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Over 1700 of Skibinski's line drawings present a visual approach to the identification of antique furnishings. The book is arranged in chronological sequences (17th century through the early 20th century) by type of furniture, from tables and settees to desks and bookcases. Butler and Johnson have included some important information for the novice and the experienced collector: the sources of furniture used as models for the illustrations; lists of museums, art galleries, and special displays of outstanding collections of furniture; a selected bibliography and a glossary; the anatomy of a piece of furniture; and a brief history of the periods of furniture and furniture makers. Highly recommended for public libraries and other subject collections.
Neat Pieces is a detailed, extensively illustrated survey of the major forms and makers of the "plain style" of furniture made and used by Georgians 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 by historians, folklorists, and other experts for clues into a past way of life. 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, 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 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, with key details of their lives and work. 126 exemplary pieces of furniture (including chairs, tables, huntboards, washstands, and candlestands) 172 color photographs, 17 black-and-white photographs Information on furniture forms, nomenclature, and finishes Details about more than twelve hundred nineteenth-century Georgia furniture craftsmen
Among the countless flea markets in America, there are those that deserve to be called legendary. Scattered around the country, these are the markets with hundreds—sometimes thousands—of dealers and whose spectacular settings, covetable offerings, and colorful histories make each an unforgettable experience and a unique adventure. Pamela Keech—a museum curator who shops professionally at flea markets—profiles her top twenty choices, the flea markets that can be counted on to surprise and delight at every turn. Tackling these mammoth events, however, is not for the faint of heart. For starters, the size and scope of each market can be overwhelming—no, are overwhelming. They cover acres and acres and miles and miles. (To give you an idea of their scope, there is one that stretches from Maryland to Missouri and another from Michigan to Alabama.) The Best Flea, Antique, Vintage, and New-Style Markets in America is an essential guide for shoppers who want to get the most out of each venue. All the practical details are covered: how far ahead of time to make reservations, how to avoid wasting precious time in traffic jams, how to navigate the miles of aisles, how to determine the best paths through the markets, how much territory can be covered in a day, how to find out where the must-see dealers set up their tables, what to take to be comfortable, and more. Other essential information includes smart negotiating, shipping options, and—because the thrill of the chase can be utterly exhausting—great local places to eat and where to find a soft bed at the end of the day. One of the many charms of the book is its focus on regional style. Each of the markets profiled has an unmistakable sense of place, evident in the merchandise that fills the booths. Canton, Texas started 150 years ago as a trading market for cattle and livestock; this is where you’ll find vintage cowboy boots, railroad and ranch memorabilia, and primitives. At the Rose Bowl Flea Market, the proximity to Hollywood casts a sparkle over everything; don’t be surprised to find yourself browsing elbow to elbow with movie stars at tables filled with memorabilia from the silver screen and glamorous costume jewelry. At Shipshewana, in the heartland of the Indiana Amish, you’ll find more than the usual number of pie safes, kitchen implements, and quilts. Keech highlights these differences with bits of cultural and decorative history and lots and lots of photographs that will make even armchair travelers feel like part of the action.
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.
Leon Rosenstein offers a sweeping and lively account of the origin and development of the antique as both a cultural concept and an aesthetic category.