By Jeffrey P. Greene
American furnishings of the 18th century is prized for its historic and creative worth by means of museums and creditors, and as a benchmark in layout and craftsmanship through modern day furnishings makers.
In the 1st a part of the publication, Jeffrey Greene chronicles the evolution of the layout and building of 18th-century furnishings, drawing on ancient impacts and the tastes of the interval. within the moment half, he explains and illustrates the suggestions of the interval furnishings maker, together with joinery and genuine development; carving, turning and inlay; customary completing tools; and making operating drawings. the ultimate half examines 24 vital unique examples intimately for his or her layout, development and inventive merit.
Written via a certified interval furnishings maker, this ebook is meant for a person with an curiosity in 18th-century furnishings. For antiquarians, it is going to function an in depth consultant to the furnishings maker's tools. For cabinetmakers of any interval, it is going to be an important reference on connoisseurship and historic methods.
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American furnishings of the 18th century is prized for its historic and creative worth through museums and creditors, and as a benchmark in layout and craftsmanship by means of modern day furnishings makers. within the first a part of the ebook, Jeffrey Greene chronicles the evolution of the layout and building of 18th-century furnishings, drawing on ancient impacts and the tastes of the interval.
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Additional info for American furniture of the 18th century
O wn ing a highly decorated piece was a way of showing one's wealth or imp ort an ce in society, since most hou seholds had few pieces of fu rn itu re and th e forms of th e pieces were fairly uniform . Th e Pu rit an s did not frown on success, and th e deco rat ive arts we re a measure of it. According to Puritan et hics, materi al success cou ld be cons idered a reflecti on of one's good ness in th e eyes of Go d . As a pract ical po int, at a t ime when most peop le had relati vely few possession s and hou ses were poorly lit, it seems nat u ral th at brilli ant colors and extensive car vings would be in fash ion.
Ca ning was quite fashio nab le in London at th e start of th e 18t h century, and th e style found its way to Boston shortly t hereaft er with th e imp ortation of some English cha irs. Rath er th an caning th e ent ire back of th e cha ir, Am erican crafts me n built a vert ical fram e insid e th e rear posts and caned th at. Thi s left tall nar row spaces on eit her side of th e caning, and allowed th e rear posts to be turned . Th e arr angem ent as a whole emphasizes th e vert ical bett er th an some of th e English imp orts, and creates an effective con t rast of solids and voids th at lends t he design a lively vigor.
Th e primary focus of th e carver's atte ntion was chairs, whic h were well su ited to thi s kind of decorati on . Wh ereas Jacobean carving was a thin su rface tr eatment th at included Renaissance and medieval botanical, st rapwo rk and geomet ric motifs, th e carving of William and Mary chairs was mostly of Baroqu e Flemish design, and was more int egrat ed into th e form of th e piece. Th ese carvings were deep, bold and dr am atic. Th e carving of compone nts of William and Mary chairs defined th ose compone nts, not just decorated th em .