Some In The Sixteenth Century But Principally In The Seventeenth, Eighteenth And Early Nineteenth Centuries. Containing over 1,200 illustrations from photographs and drawings of the best examples of the furniture of Hepplewhite, Sheraton, Adam, Chippendale, etc.

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This scarce antiquarian book is a selection from Kessinger Publishings Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the worlds literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

1929. A pictorial handbook of fine furniture made in Great Britain and in the American colonies, some in the sixteenth century but principally in the seventeenth, eighteenth and early nineteenth centuries. With more than 400 illustrations. Contents: Gothic and Tudor Oak Furniture; English and American Furniture of Seventeenth Century Type; The Windsor or Turned Chair; Lacquer Work; Development of the English Walnut Chair; English and American Mahogany Chairs; American and English Dado Furniture; Double Chests, Highboys and Cabinets; Side Tables, Sideboards and Commodes; Mahogany Tripod Furniture; Occasional Tables; Wall Furniture of the Eighteenth Century; Hepplewhite Chairs: English and American; Wall and Toilet Mirrors: American and English; and Thomas Sheraton and Duncan Phyfe.

1902. Illustrative of a collection formed by Robinson. Photographed by Eustace Calland. An illustrated volume of Ancient Furniture and other objects collected by the author during a number of years and in many countries and contained in Parnham House. Contents: Tables; Cupboards or Armoires; Marquetry; Boulle Furniture; Chippendale; Chairs or Seats; Bedsteads; Chests or Coffers; Metal Work; Pottery; Glass; and Miscellaneous.

The nineteenth century produced dozens of independent designers, particularly towards the end of the period. As the furniture trade developed, so manufacturers and retailing split. Catalogues began to be used in retail shops as they are today. Competition between retailers and the use of the new design books resulted in a large number of designs, not only new ones but also a constant looking backwards to earlier centuries for inspiration. This change in the structure of the industry made full use of highly individual interpretations of Gothic, Renaissance, Elizabethan, Naturalistic styles, Egyptian, Old French, Louis XIV, Louis XV and Italian decorations, all applied to a wide variety of furniture. The complexity of the subject is best explained by a very large number of illustrations and this is the reason why some 6,000 appear within this book. The Dictionary is made up from forty-nine contemporary design and pattern books issued by manufacturers such as Heal s, Smith, Tatham, King, Pugin, M

The most complete and authoritative study available of regional furniture design and use in Scotland.
Part of the appeal of vernacular furniture is that in order to understand it one must look closely at social history and lifestyles that are at some levels primitive and at others surprisingly sophisticated. If not always high art, vernacular furniture proves beyond question that limited resources need not exclude aesthetic quality, nor need the functional imperative exclude beauty and charm.
To appreciate some Scottish vernacular furniture we have to enter with sympathy into the world of crofters in a bleak landscape up to two hundred years ago, a world that has ceased to exist. Other Scottish pieces come from a setting of prosperous Lowland comfort.
In writing this book, Bernard Cotton investigated museums and libraries; but whenever possible he and his wife Gerry made it a priority to see pieces in their contexts, to meet the people who used them, and to understand how they were made. The story of their quest is itself an adventure, and the objects he photographed often represent the life and death of a community, the vital relics of a vanished culture.
Over the years Scots set up home in widely scattered places throughout the world, and furniture of the various types examined in this book can be found today in North America, Australia, and New Zealand. 550 illustrations, 450 in color.

After an introduction to the sources of evidence and the different materials used in making Roman furniture, there follow individual chapters on the different categories of furniture, such as couches and beds, tables, chairs and stools, cupboards, storage boxes and shelving. Examples will be taken from all over the Empire, but there will be special emphasis on furniture used in the north-west provinces. The final part of the book discusses the types of furniture found in rich and poor houses, including farms and military barracks, as well as the types of furniture to be found in specific rooms. This is the first general book on Roman furniture to be published in English.

"Baba," "Nonya," "Peranakan" and "Straits Chinese" are terms that refer to the descendants of Chinese traders who settled in Southeast Asia centuries ago, and assimilated aspects of indigenous Malay culture into Chinese culture. Built between 1896 and 1897, the NUS Baba House was the ancestral home of the Wee family, who are part of the Straits Chinese community in Singapore. The building is now a museum that replicates the unique experience of a visit to a 1928 Peranakan home, featuring a range of beautiful and distinctive furniture, architectural decorations, ceramics and other household objects cherished by the Straits Chinese. NUS Baba House: Architecture and Artefacts of a Straits Chinese Home is an illustrated guide for visitors as well as a useful reference for people interested in the social history of Southeast Asia. Accompanied by detailed photography and carefully researched explanations of the symbolism behind the objects and ornamental motifs in the house, this guide is designed to provide an exclusive view into the colourful domestic lifestyle of the Straits Chinese people.

This comprehensive reference documents the full scope of furniture from Shaker communities in New England, Ohio, and Kentucky. Furniture produced throughout the nineteenth and early twentieth centuries, ranging from free-standing tables, chairs, desks, boxes, and case clocks to built-in cupboards and cases of drawers, is shown in over 1,000 images, 698 in color. An extensive text provides a detailed account of Shaker history, culture, and religion. Further, it examines Shaker design and tools, reporting new research on the Shaker color palette. Using primary source materials, this book examines designs from specific Shaker communities and individual cabinetmakers. Endnotes, bibliography, glossaries, and technical terms make this beautiful reference required reading for everyone with an interest in Shaker design and culture.

Critical in the evolution of 20th-century design, Dunbar was a leader in modern furniture design and its production during the 1950s. This reproduction of the 1956 Dunbar catalog reflects the impact Dunbar designs, under the fine workmanship of Edward Wormley--pioneer modernist and multi-faceted designer--had on the American interior. Combining elegance, warmth, and contemporary style with functionalism, comfort, and stability, each piece is a product of the advancements of technology teamed with the traditional craft of furniture making. An indispensable reference, this book is a historical landmark in the best in modern furniture design for mid-twentieth century America. Price guide included.

'Loving Lebus' encapsulates the changing styles of furniture over time. With comprehensive notes placing Lebus furniture in context the author has selected the best of the firm's advertisements, catalogue images, photographs and Lebus furniture pieces today. Antique and vintage - Lebus furniture is enjoying a resurgence. We are once again, 'Loving Lebus'. Paul has nurtured a passion for all things Lebus. His first book 'Harris Lebus: A Romance with the Furniture Trade' went behind the scenes to look into how Lebus furniture was made. Now the Lebus story is complete - 'Loving Lebus: Looking into Harris Lebus Furniture' is another labour of love.

From among the world-renowned treasures at the Winterthur Museum, the author selected 400 outstanding examples of American furniture from the Queen Anne and Chippendale periods, representing the era when the cabinetmakers of New England, New York, Philadelphia, and the South were at the height of their achievement. Each illustration is accompanied by information about the piece's place of origin, date of construction, dimensions, special features and qualities, and the maker and original owner when known. A special section presents the furniture in its proper environment, including ten rooms in full color. There is technical information for the serious collector and a highly readable history for those interested in the early-American way of life.

This is a new and fully up-to-date edition of the standard text on this highly decorative and beautifully crafted Victorian souvenir ware. The text has been thoroughly revised and updated throughout to take account of the latest and most up-to-date research and discoveries. Also included are a number of new photographic illustrations. Unrivalled in its scholarship, the book is invaluable as an aid to identifying examples of decorative woodwares in antique shops, at auctions or as exhibits in museums or galleries. The author, Dr. Brian Austen, is a leading authority and well-known lecturer on the history of furniture and decorative arts in the UK.

Precise, factual guide for home restorers and nostalgia buffs provides descriptions, dimensions, prices and nearly 300 illustrations of window frames, sashes, doors, blinds, mouldings, stair work, mantels, embossed and cut glass, brackets, scrollwork, wood drapery, balustrades, pew ends, pulpits, and much more.

Neat Pieces is a detailed, extensively illustrated survey of the major forms and makers of the ""plain style"" of furniture made in the 1800s. Simply designed, solidly constructed of local woods, and usually unadorned, such pieces were used daily by their owners for storage, sleeping, eating, and more. Today, this furniture is read for clues into a past way of life by historians, folklorists, and other experts. It is also prized by museums, antiques dealers and auction houses, and furniture appraisers, collectors, and makers. ""Neat Pieces"" first appeared as the companion volume to the Atlanta History Center's seminal 1983 exhibit of the same name. The exhibit featured 126 exemplary pieces of furniture (including chairs, tables, slabs, huntboards, washstands, and candlestands). Each of them is described and illustrated in this book. Photographs in the original edition of ""Neat Pieces"" were black-and-white; here they are in full color. A new foreword by Deanne Levison looks at related publications and exhibits of the subsequent two decades. The introduction, by William W. Griffin, provides information on furniture forms, nomenclature, and finishes. Also included in the book is a list of more than twelve hundred nineteenth-century Georgia furniture craftsmen, indicating for each the key details of their life and occupation.

Combining comfort, simplicity and craftsmanship, Windsor chairs have long been prized by collectors. Introduced from England in the early 1700s, the Windsor style took hold in America first as seating for the well-to-do and later as the favourite chair of the general population. Included in the Windsor family are stools, tables, settees, high chairs, cradles and candle stands, but the greatest variety is found in the chairs, which range from comb-back to bow-back to step-down versions. Their makers took advantage of the natural properties of different woods for particular components of the chairs, employing hickory, red oak, or ash for bent parts, maple for turnings and pine for seats. This book documents all these features and styles with narrative descriptions and photographs of the 198 pieces under discussion. It also provides 34 full-page drawings (and lists of measured parts) which amateur furniture makers can use as blue-prints for creating Windsor reproductions.

A Pictorial Guide to Styles and Terms:
Colonial to Contemporary
Third Edition, Revised and Expanded

Elegantly fashioned and uniquely perceptive, this guidebook, now in its third edition, authoritatively surveys four centuries of American domestic furniture styles.

Identifying American Furniture offers answers to the questions most people ask about furniture: "What style is that?" "How can you tell?" and "When was it popular?" Curators, collectors, appraisers, connoisseurs of furniture, and students of history, architecture, and the arts — as well as those just learning the fascination of stylistic trends in American furniture—will find this succinct handbook essential.

Styles are arranged chronologically from 1607 to the present and represent all thirty-five major furniture styles from Arts and Crafts to Windsor. Milo M. Naeve's vivid commentary draws attention to the book's 196 photographs, pinpointing distinctions among the styles. Naeve also offers an excellent guide for further reading.

"A spellbinding book, depicting the remarkable work of some remarkable men and women. . . . This is a book to cherish." —Woodworking Crafts

The Shaker movement in America began in 1774 when Mother Ann Lee emigrated from Manchester, England, with a small group of followers, and settled in New York State. Despite impoverished beginnings, the Shakers flourished in the early nineteenth century, and by 1840 there were four to six thousand members living in eighteen principle communities from Maine to Kentucky. Turning away from society, they lived in large families that were both celibate and communal. In striving for heaven on earth, they created a visual environment of such harmony and quiet power that it continues to impress observers today, when the Shakers have all but passed from the American scene.

The many works presented in this beautiful volume reveal the Shaker commitment to excellence in all matters. The chairs, cases of drawers, work stands, baskets, oval boxes, wheelbarrows, stoves, looms, and even tailoring tools have a purity of form that transcends mere utility and elevates our appreciation beyond a sense of function.

This volume draws objects from forty collections, including extant Shaker villages, the work of some thirty known individuals, and as many artists who remain anonymous.

"Beautifully illustrated. . . . In itself a masterpiece of design." —Washington Times

"Not only is [the book] a beautifully presented record of the world the Shakers created, it is also the most thorough, balanced, and unbiased survey of Shaker material culture. . . . A book of lasting visual and scholarly importance." —Kenneth Ames, Winterthur Museum, Antiques

An exploration of the life and work of America’s most distinguished craftsman.

Sam Maloof (1916–) is a consummate furniture designer and maker, recognized worldwide as a craftsperson’s craftsman. This book examines Maloof’s lifetime of production. Documented in 200 illustrations, over 90 in color, Adamson traces Maloof’s career from his earliest efforts to the masterworks he produces today. Set in the context of the development of Southern California modernism and the contemporary American craft movement, this volume offers the first thorough look at Maloof’s extraordinary life and work, providing insights into the materials and techniques of woodworking, as well as the artisan lifestyle.

Published in association with the Smithsonian American Art Museum.