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Handmade rugs are perpetual objects of desire, sought after for their expressive designs and intricate combinations of pattern and color. Whether hand-knotted or handwoven, their tactile quality completes any well-furnished interior. A rug often occupies fully a third of a room and, if antique, is also often its most expensive single item, yet there has never been a book presenting decorative carpets as an integral component of interior design until now. Decorative carpet expert Alix G. Perrachon has, for the first time, compiled a book to guide all interested in placing handmade carpets in contemporary spaces—from individual homeowners to interior designers and their clients. Inside, thirty-two of America’s most celebrated designers—including Penny Drue Baird, Samuel Botero, Clodagh, Jamie Drake, David Easton, Thomas Jayne, Juan Montoya, Suzanne Tucker, Bunny Williams, and Vicente Wolf—discuss in animated terms how, and which pieces, they choose from the infinite array of handmade decorative carpets available in the market today. Their selections are illustrated with luxurious images drawn from their own work, revealing rugs ranging from Agras, Aubussons, and Axminsters to modern Tibetan and transitional designs in every style of interior from traditional to contemporary. In addition to engaging, accessible text and 300 full-color illustrations, The Decorative Carpet provides purchasing and care essentials, presents the twenty most popular types of rugs used by designers today—along with a brief description of the defining characteristics and history of each—and includes a glossary and suggestions for further reading, providing all the tools necessary for all those eager to explore the intriguing, expansive world of handmade decorative carpets to begin.
Filled with hundreds of gorgeous examples, this book is a comprehensive study of European and American carpets and rugs from the Middle Ages to the present day. The rich and inventive tradition of European and American carpets continues to inspire artists, designers, and decorators, while collectors and historians increasingly value carpets as important works of art. In this comprehensive volume, Sarah Sherrill examines Western carpet design and production from the Middle Ages to the present, in styles that range from magnificent palatial creations to delightful folk designs. With hundreds of dazzling illustrations, Sherrill's authoritative text includes chapters on Moorish weavers and the golden age of carpets in Spain; the exquisite carpets of the Savonnerie, Aubusson, and Beauvais in France; productions from Moorfields, Exeter, and Axminster in England; the intriguing but little-studied rugs of Eastern European countries; the charming and resourceful rugs of America; and an important chapter on modern designs that offers an extensive survey of rugs created by leading artists and architects of the nineteenth and twentieth centuries. Sherrill's stimulating text, based on years of research, brims with interesting new findings, not only on the history and design of these works, but also technological developments that had an often unrecognized effect on rug design and production. Supplementing the hundreds of reproductions of carpets are many views of the lavish rooms for which they were designed, as well as brilliant watercolor carpet designs, technical drawings clarifying weave and knot structures, and maps, making this an indispensable resource for historians, collectors, and anyone interested in beautiful furnishings and textiles. Sarah B. Sherrill, an authority on Western and Eastern carpets and rugs, has published many articles on the subject over the last two decades. She is on the faculty of The Bard Graduate Center for Studies in the Decorative Arts in New York and has taught in the graduate program in the history of decorative arts at the Cooper-Hewitt, National Design Museum/Parsons School of Design in New York. She is editor in chief of The Bard Graduate Center's journal Studies in the Decorative Arts and was an editor for over twenty years at the magazine Antiques. 400 illustrations
The Victorian Society Book of the Victorian House covers every facet of building and decoration—from roofs, brickwork, and chimneys to paint effects, curtains, and floor coverings. It abounds with information on the development of Victorian domestic architecture, building methods, and materials, and offers a wealth of practical and authoritative advice on restoration, maintenance, and preservation. Throughout, the emphasis is on family houses of various sizes and styles, with particular emphasis on finding ways in which period authenticity can be combined with modern standards and convenience of lifestyle. Kit Wedd is a former deputy director of Britain’s Victorian Society. She currently works as a freelance editor and writer specializing in the conservation of historic buildings and interiors.
American things, American material culture, and American archaeology are the themes of this book. The authors use goods used or made in America to illuminate issues such as tenancy, racism, sexism, and regional bias. Contributors utilize data about everyday objects - from tin cans and bottles to namebrand items, from fish bones to machinery - to analyze the way American capitalism works. Their cogent analyses take us literally from broken dishes to the international economy. Especially notable chapters examine how an archaeologist formulates questions about exploitation under capitalism, and how the study of artifacts reveals African-American middle class culture and its response to racism.
Delivers the inside story on 6,000 years of personal and public space. John Pile acknowledges that interior design is a field with unclear boundaries, in which construction, architecture, the arts and crafts, technology and product design all overlap.
A history of Huguenots in the United States.
Integrating the history of Paris with the history of consumption, the press, publicity, advertising and spectacle, this book traces the evolution of the urban core districts of consumption and explores elements of consumer culture such as the print media, publishing, retail techniques, tourism, city marketing, fashion, illustrated posters and Montmartre culture in the nineteenth century. Hahn emphasizes the tension between art and industry and between culture and commerce, a dynamic that significantly marked urban commercial modernity that spread new imaginary about consumption. She argues that Parisian consumer culture arose earlier than generally thought, and explores the intense commercialization Paris underwent.