An Experiment in Teaching Period Furniture
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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. -
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. -
Container List
The Metropolitan Museum of Art Archives Historical Clippings and Ephemera, 1880-1980 The Metropolitan Museum of Art Archives Office of the Senior Vice President, Secretary and General Counsel 1000 Fifth Avenue New York, NY 10028-0198 212-650-2573 [email protected] Container List Note: There are 158 boxes in this collection. Boxes 18B, 18C, 107B and 107C were added after initial processing was completed. SERIES I Office of the Secretary, Press Clippings, 1925-1939, Boxes 1-17 This statement appeared on the covers of the 14 original portfolios, containing material now housed in Boxes 1-17: These portfolios are arranged by subject to show some results of Museum publicity. Advertisements and Book Reviews are filed in separate books. For a complete record of publicity, see also the clipping file in the Museum Library, the clippings kept in the Secretary’s file, and the scrapbooks made by the Director of Industrial Relations. Office of the Secretary: Press Clippings, Illustrations 1925-1932 Box 1 BOX FOLDER FOLDER TITLE DATE 1 1 Medieval Silver 1925-26 1 1 Christmas 1925-26 1 1 Franklin in Porcelain 1925-26 1 1 American Wing 1925-26 1 1 Müehsam Glass 1925-26 1 1 Medieval Ivories and Buddhas 1925-26 1 1 Athena Shrine, Athletic Lore 1925-26 1 1 Mesopotamian Eathenware 1925-26 1 2 American Wing 1927 1 2 Roman Garden 1927 1 2 Decoration, Medieval, 18th and 19th C. 1927 1 2 Restoration at MMA 1927 1 2 Swedish Glass 1927 1 2 Candles, Candlesticks 1927 1 2 Bourdelle Bust of Beethoven 1927 1 2 Miniature Portraits 1927 1 2 Cradles of the Past 1927 1 2 Handbags 1927 1 2 Tapestries 1927 1 2 Pan Master Vases 1927 1 3 American Wing 1928 1 3 Silver Beakers, Tumblers, Goblets 1928 1 3 Houdon, Antoine 1928 1 3 Redecorated leather 1928 1 3 18th C. -
Designing One Nation
Designing One Nation The Politics of Economic Culture and Trade in Divided Germany Katrin Schreiter Oxford University Press Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Oxford is a registered trade mark of Oxford University Press in the UK and certain other countries. Published in the United States of America by Oxford University Press Madison Avenue, New York, NY , United States of America. © Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by license, or under terms agreed with the appropriate reproduction rights organization. Inquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above. You must not circulate this work in any other form and you must impose this same condition on any acquirer. Library of Congress Cataloging-in-Publication Data Names: Schreiter, Katrin, author. Title: Designing one nation: the politics of economic culture and trade in divided Germany / Katrin Schreiter. Description: New York: Oxford University Press, . | Includes bibliographical references and index. | Identiers: LCCN (print) | LCCN (ebook) | ISBN HARDCOVER | ISBN PDF Subjects: LCSH: Germany (West)—Relations—Germany (East) | Germany (East)-- Relations--Germany (West) | Germany--History-- - . | German reunication question ( - ) | Germany--Economic conditions-- -| Industrial design--Social aspects--Germany. | Functionalism in art--History. Classication: LCC DD . -
Yale School of Architecture Dean's Council
YALE SCHOOL OF ARCHITECTURE DEAN’S COUNCIL Buenos Aires, Argentina March 9–14, 2014 INTRODUCTION Buenos Aires, the heritage of a universal periphery “I suspect that the birth of Buenos Aires is just a story; I deem her to be as eternal as water and air”. Jorge Luis Borges The Mythical Foundation of Buenos Aires, 1929 Borges’s allusion to the eternal nature of Buenos Aires and his doubts about the origin of the city, are a fne refection of its timeless identity. Buenos Aires is surrounded by a minimalist geography of water and land which strengthens the role of architecture as the only multi-form and exuberant physical variable, thus transforming it into a natural rather than cultural heritage. The world of Buenos Aires’ buildings is made up of leftovers of historical layers, either juxtaposed or superimposed. The concentrated, four hundred-year-old physical universe of Buenos Aires is like an architectural library of Babel or a labyrinth of styles representative of the Western World. It is forever a collage of historical and geographic variables, decanted from various cultural world centers and innumerable peripheries. 2 What remains today of the original “Big Village” are parts of the strict foundational grid and the noblest Andalusian-infuenced pieces that chronologically followed a mud and straw town. The last corner of the Spanish Empire—an impossible port called Trinidad and a wayward city called Buenos Aires—arose from an ambiguous tradition that received the contribution of diverse civilian and religious communities. When the baroque movement took over the continent and fourished into a Hispanic-indigenous fusion of cultures, the city was able to abstain from excesses. -
Le Garde-Meuble, Ancien Et Moderne, 1839-1935 by Cynthia Van Allen Schaffner
Désiré Guilmard Le Garde-meuble, ancien et moderne, 1839-1935 By Cynthia Van Allen Schaffner Le Garde-meuble, ancien et moderne (Furniture repository, ancient and modern), a bimonthly periodical published in Paris, exerted an enormous influence throughout the world by promoting French styles in furniture, fabrics, and interior decoration for a nearly a century, beginning in l839 during the reign of Louis Philippe and ceasing in the waning years of the Third Republic around l935. Created by furniture designer and publisher Desire Guilmard, the periodical consisted entirely of illustrations of designs for furniture, window treatments and room settings. Its title, Le Garde- meuble, refers back to 1663 when Louis XIV established an office by this name within the royal household to provide for the care of the furnishings in the royal residences. Guilmard added the subtitle, ancien et moderne, to indicate that the periodical would feature both historic revival styles (such as Louis XIV, Louis XV, Gothic, and Renaissance) and current ones (notably the “moderne” styles) that incorporated new technological innovations and better accommodated the life styles of the nineteenth century. The more than 400 colorful images included in this Smithsonian Institution Libraries’ online document represent SIL’s nearly complete set of the early issues of Le Garde-meuble, those folios published from 1841 through 1851. Depicting a wide variety of furniture types and styles, the pictures were executed in such a highly skilled and detailed manner that even today they continue to be an exceptionally rich visual resource for furniture restorers, set designers, historians, curators, historic preservationists, upholsterers, and interior decorators. -
R.Hist.Sztuki XLIV 2019.Indd
Rocznik Historii Sztuki, tom XLIV PAN, 2019 DOI 10.24425/rhs.2019.131203 AGATA WÓJCIK PEDAGOGICAL UNIVERSITY OF CRACOW THE SOCIETY FOR POLISH APPLIED ART VERSUS THE VIENNA WORKSHOPS – AN ATTEMPT AT COMPARISON. STYLISTIC ANALOGIES IN FURNITURE AND INTERIOR DESIGN* The Society for Polish Applied Art (Towarzystwo Polska Sztuka Stosowana, TPSS) was established in 1901, in Krakow on the wave of the revival of crafts; soon its circle included the most outstanding Polish designers. One of the TPSS activities was to support Polish furniture designers, facilitate them to receive commisions, and present their projects at exhibitions. Due to the geographical proximity to, but above all, to the ideological affinity with the Vienna Workshops (Wiener Werkstätte), the work of the Society can be juxtaposed with the activities of the latter. Analyzing the style of furniture designers associated with the TPSS, three tendencies can be noticed – inspiration with folk art, a turn to old styles, and the tendency to simplify furniture pieces and give them minimalistic forms, devoid of ornamentation. Usually, the stream associated with folk art, related to the pursuit of the national style, is brought to the fore. In this text, however, I would like to draw attention to the third, the most avant-garde, path. A new look at Polish furniture of the early 20th century was presented by Anna Sieradzka. She noted the analogies between Polish projects and the works of Austrian and German artists.1 Following this interpretation path, I wish to compare the work of Polish designers associated with the TPSS with that of the artists from the Vienna Workshops. -
Jews and Unitarians Reform Faith and Architecture In
The Pennsylvania State University The Graduate School School of Humanities BUILDING LIBERAL RELIGION: JEWS AND UNITARIANS REFORM FAITH AND ARCHITECTURE IN NINETEENTH-CENTURY PHILADELPHIA A Dissertation in American Studies by Matthew F. Singer © 2016 Matthew F. Singer Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2016 The dissertation of Matthew F. Singer was reviewed and approved* by the following: Simon J. Bronner Distinguished Professor of American Studies and Folklore Dissertation Adviser Chair of Committee Gregory A. Crawford Interim Director of the School of Humanities John Haddad Professor of American Studies and Popular Culture Anne A. Verplanck Associate Professor of American Studies and Heritage Studies Simon J. Bronner Director, American Studies Doctoral Program *Signatures are on file in the Graduate School ii ABSTRACT “Building Liberal Religion: Jews and Unitarians Reform Faith and Architecture in Nineteenth-Century Philadelphia” fuses family, social, intellectual, and religious histories with material culture analysis to document, interpret, and explore the achievements of the ecumenical network that developed between Victorian Philadelphia’s community of Americanizing and liberalizing Jews and Unitarians. The locus of this network was the relationship that developed between the Reverend William Henry Furness (1802–1896) of the First Unitarian Church of Philadelphia and the progressive Rabbi Marcus Jastrow (1829–1903) of Congregation Rodeph Shalom soon after the rabbi’s arrival in Philadelphia in 1866. This network expanded and continued for some sixty years among the clerics’ families, congregations, colleagues, and friends. Through his singular talents, vision, and the prolificness, the Reverend’s son Frank Furness (1802–1896) translated the reformist theological, philosophical, social, and aesthetic sensibilities that shaped the ministry of his father and the rabbinate of Marcus Jastrow into ecclesiastical, cultural, educational, commercial, and domestic structures and their furnishings. -
Historic Styles in Furniture
LIBRARY" UNIVERSITY CALIfOKM* SAN DIEGO Historic Styles in Furniture COLONIAL FURNITURE THE WEST PARLOR MOUNT VERNON HISTORIC STYLES IN FURNITURE By VIRGINIA ROBIE BOSTON AND NEW YORK HOUGHTOX MIFFLIX COMPANY 1916 COPYRIGHT, 1905, By HERBERT S. STONE PUBLISHERS' NOTE " " THIS account of Historic Styles in Furniture was originally issued ten years ago by the publishers of The House Beautiful magazine, mainly for special sale in con- nection with their publication. It received little exploi- tation in the general market, and its merits did not, therefore, become widely known. The present publishers have believed that there is a distinct place for this vol- ume, containing, as it does, a bird's-eye view of the development of styles in furniture through ten centu- ries, and giving the backgrounds and settings an equal importance with the furniture itself . CONTENTS CHAPTER PAGE I Furniture of the Middle Ages 3 II Furniture of the Fourteenth Century 15 III Furniture of the Fifteenth Century 25 IV Furniture of the Italian Renaissance 35 V Furniture of the French Renaissance 55 VI Furniture Making in Germany and The Low Countries 71 VII Furniture of the Spanish Renaissance 81 VIII English Furniture of the Sixteenth and Seventeentn Centuries 85 IX Louis XIV Furniture 99 X Louis XV Furniture in XI Louis XVI Furniture 123 XII English Furniture of the Eighteenth Century . 133 XIII Furniture of the French Empire 157 XIV Colonial Furniture i6<; ILLUSTRATIONS PAGE An Early Example of Gothic Furniture , 5 Folding Chair, Late Middle Ages 7 St. Peter's -
THE TRANSFORMATION of MUNICH INTO a ROYAL CAPITAL by KINGS MAXIMILIAN I JOSEPH and LUDWIG I of BAVARIA by David Watkin
THE TRANSFORMATION OF MUNICH INTO A ROYAL CAPITAL BY KINGS MAXIMILIAN I JOSEPH AND LUDWIG I OF BAVARIA by David Watkin Nineteenth-century Munich was largely the creation of King Ludwig I and his architect, Leo von Klenze, who was exceptional for working almost exclusively for four royal courts, and for doing so in the nineteenth century, rather than in ancien régime Europe. 1 Klenze’s first patron was Napoleon’s brother, King Jérôme of Westphalia, at Kassel, but his principal patron was the Crown Prince of Bavaria, later King Ludwig I; he worked also for Ludwig’s son, King Otto I of Greece, and finally for Czar Nicholas I of Russia. We shall see how Ludwig and his father, King Max Joseph, who reigned from 1799-1825, attempted to make Munich rival Paris, following the transformation of the Bavarian electorate into a kingdom in 1806. On his accession to the throne in 1825, King Ludwig declared that his ambition was to make his capital such ‘a city that no one can say they have visited Germany if they have not visited Munich.’ 2 His father Max-Joseph, with the hereditary Witttelsbach antagonism towards the Habsburgs, had sympathised with Napoleon when Austria and Prussia were fighting against him. In 1803- 4 the princes of south and west German states negotiated individual terms with Napoleon in this process of liberating themselves from Austria. In 1805, Elector Maximilian of Bavaria became an ally of Napoleon against Austria, and in 1806 Napoleon established the Confederation of the Rhine with himself as protector. The Electors of Bavaria and Württemberg became kings, and the Electors of Baden and of Hesse-Darmstadt grand dukes. -
Architecture for Community and Spectacle: the Roofed Arena in North America, 1853-1968
University of Pennsylvania ScholarlyCommons Scholarship at Penn Libraries Penn Libraries 2007 Architecture for Community and Spectacle: The Roofed Arena in North America, 1853-1968 William B. Keller University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/library_papers Part of the American Art and Architecture Commons, and the Architecture Commons Recommended Citation Keller, W. B. (2007). Architecture for Community and Spectacle: The Roofed Arena in North America, 1853-1968. Retrieved from https://repository.upenn.edu/library_papers/88 This dissertation was submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Art History. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/library_papers/88 For more information, please contact [email protected]. Architecture for Community and Spectacle: The Roofed Arena in North America, 1853-1968 Abstract This dissertation provides the first treatment of the origins and development of the roofed arena in the United States and Canada. Supported by archival resources of graphics and text, and informed by direct contact with arena architects, design and operations staff, this study examines the arena as a place for spectacle within the larger environments of city and campus. The arena's site, massing, and design revealed the expectations of its sponsorship. The arena's internal configuration of roofed seating bowl, floor, portals, and passages was a purposeful arrangement intended to accommodate attendees and manage their movement through architectural space. The first chapter focuses on the transmission to the nineteenth century, via the architecture of theater, circus, and other spaces of public assembly, of the Greek and Roman hippodrome oval for accommodation of multiple kinds of revenue-generating activities situated within a circular, elliptical, or rectilinear seating bowl.