Originally published in 1916 when the Arts & Crafts movement was in its heyday, this is a virtual textbook of materials, color, techniques, and designs. Arts & Crafts Design is a practical guide to the creation of high-quality, high-style furnishings through the industrial arts.
In this relativistic age in which de gustilrie non disputandum est (it is undisputed that each person has their own sense of taste), it is refreshing to look back to the early twentieth century when at least a few people were certain that there are universal rules for good art and also that they had themselves mastered these precepts and could pass them on to a society that loved commonly held values. William H. Varnum was one of those people. He offers here a textbook that will, if followed, allow students to 'directly apply well-recognized principles of design to specific materials and problems.' No situation esthetics here. In fact, he followed these principles in designing the logos representing his tools and ratio system on the cover of his book.
The publisher of this new edition has added a useful foreword and substitued the title Arts and Crafts Design for the original (1916) Industrial Arts Design, an appropriate modification since the term industrial suggests factory production whereas Varnum referred to objects that today we call Craftsman--Rookwood pottery, Stickley furniture, Jarvie candlesticks, etc. A delightful touch is that Varnum included pictures of these objects alongside the principles by which he believed they were designed. Varnum's book offers an enlightening, if somewhat technical, insight into thinking about design before World War I. There is no doubt that the Arts and Crafts period during which the principles of simple beauty married so neatly with function can be better understood and appreciated today through Varnum's perceptions.
Of the more than one hundred experiments in communitarian living that proliferated in America during the nineteenth century, the Untied Society of Believers in Christ's Second Appearing, whose adherents are best known as Shakers, is certainly one of the most interesting, successful, and enduring. This book is a collection of furniture made by members of this remarkable American religious sect.
The great postwar modern furniture designs are classics, because they are still great. Herman Miller, the company that led the office revolution, is a name synonymous with the best modern residential as well as contract furniture. Classics by super-designers - Charles and Ray Eames, George Nelson, and Isamu Noguchi - can still be purchased from the Herman Miller for the Home collection. Their designs, plus the work of more than a dozen other important Herman Miller designers, are described here in detail and shown in color and black and white photographs, plus original drawings by Nelson and the famous Frykholm picnic posters, all from the Herman Miller archives. This book is essential for collectors, dealers, curators, designers, and other devotees of modernism.
Why do people consider aesthetic qualities as well as utilitarian ones in the making of everyday objects? Why do they maintain traditions? What is the nature of their creative process? These are some of the larger questions addressed by Michael Owen Jones in his book on craftsmen in the Cumberland Mountains of eastern Kentucky. Concentrating on the work of one man, woodworker and chairmaker Chester Cornett, Jones not only describes the tools and techniques employed by Cornett but also his aspirations and values. Cornett possessed a deep knowledge of his materials and a mastery of construction methods. Some of his chairs represent not objects of utility but aesthetic developments of the chair form. Cornett sought to cope with the problems of his life, Jones maintains; their massiveness provided a sense of security, the virtuosity of their design and construction, a feeling of self-esteem. Jones also compares other area craftsmen and their views about their work.
Following the huge demand in contemporary societies to decorate homes in a "green" style, this book offers a more environmentally conscious approach to design and production processes by presenting a wide range of furniture products made with natural materials as well as using recycling and more environment respecting technologies.
A completely revised edition, covering every period and development to the present, the designers and makers, the woods and other materials, the architecture and decoration. 2,000 photographs. Glossary. Bibliography. Index.
French furniture design has been wildly admired, emulated and collected throughout the world for centuries. Filled with 750 line drawings and brief descriptive definitions, French Furniture details the salient characteristics that define styles of French furniture from the 16th century, age of Louis XIII, to the end of the 20th century.
In Plain Sight: Discovering the Furniture of Nathaniel Gould is the stunning result of happy accident and indefatigable, dedicated research. In the field of early American furniture made in Massachusetts, Nathaniel Gould has loomed as something of a mystery -- believed to have been prolific, handsomely skilled, and exceptionally enterprising, yet considered elusive because of a scarcity of known works, lack of documentation, and difficulties of attribution. Accident -- the unexpected discovery of Gould's day books and account book in the collection of the Massachusetts Historical Society -- and analysis -- painstaking and inductive -- have produced an invaluable, multifaceted case study.
This book establishes Gould unquestionably as Salem's leading cabinetmaker before and during the period of the American Revolution. He made substantial and often expensive furniture, including case pieces of bomb form embellished with carving. The number of works that can be attributed to Gould remains small, but the foundation for increasingly assured connoisseurship lies within these pages and Gould's archival records. The scale of his workshop, his impressively large, diverse clientele, and his successes in Salem's furniture export trade attest to his achievements as an entrepreneur.
However, this book illuminates not only a particular individual, but the Salem/Boston/New England spheres in which Gould operated during a tumultuous time in American history. The scrupulously recorded notations in his ledgers are precious clues to emerging concepts of style and taste, cultural mores, business practices, socio-economic circumstances, and familial histories with local, regional, and national relevance.
In Plain Sight presents a choice array of forms confidently assigned to Gould's shop, and makes accessible the ledgers themselves, meticulously analyzed and interpreted to facilitate present and ongoing scholarship regarding Nathaniel Gould, Salem, early New England furniture, and colonial America.
This delightful picture book presents a broad selection of fine examples from two exhibitions held in the California Heritage Museum in Santa Monica (of which Smith is executive director). The furniture, ceramics, lamps, clocks, occasional print and textile are organized first by country then by artist. A short biography of each artist is provided. There is a bibliography, but no index. Annotation c. Book News, Inc., Portland, OR (booknews.com)