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The late Pierre Verlet, conservateur en chef du Departement des Objets d'Art at the Louvre, was the unquestioned expert on pre-Revolutionary French decorative arts. His definitive book French Furniture of the 18th Century (Les Meubles Francais du XVIIIe Siecle) has now been translated into English for the first time by Penelope Hunter-Stiebel, noted specialist in 18th century French furniture and former student of Verlet. The book contains a vast amount of information on the art of furniture in 18th century France. It examines the tools and techniques used in furniture making during that period; defines the various types of furniture developed; explores the organisation of the furniture industry, the working of the guilds and the relationships among makers, dealers, and clients; lists the outstanding makers and reproduces their marks; and discusses the market, restoration, forgeries, and the growth of public collections. Since the book was first published in 1955, previously unknown pieces of furniture have been discovered, and new documents and analyses have been taken into account in this augmented text.The book is enhanced by 16 pages of full colour and 174 black-and-white illustrations. The illustrations range broadly to allow for the juxtaposition of elegant and simple furniture and to include a variety of types, forms and decorations. This book is a valuable research tool for all curators, collectors, dealers, and art historians.
This guide discusses the period from the Regence to Neoclassicism. Its clear language and comprehensive coverage enables newcomers to identify the differenc styles at once with all the assurance of an expert. Giacomo Wannenes examines over a thousand pieces used in their construction, decorative elements, marquetry and stylistic variations. For each piece he provides an overall valuation taking account of both its commercial and aesthetic worth He also considers the problem of fakes, describing the tricks, modifications and copies that may deceive even the most keen of collectors.
An alluring look at the relationship of clothing and interior design in 18th-century France
Publisher description
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.
A reinvestigation of brass inlaid furniture made between 1730-1760, usually attributed to the Channon workshop. Research indicates that there were five London cabinet makers specializing in this furniture. This is the catalogue for an exhibition in Leeds on 22nd September 1993 and later in London.
'Luxury in the 18th Century' explores the political, economic, moral and intellectual effects of the production and consumption of luxury goods, and provides a broadly-based account from a variety of perspectives, addressing key themes of economic debate, material culture, the principles of art and taste, luxury as 'female vice' and the exotic.
The first comprehensive catalogue of the Getty Museum’s significant collection of French Rococo ébénisterie furniture. This catalogue focuses on French ébénisterie furniture in the Rococo style dating from 1735 to 1760. These splendid objects directly reflect the tastes of the Museum’s founder, J. Paul Getty, who started collecting in this area in 1938 and continued until his death in 1976. The Museum’s collection is particularly rich in examples created by the most talented cabinet masters then active in Paris, including Bernard van Risenburgh II (after 1696–ca. 1766), Jacques Dubois (1694–1763), and Jean-François Oeben (1721–1763). Working for members of the French royal family and aristocracy, these craftsmen excelled at producing veneered and marquetried pieces of furniture (tables, cabinets, and chests of drawers) fashionable for their lavish surfaces, refined gilt-bronze mounts, and elaborate design. These objects were renowned throughout Europe at a time when Paris was considered the capital of good taste. The entry on each work comprises both a curatorial section, with description and commentary, and a conservation report, with construction diagrams. An introduction by Anne-Lise Desmas traces the collection’s acquisition history, and two technical essays by Arlen Heginbotham present methodologies and findings on the analysis of gilt-bronze mounts and lacquer. The free online edition of this open-access publication is available at www.getty.edu/publications/rococo/ and includes zoomable, high-resolution photography. Also available are free PDF, EPUB, and Kindle/MOBI downloads of the book, and JPG downloads of the main catalogue images.
The history of collecting is a topic of central importance to many academic disciplines, and shows no sign of abating in popularity. As such, scholars will welcome this collection of essays by internationally recognised experts that gathers together for the first time varied and stimulating perspectives on the nineteenth-century collector and art market for French eighteenth-century art, and ultimately the formation of collections that form part of such august institutions as the Louvre and the National Gallery in London. The book is the culmination of a successful conference organised jointly between the Wallace Collection and the Louvre, on the occasion of the acclaimed exhibition Masterpieces from the Louvre: The Collection of Louis La Caze. Exploring themes relating to collectors, critics, markets and museums from France, England and Germany, the volume will appeal to academics and students alike, and become essential reading on any course that deals with the history of collecting, the history of taste and the nineteenth-century craze for the perceived douceur de vivre of eighteenth-century France. It also provides valuable insight into the history of the art markets and the formation of museums.