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Presented for the first time, the richly illustrated findings of the Southeastern Massachusetts Furniture project at Winterthur Museum
Drawing on the latest scholarship, this comprehensive, lavishly illustrated survey tells the story of the evolution of American furniture from the 17th century to the present. Not viewed in isolation, furniture is placed in its broader cultural, historic, and aesthetic context. The focus is not only on the urban masterpieces of 18th century William and Mary, Queen Anne, Chippendale, and Federal styles but also on the work of numerous rural cabinetmakers. Special chapters explore Windsor chairs, Shaker, and Pennsylvania German furniture which do not follow the mainstream style progression. Picturesque and anti-classical explain Victorian furniture including Rococo, Renaissance, and Eastlake. Mission and Arts and Crafts furniture introduce the 20th century. Another chapter identifies the eclectic revivals such as Early American that dominated the mass market throughout much of the 20th century. After World War II American designers created many of the Mid-Century Modern icons that are much sought after by collectors today. The rise of studio furniture and furniture as art which include some of the most creative and imaginative furniture produced in the 20th and 21st centuries caps the review of four centuries of American furniture. A final chapter advises on how to evaluate the authenticity of both traditional and modern furniture and how to preserve it for posterity. With over 800 photos including 24 pages of color, this fully illustrated text is the authoritative reference work.
The Metropolitan Museum's preeminent collection of early colonial furniture is expertly documented in this long-awaited publication. It covers the full spectrum of furniture forms made during the 17th and early 18th centuries--from chairs and other seating to tables, boxes, various types of chests and cupboards, and desks. Each of the 141 objects is thoroughly described with detailed information on provenance, construction, condition, inscriptions, dimensions, and materials. Photographed anew in color for this volume, each piece is explicated in terms of the styles and craftsmanship of the period and is evaluated in light of comparative pieces in public and private collections throughout the country. One appendix contains photographic details of construction and decorative elements, and another has drawings of joints and moldings.
While demonstrating the high level of artistry attained by furniture-makers of the period, this selection in many ways reflects the evolving character of domestic life in America during a seminal period in the country's history.
This publication documents The Metropolitan Museum of Art's collection of early colonial furniture and presents a broad spectrum of furniture forms made in America during the 17th and early 18th centuries, including chairs and other seating, tables, boxes, various types of chests and cupboards, dressing tables, and desks. The volume also includes prime examples of the different modes of ornamentation in fashion during that period. Over 140 objects are thoroughly described, with detailed information given on each one's construction, condition, dimensions, materials, and inscriptions and other marks, as well as provenance and exhibition history. Every object is explained in terms of the styles and craftsmanship of the period and evaluated in light of comparative pieces in public and private collections throughout the country. Also included is one appendix containing photographic details of construction and decorative elements, and another with line drawings explaining furniture terms and showing various types of joints and moldings. This is the first volume in a series of two that is dedicated to American furniture in the Museum. -- Metropolitan Museum of Art website.
In a country of junk-filled attics, yard sales, and flea markets frequented by millions of Antiques Roadshow viewers hoping to uncover a grungy chest of drawers worth millions, the Keno twins have become the Siskel and Ebert of antiques. Dapper, witty, and in their early forties (with nearly 60 years of combined experience between them), they symbolize the union of amateur enthusiasm and acute professionalism that has made their television program a cultural phenomenon. Now, in this fascinating collection of tales of their personal adventures hunting -- and discovering -- priceless "junk" (including some notable Roadshow success stories), readers will learn how to see the extraordinary in the mundane. "Hidden Treasures" is part history lesson and part treasure map for finding valuable antiques where they would be least expected.
"Masterpieces of American Furniture, edited by Anna Tobin D'Ambrosio, the Curator of Decorative Arts since 1989 at Munson-Williams-Proctor Institute Museum of Art, offers concise, engaging text accompanied by exquisite photography. Essays on more than 65 finely crafted examples of American furniture encompass nearly every nineteenth-century style and explore the careers of America's preeminent cabinetmakers and shops including Charles Baudouine, Hugh and John Finlay, Edward Hutchings, John Henry Belter, Herter Brothers, R. J. Horner & Co., Kimbel and Cabus, Kilian Brothers, J. and J. W. Meeks, Anthony Quervelle, and M. & H. Schrenkeisen Mfg. Co. Each footnoted essay offers perceptive new research into historical antecedents, stylistic preferences, manufacturing techniques, and the complex nature of the nineteenth-century furniture trade."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
American art museums of the Gilded Age were established as civic institutions intended to provide civilizing influences to an urban public, but the parochial worldview of their founders limited their democratic potential. Instead, critics have derided nineteenth-century museums as temples of spiritual uplift far removed from the daily experiences and concerns of common people. But in the early twentieth century, a new generation of cultural leaders revolutionized ideas about art institutions by insisting that their collections and galleries serve the general public. Things American: Art Museums and Civic Culture in the Progressive Era tells the story of the civic reformers and arts professionals who brought museums from the realm of exclusivity into the progressive fold of libraries, schools, and settlement houses. Jeffrey Trask's history focuses on New York's Metropolitan Museum of Art, which stood at the center of this movement to preserve artifacts from the American past for social change and Americanization. Metropolitan trustee Robert de Forest and pioneering museum professional Henry Watson Kent influenced a wide network of fellow reformers and cultural institutions. Drawing on the teachings of John Dewey and close study of museum developments in Germany and Great Britain, they expanded audiences, changed access policies, and broadened the scope of what museums collect and display. They believed that tasteful urban and domestic environments contributed to good citizenship and recognized the economic advantages of improving American industrial production through design education. Trask follows the influence of these people and ideas through the 1920s and 1930s as the Met opened its innovative American Wing while simultaneously promoting modern industrial art. Things American is not only the first critical history of the Metropolitan Museum. The book also places museums in the context of the cultural politics of the progressive movement—illustrating the limits of progressive ideas of democratic reform as well as the boldness of vision about cultural capital promoted by museums and other cultural institutions.