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Thomas Silkstede's Renaissance-Styled Canopied Woodwork in the South Transept of Winchester Cathedral
Proc. Hampshire Field Club Archaeol. Soc. 58, 2003, 209-225 (Hampshire Studies 2003) THOMAS SILKSTEDE'S RENAISSANCE-STYLED CANOPIED WOODWORK IN THE SOUTH TRANSEPT OF WINCHESTER CATHEDRAL By NICHOLAS RIALL ABSTRACT presbytery screen, carved in a renaissance style, and the mortuary chests that are placed upon it. In Winchester Cathedral is justly famed for its collection of another context, and alone, Silkstede's work renaissance works. While Silkstede's woodwork has previ might have attracted greater attention. This has ously been described, such studies have not taken full been compounded by the nineteenth century account of the whole piece, nor has account been taken of thealteration s to the woodwork, which has led some important connection to the recently published renaissancecommentator s to suggest that much of the work frieze at St Cross. 'The two sets ofwoodwork should be seen here dates to that period, rather than the earlier in the context of artistic developments in France in the earlysixteent h century Jervis 1976, 9 and see Biddle sixteenth century rather than connected to terracotta tombs1993 in , 260-3, and Morris 2000, 179-211). a renaissance style in East Anglia. SILKSTEDE'S RENAISSANCE FRIEZE INTRODUCTION Arranged along the south wall and part of the Bishop Fox's pelican everywhere marks the archi west wall of the south transept in Winchester tectural development of Winchester Cathedral in Cathedral is a set of wooden canopied stalls with the early sixteenth-century with, occasionally, a ref benches. The back of this woodwork is mosdy erence to the prior who held office for most of Fox's panelled in linenfold arranged in three tiers episcopate - Thomas Silkstede (prior 1498-1524). -
The Deinstallation of a Period Room: What Goes in to Taking One Out
Figure 1. Brown Pearl Hall, West Boxford, Massachusetts, about 1704. Figure 2. Oak Hill Parlor, early 19th century, Peabody, Massachusetts. 2006 WAG Postprints—Providence, Rhode Island The Deinstallation of a Period Room: What Goes in to Taking One Out Gordon Hanlon, Furniture and Frame Conservation, Museum of Fine Arts, Boston Melissa H. Carr, Masterwork Conservation ABSTRACT Many American museums installed period rooms in the early twentieth century. Eighty years later, different environmental standards and museum expansions mean that some of those rooms need to be removed and either reinstalled or placed in storage. Over the past four years the Museum of Fine Arts, Boston has deinstalled all of their European and American period rooms as part of a Master Plan to expand and reorganize the museum. The removal of the rooms was coordinated and supported by museum staff and performed by private contractors. The first part of this paper will discuss the background of the project and the particular issues of the museum to prepare for the deinstallation. The second part will provide an overview of the deinstallation of one specific, painted and fully-paneled room to illustrate the process. It will include comments on the planning, logistics, physical removal and documentation, as well as notes on its future reinstallation. Introduction he Museum of Fine Arts, Boston is in the process of implementing the first phase of a Master Plan which involves the demolition of the east wing of the museum and the building of a new American wing designed by the London-based architect Sir Norman Foster. This project required Tthat the museum’s eighteen period rooms (eleven American and seven European) and two large architec- tural doorways, on display in the east wing and a connector building, be deinstalled and stored during the construction phase. -
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Johannes Spitler, a Virginia Furniture Decorator at the Turn of the 19Th Century by Chris Shelton*
Johannes Spitler, a Virginia Furniture Decorator at the Turn of the 19th Century by Chris Shelton* Abstract: This paper highlights the usefulness of objective technical information obtained by conservators in expanding the understanding of American folk art objects, particularly painted furniture. This topic is presented through the research on the materials and methods used by Johannes Spitler, an German-American furniture decorator active in the Shenandoah Valley of Virginia. A tall case clock and a recently acquired blanket chest both painted by Spitler were examined and treated in the furniture conservation laboratory of the Colonial Williamsburg Foundation. These objects are presently on display in the new exhibition areas at the Abby Aldrich Rockefeller Folk Art Center in Williamsburg. Introduction: With the inception of American folk art as a collected art form in the 1920’s, collectors sought to acquire objects which satisfied the aesthetics of both the art connoisseur and the antiquarian. Painted objects in particular have been approached with a curious mix of fine arts aesthetics and a love of patina. Along with this folk art aesthetic collectors have been driven by many preconceived notions of the nature and importance of folk art. Chief among these is the romantic association of folk art with the new American democracy, that is, “the art of a sovereign, if uncultivated, folk living on an expanding frontier, cut off from the ancient traditions of race, religion and class.”1 These earlier values have shaped many major collections but are now being reevaluated by curators, folk lorists, and historians. In a 1986 conference on folk art, John Michael Vlach presented the situation found in many museum collections today: Generally folk art has been pursued as a set of things,.. -
A Ceremonial Desk by Robert Walker, Virginia Cabinetmaker by Sumpter Priddy
A Ceremonial Desk by Robert Walker, Virginia Cabinetmaker by Sumpter Priddy Fig. 1: Desk, attributed to the shop of Robert Walker, King George County, Virginia ca. 1750. Walnut primary; yellow pine secondary. H. 44, W. 43˙, D. 23˙ in. The desk originally had a bookcase, which is now missing. 2009 Antiques & Fine Art 159 his commanding desk is among the most significant discoveries in Southern furniture to come to 1 T light in recent decades. The desk’s remarkable iconography — including hairy paw feet, knees carved with lions’ heads, and the bust of a Roman statesman raised in relief on its prospect door — is rare in colonial America (Figs. 1–1b). Two of these elements appear in tandem on only one other piece of colonial furniture, a ceremo- nial armchair used by Virginia’s Royal Governors at the Capitol in Williamsburg 2 (Fig. 2). Not surprisingly, an intriguing trail of evidence suggests that this desk was owned by Virginia’s Royal Governor Thomas Lee (ca. 1690–1750), the master of Stratford, in Westmoreland County, Virginia, and kinsman of Robert E. Lee, the celebrated general of the Confederate forces during the American Civil War. The desk is attributed with certainty to the Scottish émigré cabinetmaker Robert Walker (1710–1777) of King George County, Fig. 1b: Detail of one Virginia. Robert and his older brother, William of the legs of figure 1. (ca.1705–1750), a talented house joiner, found themselves in great demand among the wealth- iest families in the colony and often worked in tandem building and furnishing houses. Extensive research undertaken by Robert Leath, Director of Collections for the Museum of Early Southern Decorative Arts, in Winston-Salem, North Carolina, has uncovered strong documentary evidence related to the Walkers, their patrons, and their furniture, 3 and has effected a re-evaluation of baroque and rococo style in the early Chesapeake. -
Uncovering the Identity of a Northern Shenandoah Valley Cabinetmaking Shop
A Southern Backcountry Mystery: Uncovering the Identity of a Northern Shenandoah Valley Cabinetmaking Shop by Patricia Long-Jarvis B.A. in Art History, December 1980, Scripps College A Thesis submitted to The Faculty of The Columbian College of Arts and Sciences of The George Washington University in partial fulfillment of the requirements for the degree of Master of Arts January 8, 2021 Thesis directed by Oscar P. Fitzgerald Adjunct Professional Lecturer of Decorative Arts & Design History i © Copyright 2020 by Patricia Long-Jarvis All rights reserved ii Dedication I wish to dedicate this thesis to my husband, Jim, our four children—James, Will, Garen, and Kendall—and my sister, Jennifer, for their unfailing support and belief in me. I am eternally grateful to Jim for his patience and providing the time and space away from our family while I researched the Newbrough & Hendricks story. Jim’s absolute love and unwavering confidence are why I completed this study. iii Acknowledgments The author wishes to thank the following individuals and institutions for their support and assistance in making this thesis a reality. My professor, mentor, and thesis advisor, Dr. Oscar P. Fitzgerald, who inspired my love for American furniture, and insisted from the beginning that I write a thesis versus taking a comprehensive exam. For the past three years, Oscar has patiently awaited the delivery of my thesis, and never lost his enthusiasm for the study. I will always be profoundly grateful for his wisdom, guidance, and confidence in me, and all I have learned from him as a teacher, scholar, and thesis advisor. -
Cheating Is Fine When the Result Is a Beautiful Copy of an Early Oak Chest
Project Project PHOTOGRAPHS BY GMC/ANTHONY BAILEY early piece of furniture with linenfold detail, the stock thickness needs to be 25mm for the stiles and rails and about 16-18mm for the panels. The legs are made of two pieces of 25mm oak to give the required thickness. I reserved the ray-figured boards for the linenfold panels. To make construction easier treat each face of the chest as one complete item. The front and back and the lid comprise complete ‘units’, Wealden linenfold cutters and and the ends and bottom are fitted others used in the project afterwards. T&G cutters Router cutters used Wealden’s Shaker-style large tongue- in this project and-groove (T&G) cutter set allows Wealden Tool Co: linenfold set, large neat jointing and panelling without tongue and groove set, chamfer 1 1 having to resort to mortice and tenons. T916B ⁄4 shank, V-groove T128 ⁄4 1 A router table and a large router will be shank, hinge morticing T310 ⁄4 shank, 1 needed for this operation. panel trim T8018B ⁄2 shank, beaded 1 1 Calculation of component sizes is edge T2503B ⁄4 shank, T2504B ⁄2 all important. Mark the square face English oak selected and machined ready shank, classic panel guided T1622B 1 sides and edges of the components for use ⁄4 shank. when planing to size and work to these marks as a datum throughout the several trial joints first and mark the project to ensure flush joint faces. correct shim with a felt-tip pen so that All the components for the end and Cut the stock for the legs and stiles the right one is used. -
Robert Beverley and the Furniture Ofblandfield, Essex County, Virginia, 1760-1800
Robert Beverley and the Furniture ofBlandfield, Essex County, Virginia, 1760-1800 Christopher Harvey Jones Submitted in partial fulfillment ofthe requirements for the degree Master ofArts in the History ofDecorative Arts Masters Program in the History ofDecorative Arts The Smithsonian Associates And Corcoran College ofArt + Design 2006 ©2006 Christopher Harvey Jones All Rights Reserved TABLE OF CONTENTS List of Illustrations 11 Acknowledgments IV Introduction 1 Chapter One - Robert Beverley -- Colonial Gentleman 5 Chapter Two - Choices and Constraints 19 Chapter Three - Blanc!field 28 Chapter Four - Conspicuous Consumption -- English Furniture at Blanetfield 42 . Chapter Five - American Pragmatist -- Virginia Furniture at Blanetfield 53 Conclusion - Robert Beverley -- American 69 Bibliography 72 Appendix One 77 Illustrations 80 TABLE OF CONTENTS List of Illustrations II Acknowledgments IV Introduction 1 Chapter One - Robert Beverley -- Colonial Gentleman 5 Chapter Two - Choices and Constraints 19 Chapter Three - Blanctfield 28 Chapter Four - Conspicuous Consumption -- English Furniture at Blan4field 42 . Chapter Five - American Pragmatist -- Virginia Furniture at Blan4field 53 Conclusion - Robert Beverley -- American 69 Bibliography 72 Appendix One 77 Illustrations 80 LIST OF ILLUSTRATIONS Figure One -- Essex County, Virginia, 1755, A New Map ofthe Most Inhabited Part of Virginia ...by Thomas Frye and Peter Jefferson, Detail, Library of Congress. Figure Two -- Blandfield, East (River) Front, Historic American Buildings Survey Photograph, Ca. 1983, Library of Congress. Figure Three -- Blandfie1d, West (Entry) Front, Historic American Buildings Survey Photograph, ca.1983, Library of Congress. Figure Four -- Conjectural Floor Plan, Blandfie1d, Essex County, Virginia. Figure Five -- Side Chair, Solid Splat, Mahogany (?) England, Ca. 1750 - 1775, Private Collection, Author Photograph. Figure Six -- Side Chair, Diamond Splat, Walnut, England, Ca. -
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Sacramento County Maintained Road Index
SACRAMENTO COUNTY MAINTAINED ROAD INDEX STATE THOMAS BRD OF APRXMT ROAD FROM TO LENGTH MAP BROS MAINT ROAD REP SUP LENGTH NAME NUMBER ROAD NAME ROAD NAME MILES PAGE CO PAGE CO CODE R/W CODE YR DIST FEET 1ST AV 4F1106 GRAND AV ISLANDVIEW WY 0.280 06K25 01J 416 J7 40 M 96 5 1478 1ST AV 4F0170 SH160 GRAND AV 0.050 06K25 01J 397 A7 50 R 5 264 1ST PKWY 5C1380 SKY PKWY 2ND PKWY 0.140 07J31 10F 337 H1 MU 2 739 2ND AV 4F1105 SH160 WALNUT AV 0.190 06K25 01J 416 J7 50 M 5 1003 2ND PKWY 5C1379 SKY PKWY ALTAIR PKWY 0.150 07J31 10F 337 H1 MU 2 792 2ND ST 5A1135 U ST ASCOT ST 2.470 07J11 06D 257 G5 40 MU 1 13042 3RD AV 4F1104 WALNUT AV GRAND AV 0.140 06K25 01J 416 J7 50 MR 5 739 3RD PKWY 5C1369 5TH PKWY URSA PKWY 0.310 07J31 10F 337 H1 MU 2 1637 3RD ST 4E1113 BLAIR ST END 0.160 06J55 06J 376 J5 74 MR 5 845 4TH AV 5A1150 K ST 4TH AV 0.300 07J11 08E 257 H3 42 MU 62 1 1584 4TH AV 4F1111 SH160 ISLANDVIEW WY 0.210 06K25 01J 436 J1 Y 40 MR 96 5 1109 4TH PKWY 5C1375 SKY PKWY URANUS PKWY 0.160 07J41 01F 337 H1 MU 2 845 4TH ST 4E1112 BLAIR ST END 0.150 06J55 06J 377 A5 61 MR 5 792 4TH ST 5A1182 MARYSVILLE BL ASCOT ST 0.270 07J11 10E 257 H5 Y 60 MU 1 1426 5TH AV 5A1152 K ST SILVER CREST CIR 0.680 07J11 08E 257 H3 Y MU 88 1 3590 5THTH PKWY 5C1371C13 1 3RD PKWY ASTRON PKWY 0 0.260 260 0J31 07J3110F 33 337 J1 MU 2 137313 3 5TH ST 4E1111 BLAIR ST END 0.160 06J55 06J 377 A5 61 MR 5 845 5TH ST 5A1151 O ST K ST 0.500 07J11 08E 257 H3 51 MU 1 2640 6TH AV 5A1172 K ST L ST 0.120 07J11 08F 257 H3 Y 50 MU 1 634 6TH AV 5A1172 M ST N ST 0.120 07J11 07F 257 H2 Y 50 MU 1 634 -
College of Arts and Letters Maj
COLLEGE OF ARTS AND LETTERS MAJ. YEAR TITLE BUSINESS CITY STATE Art 2007 Clerk USCG Alexandria VA Communication 2014 Film Specialist University of Texas at Austin Austin TX Communication 2014 Graduate Student Syracuse University Winchester VA Communication 2014 Marketing Coordinater Monarch Mortgage Virginia Beach VA Communication 2014 Production Instructor School of Creative and Performing Arts Lorton VA Communication 2013 Graphics & Promotions Coordinator Ocean Breeze Waterpark Virginia Beach VA Communication 2013 Sales Associate Tumi Washington DC Communication 2013 Recriter Aerotek Norfolk VA Communication 2013 Operations Administration The Franklin Johnston Group Chesapeake VA Communication 2013 Social Media Specialist Dominion Enterprises Newport News VA Communication 2013 Realtor Rose & Womble Realty Chesapeake VA Communication 2013 Legal Assistant Harry R. Purkey, Jr. P.C. Virginia Beach VA Communication 2012 Public Relations Asst Account Executive BCF Virginia Beach VA Communication 2012 Event Designer Amphora Catering Annandale VA Communication 2012 Assistant Manager Mark's Bar-B-Que Zone LLC Marion VA Communication 2012 Assignment Editor WTVR-TV Richmond VA Communication 2012 Team Leader Neebo Bookstores at John Tyler Community College Virginia Beach VA Communication 2012 Marketing and Communiactions Coordinator The Pacific Club Wahiawa HI Communication 2012 Leadership Consultant Omicron Delta Kappa Lexington VA Communication 2011 Regional Vice President Specialists On Call, Inc. Ocean City MD Communication 2011 Administrative Assistant Eagle Haven Golf Course Virginia Beach VA Communication 2011 Account Manager Bizport Laguna Niguel CA Communication 2011 Human Resources Officer U.S. Army Apo AP Communication 2011 REALTOR Long & Foster Real Estate Inc. Franklin VA Communication 2011 Marketing Communications Specialist Crawford Group Campbell CA Communication 2011 Social Media Specialist Meridian Group Virginia Beach VA Communication 2011 Assoc. -
Popular Woodworking Magazine April 2010 #182
Clark & Williams, Plane Makers BY CHRISTOPHER Sc HWARZ In an Arkansas basement, this somewhat unusual three-man company turns out extraordinary wooden handplanes. he married couple wanted a custom gazebo. So Larry Williams, a suc- T cessful carpenter, fetched his camera and was getting ready to photograph gazebos around town to show his clients. Right out- side his door, Williams took a wrong step, slipped on an ice patch and became a full- time toolmaker. Williams had broken an arm. To be more precise, he had ruined his arm and needed surgery and bone grafts. With one slip, his carpentry career disappeared. “No one needs a one-armed carpenter,” Williams says. “God I love carpentry. The kind of work I got to do … .” His voice trails off. Today Williams and his business partners, Bill Clark and Don McConnell, run Clark & Williams planemakers in Eureka Springs, Ark. This three-man business is one of the few in the Western world that makes traditional wooden-bodied planes. The company uses modern and traditional tools to make planes that represent, in their eyes, the pinnacle of tool development – 18th- century British moulding, bench and joinery planes. Planes of this era look simple – some Built for builders. Clark & Williams planes might appear simple, but they are actually extraordinarily woodworking authors have described tools refined tools that require machinery, hand tools and incredible skill to build. of this period as “primitive.” Yet once you see these planes through the eyes of their makers, later handplanes look and feel awkward. How long? Williams won’t even take a guess.