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.

"This project is the first comprehensive study of a phenomenon that not only dominated the American arts of the 1870s and 1880s, but also helped set the course of such later developments in the United States as the Arts and Crafts movement, the indigenous interpretation of Art Nouveau, and even the rise of modernism. In fact, the early history of the Metropolitan--its founding, its sponsorship of a school of industrial design, and its display of decorative works--is inextricably tied to the Aesthetic movement and its educational goals. "In Pursuit of Beauty: Americans and the Aesthetic Movement" comprised some 175 objects including furniture, metalwork, stained glass, ceramics, textiles, wallpaper, painting, and sculpture. Some of these had rarely been displayed; others, although familiar, were being shown in new and even startling contexts. The exhibition and catalogue are arranged thematically to illustrate both the major styles of a visually rich movement and the ideas that generated its diversity"--From publisher's description.

Some styles of decorating have a longer shelf life than others. One of the most durable is what has come to be known as English Country Style, which works just as well in a city apartment or suburban home as it does in a rectory or manor house. We may recognize an interior as archetypally English, but putting a finger on exactly what makes it so can be tricky. One of the strengths of English style is that it isn’t prescriptive. In fact, quite the opposite. It is relaxed, laissez-faire, and endlessly adaptable—all reasons, no doubt, why it has enjoyed such longevity. You may know it when you see it, but what are its essential ingredients? In Perfect English Style, Ros Byam Shaw looks at a range of rooms with a strong English feel to them. As it happens, almost all are in England, although this is a look that travels the world, from the Americas to the Antipodes, still predominantly English in flavor even when spiced with foreign ingredients. She explores the main rooms of a house, their characteristics and furnishings, and how they achieve that mix of comfort, informality, and visual charm that is the hallmark of English style. Ros also homes in on specifics: the qualities of patina, the important role of fabrics, how to buy and include antique and vintage furnishings, and how a collection, whether of pebbles or 18th-century glass, adds individuality and character.

The English style in interior design is admired and imitated the world over. The English style in interior design is admired and imitated the world over. At its grandest it is a stately home furnished with antiques, but the houses featured in this book are country cottages, farmhouses, townhouses, and apartments. What links them is as much an attitude as a look. The English style of decoration is practical and informal, designed around the inhabitants of the rooms and their lifestyles rather than to awe or impress. These houses are lived in and loved, with interiors that are comfortable, relaxed and not afraid to be pretty. All are perfect in their own way, and all as endearingly English as saying sorry when someone treads on your foot. The book’s chapters—Plain English, English Eccentric, English Rose, English Country House and Classic English—reflect the many and varied facets of English style, and each section ends with pages devoted to suggestions and ideas for furnishing a house in all these versions of English style. At the back of the book, there is also a comprehensive listing of suppliers to help readers create their very own take on perfect English style.

For those interested in the history of art collecting, this book is a unique source of information. There is a growing awareness not only of the importance of collecting as a factor in the history of art, but also how vital the details of provenance are on items traded in the art market. The author has gone to the most revealing sources to produce, in effect, a history of collecting in England and a study of the gradual emergence of the museum as a national institution. The book also contains a most useful and detailed bibliography of collecting history.