Although his brief but productive career as a cabinetmaker in New York lasted a mere sixteen years, the French-born maitre ebeniste Charles-Honore Lannuier (1779-1819) was a leading figure in the development of a distinctive and highly refined style of furniture in the Late Federal period. A contemporary of the renowned master Duncan Phyfe, Lannuier, like him, made fashionable gilded card tables, marble-topped pier tables, bedsteads, and seating furniture for wealthy clients numbering among the mercantile and social elite of New York, Philadelphia, Baltimore, Richmond, and Savannah. This volume, which complements the exhibition "Honore Lannuier, Parisian Cabinetmaker in Federal New York" held at The Metropolitan Museum of Art, New York, in spring 1998, represents the most complete study of Lannuier's life and work published to date.

Although his brief but productive career as a cabinetmaker in New York lasted a mere sixteen years, the French-born maitre ebeniste Charles-Honore Lannuier (1779-1819) was a leading figure in the development of a distinctive and highly refined style of furniture in the Late Federal period. A contemporary of the renowned master Duncan Phyfe, Lannuier, like him, made fashionable gilded card tables, marble-topped pier tables, bedsteads, and seating furniture for wealthy clients numbering among the mercantile and social elite of New York, Philadelphia, Baltimore, Richmond, and Savannah. This volume, which complements the exhibition "Honore Lannuier, Parisian Cabinetmaker in Federal New York" held at The Metropolitan Museum of Art, New York, in spring 1998, represents the most complete study of Lannuier's life and work published to date.

The Grove Encyclopedia of Decorative Arts covers thousands of years of decorative arts production throughout western and non-western culture. With over 1,000 entries, as well as hundreds drawn from the 34-volume Dictionary of Art, this topical collection is a valuable resource for those interested in the history, practice, and mechanics of the decorative arts. Accompanied by almost 100 color and more than 500 black and white illustrations, the 1,290 pages of this title include hundreds of entries on artists and craftsmen, the qualities and historic uses of materials, as well as concise definitions on art forms and style. Explore the works of Alvar Aalto, Charles and Ray Eames, and the Wiener Wekstatte, or delve into the history of Navajo blankets and wing chairs in thousands of entries on artists, craftsmen, designers, workshops, and decorative art forms.

The 19th century in Western culture was a time of both confidence and turbulence. Industrial developments resulted in a number of benefits from a growing middle class to efficiency, convenience and innovation across a range of fields from engineering to architecture. Alongside these improvements, the century began with the extended period of the Napoleonic Wars and was further disrupted by rebellions and revolutions both within Europe and in India, South America and other parts of the world. Slavery was abolished and urbanization increased dramatically. These myriad developments were reflected throughout the period in the proliferation of types of furniture, along with their categorization as 'industrial art' at the international exhibitions and world fairs and the increasingly adventurous range of materials that were sometimes used in their construction. Nonetheless, a strong antiquarian/historicist strand also prompted interest in the revival of past styles in areas of art and design, including furniture. Drawing upon a wealth of visual and textual sources, this volume presents essays that examine key characteristics of the furniture of the period on the themes of Design and Motifs; Makers, Making, and Materials; Types and Uses; The Domestic Setting; The Public Setting; Exhibition and Display; Furniture and Architecture; Visual Representations; and Verbal Representations.

The culmination of a two-part project, this volume takes an extended look at recent, important acquisitions by the Art Institute of Chicago's departments of American Arts, Architecture, Asian Art, European Painting, and Prints and Drawings. Bringing the museum's collecting activities into wide public view, it showcases over forty notable works handpicked by Art Institute curators and the museum's director and president, James N. Wood. Together with its companion issue, which was published in Fall 2003, this publication explores art works acquired between 1992 and 2003, years that have brought significant additions to every area of the Art Institute's holdings. This volume surveys an impressive array of objects, including a glittering Empire card table from early nineteenth-century New York; a fragment of Frank Lloyd Wright's Imperial Hotel, Tokyo (1923); and important paintings and works on paper by artists as diverse as Lee Krasner, Edvard Munch, Ni Zan, and Rembrandt van Rijn. Illuminated by striking, full-colour reproductions and a lively, accessible text, this is an indispensable guide to the newest and finest the Art Institute has to offer.

Founded in 1791, the Albany Institute of History and Art is one of the nation's oldest cultural institutions. Today, it boasts outstanding collections largely focused on New York State's Upper Hudson Valley. These include Hudson River School landscape paintings, portraits by Ezra Ames and Charles Loring Elliott, sculpture by Erastus Dow Palmer, landscape and interior paintings by Walter Launt Palmer, and Albany –made silver and other crafts. This comprehensive overview of the Albany Institute of History and Art's American art and decorative-arts collections, presents color plates and essays on about 130 objects (of a total exceeding 20,000). Dating from the beginning of the seventeenth century to the 1990s, each object in this volume was chosen for its national significance, artistic merit, and relevance to the Institute's mission: collecting and interpreting the art, history, and culture of New York State's Upper Hudson Valley through four centuries.