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39780TRADE CARD PAINE FURNITURE. Paine Furniture Trade Card featuring a fold-A Eastlake Bed. Boston: circa 1870s. Card 5 1/2 x 4 inches. An attractive trade card for Paine Furniture of Boston featuring a woodcut o the store on one side and an interior scene of a Victorian parlor where a handsome Eastlake cabinet is being folded down by a girl to become a bed. So soiling light wear; abraded portion on the corner of the living room scene. unknown
026016920X.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
0266839681.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1528027000.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
17402420Augsburg: Johann Jacob Haid & son 1740. Six tall narrow folio-sized engravings with etching platemarks 400 x 207 mm. sheets 435 x 277 mm. deckle edges unsigned but by Jacop Wangner after Watteau numbered 1-6 in the plate at lower right imprint at lower right I. Haid et filius excudit A. V. Augustae Vindelicorum. Upper edges archivally tipped to mats. Fine.<br/> <br/> A perfectly preserved suite of six large rococo engravings reproducing Watteau's paintings for a folding screen intended to be cut out by ladies for use in furniture decoration. <br /> <br /> Watteau's influence on 18th-century decorative arts throughout Europe by way of the many engravings after his work published by Gersaint has long been recognized but the use of the engravings as actual sheets to be cut up and applied to household objects has garnered little attention until recently. The vogue for decoupage probably first appeared in the late seventeenth century and by the 1720s the hobby of cutting out colored prints for application to various household objects and pieces of furniture was all the rage in France Germany and beyond. The process which remained a favorite pastime throughout the eighteenth century was known as la découpure in French as Ausschneidekunst in German and as lacca contrafatta or lacca povera in Italian although "the latter term appears to be a true misnomer considering the amount of minute work involved" Kisluk-Grosheide p. 83. It consisted of neatly cutting out hand-colored engraved or woodcut motifs or figures applying them to a textile or sometimes cardboard ground and varnishing them. These creations were applied to furniture as well as to "screens folding screens wall hangings ceilings the tops of coaches and sedan chairs" loc. cit. affording a passable imitation of Asian lacquer. The craze which created a goldmine for certain print publishers reached the point that bibliophiles and collectors were warned to keep a vigilant eye on their most precious books prints and paintings lest eager young ladies attack them with scissors. <br /> <br /> In 1728 six engravings after Watteau's paintings for a folding screen were commissioned by the art collector Jean de Julienne as part of a vast program of reproductions of Watteau's painted oeuvre. They were engraved by Louis Crépy fils and published by the Paris marchand-mercier art dealer and print publisher Edmé-François Gersaint. An announcement of their upcoming publication in the November 1727 Mercure de France explicitly described them and two other Crépy-Watteau engravings as "marvelously appropriate for decoupages with which ladies these days make such pretty furniture" Crépy grave actuellement six morceaux en hauteur . d'après un Paravant peint par Watau dont les compositions sont très-galantes. De pareils sujets peints sur des fonds blancs conviennent à merveille aux découpures dont les Dames font aujourd'hui de si jolis meubles Mercure de France 1 Novembre 1727 p. 2492 digitized on Gallica. Indeed the publisher himself highlighted this usage in his own note in a later issue of the Mercure cited by Glorieux p. 212: pointing out that all of the decorative motifs in the Watteau engravings were "most useful for painters fan-makers sculptors goldsmiths tapestry-weavers embroiderers etc." he added that "all these ornaments can be perfectly used in decoupage" tous ces ornements réussissent parfaitement en découpure. <br /> <br /> These and other rococo engravings were quickly taken up by German publishers especially in Augsburg Metken p. 102. This paravent folding screen suite was one of the first of the Watteau engravings to be copied in Germany. The present very close reverse copies of Crépy's six plates appeared in Augsburg only a few months after their publication in June 1728 in Paris: engraved by Jacob Wangner or Wagner ca. 1703-1781 they were published by the heirs of Jeremias Wolff in 1729. This set is an otherwise unrecorded reissue of the Wangner copperplates. A lavishly decoupage-decorated secretary in the collections of the Metropolitan Museum of Art includes cutouts that were almost certainly from these Augsburg plates as they are from "reverse copies of the prints by Crépy" Kisluk-Grosheide p. 88 noting other examples of Augsburg copies of Watteau prints used on the same secretary. Her assertion that "it has not been shown that these engravings were actually used for this purpose" p. 84 is only applicable to the French plates. Indeed other examples of lacca povera objects described in her article point to the German production of copies of French rococo prints as the main source for decoupage at this time on pieces produced throughout Europe including in Italy and in France itself. <br /> <br /> The general title appears at the foot of the first plate. Each engraving presents a central figure or scene set within a frame of delicate rococo arabesques and ornaments. Three show the Comédie italienne figures of Pierrot Harlequin and Colombine a woman playing the lute on a rug-bedecked stage a pair of allegorical figures flanking an awning above and at bottom the smiling visage of a Commedia dell'Arte character of the opposite sex. The remaining pastoral scenes of courtship or douceur de vie are set within naturalistic elements two with streams flowing over a dripping shell-shaped basin or ledge under which a ghostly face can be dimly discerned. Watteau's designs were based on earlier designs by Claude III Audran decorative painter for Louis XIV at Versailles and Fontainebleau to whom Watteau had apprenticed. "After joining forces with ornamentalist Claude III Audran about 1708 he Watteau began inserting figures in Comédie-Italienne costumes into Audran's trademark arabesques" Judy Sund "Watteau's Pierrots Why so Sad" The Art Bulletin vol. 98 no. 3 2016 p. 325 reproducing the Pierrot panel from the present series. <br /> <br /> OCLC locates a single copy of the Wolff issue at the Bibliothèque nationale de France reproduced in Gallica. In the present issue of which I locate no other copies the engraver's signatures were removed. <br /> <br /> On the Wolff issue cf. W. Augustyn "Augsburger Buchillustration im 18. Jahrhundert" in Augsburger Buchdruck und Verlagswesen von den Anfangen bis zur Gegegenwart 1997 p. 820 citing E. Isphording Gottfried Bernhard Göz 1708-1774 1997 pp. 35 ff.; Thieme Becker 35:150. On the Crépy engravings cf. Guilmard Maitres ornemanistes p.145; Dacier & Vauflart Jean de Julienne et les graveurs de Watteau au XVIII. siècle 159-163; E. de Goncourt Catalogue Raisonné de l'Oeuvre . d'Antoine Watteau 1875 p. 224 nos. 309-314; G. Glorieux À l'enseigne de Gersaint: Edme-François Gersaint marchand d'art sur le Pont Notre Dame Paris 2002 pp. 189-192; Mark Millard Collection: French Books no. 170.35 5 of the 6 plates. On the use of these engravings for decoupage see: D. O. Kisluk-Grosheide "'Cutting up Berchems Watteaus and Audrans': A Lacca Povera Secretary at The Metropolitan Museum of Art" Metropolitan Museum Journal 31 1996 pp. 81-97; and S. Metken Geschnittenes Papier Munich 1978 pp. 101-2 & 113. Johann Jacob Haid & son unknown
199529346Boston MA: Little Brown and Company 1995. Hardcover. Fine/Fine. 12.3x9.3x0.8in. Inscribed by Authors. 3rd printing inscribed by Albert Hadley. Dust jacket in clear protector. <br>182pp 2.86lb 12.3x9.3x0.8in Little, Brown and Company hardcover
2241720 March no year. On letterhead of The Yellow House 8 Palace Court Bayswater London W. 2pp 12mo. Bifolium. In good condition lightly aged. Folded once. He begins by thanking him for his 'kindness in the matter of the plate at New'. He called there that morning and has 'sent on Dr Russells letter of introduction' and has 'written to Dr Moyle' explaining his object and he hopes he will give him permission to have the photod. wh: I consider about the finest piece of dated H English Plate in existence -'. He continues: 'Plate has changed its position since years ago you & I used to talk about it & when you bought the pretty candlestick with the plain columns was it at Torquay' Although it is 'not so great as some of the arts - the skill of handicraft in Silver Plate & architecture seems to me fairly representative of the taste of early England.' He hopes that he will see the Terrells at the Yellow House 'some night'. 20 March [no year]. On letterhead of The Yellow House, 8 Palace Court, Bayswater, London, W. unknown
234226 July 1904 and 16 Aug. no year. Furniture Historian. Two letters SIGNED by Macquoidone by amanuensis he apologises for this - unwell. 3 pages 4to and 4 pages 8vo good condition. He discusses matters which relate to their work on "A History of English Furniture" for which Slocombe provided illustrations - progress on a task; plans wishes; contact with owners/aristos ;travels; suggestions; a sketch of a table; and so on. WITH: a page of notes in Slocombe's hand headed "oak furniture I am to paint"; a typed letter with ms. addition from the Treasurer's House York 2 March 1903 to give facilities for photgraphing; sketches of a couch x 2 and a settee at Hornby Castle with instructions in Slocombe's hand as 26 July 1904; a letter from F.W. Archer 26 Feb. 1903 about the Duke of Leeds permission to paint furniture; a typed letter signed from H.P. Dean 2pp. about a visit by Macquoid his enthusiasm for a settee and his wish for Slcoombe to paint it. An interesting insight into the creation of Macquoid's furniture history. The collection: 26 July 1904 and 16 Aug. (no year). unknown
193433126Allegan: Baker Furniture Factory 1934. Hardcover. Good. Hardcover. 112pp index. Binding shaken but hinges firm prelims foxed pages tanned else a good copy in publisher's cloth backed boards that have some dampstaining to the edges and superficial loss to the spine. <br/><br/> Baker Furniture Factory hardcover
DKEriBAK60Holland MI: nd. folio. pp. 136 2. profusely illus. index. later damaged wrs. many leaves dog-eared. Holland, MI: nd. unknown
200623529West Chester PA: Boor Management LLC 2006. 1st. Hardcover. New/New. 12.3x9.3x1.8in. in shrinkwrap. <br>592pp 7.75lb 12.3x9.3x1.8in <br>EXTRA SHIPPING CHARGES NECESSARY Boor Management LLC hardcover
141915201Olean N. Y.: B & B Furniture. Very Good. Ca: 1914-1915. First Edition. Hardcover. 71/2 x 91/2 inch photograph. The town of Olean New York; North Union #172 Barber Shop. #174 Woolworth 5-10 Cent Store. #176 B&B Furniture Co. New York; B/W Photograph; 4to 11" - 13" tall . B & B Furniture hardcover
200729057Saint-Rémy-en-l'Eau: Éditions Monelle Hayot 2007. 1st. Hardcover. New/New. 12.0x9.6x1.0in. Profusely illustrated in color. Text in French. <br>240pp 3.50lb 12.0x9.6x1.0in Éditions Monelle Hayot hardcover
1397343435.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1397343516.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
199223977Hanover: SPNEA 1992. 1st. Hardcover. Near Fine/Near Fine. 12.3x9.4x1.3in. Signed by Authors. signed by author; small amount of foxing at top of half-title page dust jacket with very faint rub mark across front panel. Dust jacket in clear protector. <br>This important book the result of discoveries made during an exhaustive survey of Portsmouth furniture at more than 230 sites throughout the country places the furniture makers of Portsmouth alongside those of Newport Boston Philadelphia and New York as creators of some of the finest early American furniture. The book contains three essays by James L. Garvin Brock Jobe and Johanna McBrien a graphical description of furniture terminology Reader's Note and a catalogue describing in detail 117 pieces of furniture each illustrated in black & white photographs with 14 of the pieces also illustrated in full-page color plates. In addition there are two appendices on Furniture Makers and Allied Craftsmen and on Portsmouth Branded Furniture and an extensive bibliography. <br>454pp 4.97lb 12.3x9.4x1.3in SPNEA hardcover
05-1207Sheboygan Wis.: Phoenix Furniture Corp. ca. 1952. Tall 4to. 50 illustrated leaves in a three-hole paper folder. Stamped on front: "Our new name is Phoenix Furniture Corp." and "Milwaukee Office." Very good. Sheboygan, Wis.: Phoenix Furniture Corp., ca. 1952. unknown
1929Q1031New York: Halsey McCormack & Heller 1929. Very good. Blueprint 24.5 x 31 inches. Design dated 1929 with 1930 company stamp on the reverse. Full scale schematic drawing for a combination desk lamp/writing set possibly designed for the Williamsburgh Savings Bank Tower in Brooklyn. With an original linen-backed photograph of the object 8.25 x 10.5 inches with binder punches in the gutter and writing on the back light soil and creasing. The blueprint has a 2-inch closed tear along one of the center creases otherwise Near Fine. Currently folded up the blueprint could easily be ironed out for display--or one could track down the original set and have a DIY Joseph Kosuth-style "One and Three Desk Sets" installation a suggestion made in jest but that would actually be pretty neat. <br /> <br />Halsey McCormack & Heller was an architecture firm founded in 1920 known for their landmark Art Deco and Beaux-Arts style bank buildings located around New York including the Williamsburgh Savings Bank Tower in Brooklyn 1927-1929 the Emigrant Savings Bank in the Bronx and the Dime Savings Bank in Brooklyn. <br /> <br/><br/> Halsey, McCormack & Heller unknown
19912090502113716751Not Available 1991. Soft Cover. Fine. The book is in fine condition. Not Available paperback
33991899-1907. The firm apparently antique dealers although it also bought and sold false teeth was established in 1833. All items are addressed to Slocombe with whom the family to whom he was perhaps related by marriage were clearly on intimate terms. Grubby dusty creased dogeared and with several closed tears. The first six letters are from J. B. Fraser the first four being on the letterhead of 'R. D. & J. B. FRASER LIMITED.' 'ESTABLISHED IN THE REIGN OF WILLIAM IV.' Letter 1 Ipswich 4 Jan 1899 4 pages 8vo from J. B. Fraser concerns 'Edith' who is recovering from illness. Letter 2 Ipswich 9 Aug 1900 4 pages 8vo. He sends him a birthday present of 'the enclosed curious antique Ring': 'At first I saw in it only the head of a Girl but on looking closely I found it four-headed bearing the head of a Girl old man - warrior & Ram. It is very old being polished surfaco.' Letter 3 Ipswich 18 Sept 1900 4 pages 8vo. The photo has been sent away but the table is coming from Brighton. He can understand 'the rapture you feel in all your surroundings - Mrs. Fraser & I were there in 1879 & stayed at the Ilfracombe Hotel'. Letter 4 Ipswich 2 Nov 1900 2 pages 8vo. The pictures have been delivered safely 'to the Art Gallery' and Fraser's brother thinks 'my portrait very life-like'. Letter 5 1 May 1901 on letterhead 'CRANE HILL LODGE IPSWICH' 4 pages 8vo. Intimate letter congratulating Slocombe on 'what I regard as a great reward for long & anxious waiting'. Discusses Slocombe's 'regret that your Father's great desire being realized he is not alive to see it'. Letter 6 undated on letterhead 'GWYDYR CASTLE LLANRWST. N. WALES.' 4 pages 8vo in particularly poor condition with untidy closed tear at head of first leaf. Possibly an early letter in which he apologises for having 'Promised more than I can perform' regarding 'the Coats of arms on that Cubbord sic alone'. Describes the coats in some detail. Letters 7 and 8 apparently in a different hand but also signed 'J. B. Fraser'. Both on letterhead 'CRANE HILL LODGE IPSWICH.' Letter 7 17 Oct 1907 4 pages 16mo in extremely grubby stamped addressed envelope with postmarks. Edith has died: 'Daily & indeed hourly I miss poor Edith as seeing she was my first care every morning before leaving home and on my return at night and even now I turn unconsciously to her old room.' Letter 8 2 December 1907 4 pages 16mo. Is disappointed that Slocombe will not be joining them for Christmas 'as you have been for so many years'. Has heard that he 'might send Xmas in America'. 'I miss poor dear Edith every day more and more - It was only this morning I said to her mother as we were dining that we had never heard her murmur or complain of anything but she was always willing to sacrifice herself to the comfort of others.' 1899-1907. unknown
1931005080Privately Printed Hartford Conn 1931. First Edition. Hardcover. Very Good/No Dust Jacket. Signed by Author. Special Limited Edition first issue in this format. Size: Octavo standard book size. Text body is clean and free from previous owner annotation underlining and highlighting. Binding is tight covers and spine fully intact. Inscribed & signed by the author to Alice Van Leer Carrich prolific writer about collecting "Collector's Luck;" "History of American Silhouettes" dated April 1932. Brown cloth spine brown paper over boards paper spine label brown marbled end papers 200 copies privately printed for the author on Glaslan Paper 60 pages frontis and 14 b & w captioned photographic plates errata sheet laid in. If you consider the original paper Mr. Erving delivered to the historical society as the first edition this would be the second edition. Bottom corners lightly bumped some minor wear along bottom edges of boards as well as at spine ends spine label lightly chipped a thin line at top of front boards which could be either an imperfection in the paper or a damp stain no evidence internally of any damp stain; small smudge at bottom edge of page on which inscription is written. In a clear acetate jacket. Quantity Available: 1. Shipped Weight: 1 lb 15 oz. Category: Art & Design; Furniture; Books; Signed by Author. Pictures of this item not already displayed here available upon request. Inventory No: 005080. . Privately Printed hardcover
1391787293.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
139675055X.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
2004BOOKS063868ILondon: Ronald Phillips Ltd 2004. HC. very good w/very good dustjacket hardcover. color illustrations. 175pp. Ronald Phillips Ltd unknown
75-1598Grand Rapids MI: Baker Furniture 1985. 4to. Soft covers. Very good. 39 pp.Black and white plates throughout.Three binding holes punched along inside of pages. Grand Rapids, MI: Baker Furniture, 1985 paperback
