Synopsis A guide and reference with 240 illustrations of chairs, tables, candelabras, and other collectibles, including photos of top, side, and base for ready identification.
| Details | | Publication Date: | 1996-10-01 | | Editor: | Paul Atterbury |
| Size | | Length: | 159 pages | | Height: | 11.8 in | | Width: | 9.8 in | | Thickness: | 0.5 in | | Weight: | 36.0 oz |
Publisher's Note Whether you are a seasoned antique hunter or a novice, it is easy to feel overwhelmed by the terminology of the salesroom or the dealer when considering a purchase or assessing a piece you already own. What is a splat? A stretcher? How can you distinguish solid walnut from good veneer? And how easy is it to date pieces accurately? The Bulfinch Anatomy of Antique Furniture is the ultimate guide, acting as a comprehensive visual glossary for the reader. More than 200 pieces are reproduced in lavish photographs with copious annotation and a wealth of illustrative detail, covering all categories of furniture in every manifestation. Eight chapters look at a full spectrum of pieces, from chairs, tables, and beds to painted furniture, mirrors, and kitchen collectibles. Special pages in each chapter offer dozens of variations on particular features - feet, castors, chair backs, finishes, and much more - while others concentrate on a specific piece, highlighting the crucial points to look for. Side panels illustrate notable variations, which may differ according to country and local materials available at the time. Historical context and stylistic developments, together with named designers and cabinetmakers, are depicted in specially devised timelines, taking the reader from the late 1600s to the 1920s. Equally valuable as an introduction for the keen beginner or a refresher course for the experienced buyer, The Bulfinch Anatomy of Antique Furniture provides a unique approach to an endlessly fascinating subject.
Industry Reviews "This guide to furniture made between 1600 and the early 20th century is a terrific primer for the novice collector." New York Times - Mitchell Owens (12/05/1996)
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