors in Art History Advisor: Professor Alden Gordon Trinity College Hartford, Connecticut May 2019 1 Introduction Home is an extension of the self, the other side of the mirror, a state of mind. Home is what frames your personal belongings, an identifier. Home is a still life painting in movement, a place for your curated cluster of special objects, artifacts and memories. Home is where order and chaos mingle flirtatiously, forming a domesticity of their own. Home is where sadness is as welcomed as happiness, where daily masks are set aside, emotions and sentiments at their most heightened and assuaged. Home is our confessional, our self-revelatory hiding place, our retreat. Home is a space for affection and reflection - it is where we stay in and where we gather. -
Selections from the Decorative Arts in the J. Paul Getty Museum
Selections from the DECORATIVE ARTS in the J.Paul Getty Museum This page intentionally left blank Selections from the DECORATIVE ARTS in the J. Paul Getty Museum Gillian Wilson THEJ. PAUL GETTY MUSEUM MALIBU • CALIFORNIA © 1983 The J. Paul Getty Museum 17985 Pacific Coast Highway Malibu, California 90265 (For further information about museum books, please write Bookstore, The J. Paul Getty Museum, P.O. Box 2112, Santa Monica, California 90406) Library of Congress catalogue number 82-681807 ISBN number 0-89236-037-2 (hardbound) 0-89236-050-x (paperbound) Library of Congress Cataloging in Publication Data J. Paul Getty Museum. Selections from the collection of decorative arts in the J. Paul Getty Museum. Bibliography: p. Includes index. 1. Decorative arts—France—History —17th century. 2. Decorative arts—France—History —18th century. 3. Decorative arts—France—History —19th century. 4. Decorative arts—California—Malibu. 5. J. Paul Getty Museum. I. Wilson, Gillian II. Title. NK947.J2 1983 745'.0944 82-681807 Photography by Donald Hull and Penelope Potter Design by COY, Los Angeles Typography by Andresen Typographies, Los Angeles Printed by Alan Lithograph, Inc. Bound by Roswell Bookbinders Phoenix, Arizona in an edition of 5000 copies. TABLE OF CONTENTS Introduction 1 Fifty Selections of the Decorative Arts 2 in the J. Paul Getty Museum Appendix: Translations of 102 the French Extracts Bibliography 106 Index 107 ACKNOWLEDGMENTS The texts for Nos. 26, 28, 29, 33, 40, 48, and 49 were written by Adrian Sassoon. I am grateful to the following people for various items of information used in compiling this book: Geoffrey de Bellaigue, Andrew Ciechanowiecki, David Cohen, Theodore Dell, Anthony Derham, Svend Ericksen, Roland de l'Espée, Ronald Freyberger, Arthur Grimwade, Leslie Harris, Henry Hawley, Guy Kuraszewski, Bozenna Majewska-Maszkowska, James Parker, Alexandre Pradère, Tamara Préaud, Olga Raggio, Rosalind Savill, Edith Standen, Pierre Verlet, and Sir Francis Watson. -
An Experiment in Teaching Period Furniture
AN EXPERIMENT IN TEACHING PERIOD FURNITURE IDENTIFICATION WITH INDIVIDUAL STUDY UNITS By BETTY JUNE GILLIAM •I Bachelor of Science Oklahoma State University Stillwater, Oklahoma Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of MASTER OF SCIENCE July 9 1970 l i :/ ' r ,· l\" ~>,;;,,-;,,,,., AN EXPERIMENT IN TEACHING PERIOD FURNITURE''"'·",,... [, ""}.1<1{,1,,\i,.\,.,,. IDENTIFICATION WITH INDIVIDUAL ·.~"\.. ,;,_.~,;:i,:~,1~4j, STUDY UNITS Thesis Approved: ii ACKNOWLEDGMENTS I wish to express my gratitude to Professor Christine Salmon for serving as chairman of my advisory committee, to Professor Leevera Pepin for her assistance and guidance in the development and execution of this problem, and to Dr. Florence McKinney for her assistance and the support of the Department of Housing and Interior Design. Also~ I would like to express my appreciation to the Frick Foundation, Metropolitan Museum of Art, Kittinger Company, Inc., and John Widdicomb Company for providing furniture photographs for the experimental study units and for their permission to reprint the photographs. Finally, I would like to express my indebtedness and gratitude to my husband, Murriel, for his assistance in the design of the problem, analysis of the data, and personal encouragement. iii TABLE OF CONTENTS Chapter Page I. INTRODUCTION • 1 Statement of the Problem 4 Objectives of the Study 4 II. REVIEW OF LITERATURE •• 5 III. METHODOLOGY 9 Development of Booklets. 9 Development