For several years this has been the standard text on nineteenth-century British furniture, which continues to be the focus of an extraordinary growth of interest in the United States and throughout Europe.This exhaustive survey of a rich and rewarding chapter in the history of the decorative arts contains an astonishing range of photographs and drawings: more than six hundred illustrations, many of them in color, offer a uniquely comprehensive look at nineteenth-century furniture from the Gothic Revival to Art Nouveau. Every major designer is represented, including William Morris, Charles Rennie Mackintosh, Christopher Dresser, and the choice of pictures includes a wealth of little-known furniture from private collections, much of which has never before been illustrated.A cheerful text enhanced by lavish picture layouts. -- The New York Times
"Modern Gothic: The Inventive Furniture of Kimbel and Cabus, 1863-82 traces the timeless American immigrant success story of Anton Kimbel and Joseph Cabus. The enterprising New York City design team pioneered an inventive take on Modern Gothic furniture of near-infinite variety, for a broad range of customers, and defined a significant aesthetic in the United States. The Brooklyn Museum, which retains the largest institutional holdings of Kimbel and Cabus's work, is the first to tell their story with new scholarship and fresh insight into this important yet little-explored partnership. A fully illustrated catalogue co-published with Hirmer Press will accompany the exhibition at the Brooklyn Museum that will be on view July 2, 2021-February 13, 2022 . The publication is co-authored by Barbara Veith, Guest Curator, Brooklyn Museum, and Medill Higgins Harvey, Associate Curator of American Decorative Arts and Manager, Henry R. Luce Center for the Study of American Art, Metropolitan Museum of Art, with additional contributions by Max Donnelly, Curator of Nineteenth-Century Furniture, Victoria and Albert Museum; Alice Cooney Frelinghuysen, Anthony W. and Lulu C. Wang Curator of American Decorative Arts, Metropolitan Museum of Art; and Dr. Melitta Jonas, Kunsthistorikerin, Berlin"--
Whether you want to identify, date or evaluate your own pieces, Furniture is the only comprehensive, full-color reference guide for you. Judith Miller gives a global overview that spans the last 3,000 years of design, guaranteed to turn any amateur into a furniture buff. Furniture defines decorative motifs of key periods with over 3,500 photographs of every style and form. This eBook also includes profiles of influential designers, craftsmen and key movements.
Home decorating will never be the same. Close your curtains! Throw away your summery linens! Forget about those white eyelet pillow covers! And for Goth's sake, buy some black lights! Voltaire is here to help you with your home decorating dilemmas, guide you through the hardware stores and decorating centers (which are so difficult for Goths to navigate), and lay it all out on the line about which shade of black goes with which shade of black. Who knows?! One day soon he might have his own decorating line at a discount store. In this world of pastels and plaids, it's so hard for Goths to find anything aesthetically appealing. You go in search of Edward Gorey and wind up with an eyeful of Eddie Bauer. With Voltaire's Paint It Black you can turn the unbearably mundane into the delightfully macabre with little more than a touch of creativity and a can of black spray paint.
Pugin’s global influence on church architecture and material reform The year 2012 marked the bicentenary of the gothic revival architect A.W.N. Pugin. His influence as a designer not only spread fast globally, but also played a leading part in the transformation of material culture from the mid-nineteenth century onwards. Pugin’s work has been comprehensively reevaluated over the last decade. In this volume sixteen leading scholars from across the globe discuss Pugin’s direct influence on church architecture and furnishing. Beautifully illustrated with a large selection of new photography, Gothic Revival Worldwide, the successor to the volume Gothic Revival published in 2000, reveals how Pugin’s ideas played a profound role in the changing face of material reform in church architecture as an expression of the evolving identity of the churches across the world from North America to Mongolia and the South Pacific. Contributors Stephen Bann (Bristol University), Jessica Basciano (University of St. Thomas, Houston), G.A. Bremner (University of Edinburgh), Martin Bressani (McGill University, Montréal), Karen Burns (University of Melbourne), Timothy Brittain-Catlin (University of Kent), Peter Coffman (Carleton University, Ottawa), Thomas Coomans (KU Leuven), Jan De Maeyer (KU Leuven / KADOC), Candace Iron (York University, Toronto), Stephen Kite (Cardiff University, Wales), Alex Lawrey (independent scholar), Peter N. Lindfield (University of Stirling), Cameron Macdonell (Institute for the History and Theory of Architecture, ETH Zurich), M. Stephen McNair, Jr. (McNair Historic Preservation), Gilles Maury (École National Supérieure d’Architecture et de Paysage, Lille), Henrik Schoenefeldt (University of Kent), Richard A. Sundt (University of Oregon), Malcolm Thurlby (York University, Toronto)
The 19th century in Western culture was a time of both confidence and turbulence. Industrial developments resulted in a number of benefits from a growing middle class to efficiency, convenience and innovation across a range of fields from engineering to architecture. Alongside these improvements, the century began with the extended period of the Napoleonic Wars and was further disrupted by rebellions and revolutions both within Europe and in India, South America and other parts of the world. Slavery was abolished and urbanization increased dramatically. These myriad developments were reflected throughout the period in the proliferation of types of furniture, along with their categorization as 'industrial art' at the international exhibitions and world fairs and the increasingly adventurous range of materials that were sometimes used in their construction. Nonetheless, a strong antiquarian/historicist strand also prompted interest in the revival of past styles in areas of art and design, including furniture. Drawing upon a wealth of visual and textual sources, this volume presents essays that examine key characteristics of the furniture of the period on the themes of Design and Motifs; Makers, Making, and Materials; Types and Uses; The Domestic Setting; The Public Setting; Exhibition and Display; Furniture and Architecture; Visual Representations; and Verbal Representations.
The 18th century saw the height of court culture in Europe as well as the beginnings of its demise with conflicts such as the American and French Revolutions. The Scientific Revolution, which had begun in the preceding centuries, also ushered in a new intellectual era which advocated the use of reason to effect change in government and to advance progress in society. For furniture, this meant ever-higher standards of luxury in the designs, techniques and materials utilized for the best pieces, and more structure and specialization in the furniture-making process itself. Furniture also came into its own during this period as a collectable work of art on its own merits. Drawing upon a wealth of visual and textual sources, this volume presents essays that examine key characteristics of the furniture of the period on the themes of Design and Motifs; Makers, Making, and Materials; Types and Uses; The Domestic Setting; The Public Setting; Exhibition and Display; Furniture and Architecture; Visual Representations; and Verbal Representations.
