Colonial Revival Furniture Makers,Wooden Bench Chest Plans,House Plans Central Courtyard Pool - New On 2016

07.01.2014, admin  
Category: Yard Furniture Plans

This entry was posted in Chalk Painting, Furniture Styles, upcycled furniture and tagged American Colonial Revival, Barcelona orange, Emperor's silk, maple furniture from 1940's, MMS Tricycle, rustic American furniture, Vilas and Roxton furniture.
A seminal exhibition at the Museum of the City of New York, “The American Style: Colonial Revival and the Modern Metropolis” (through October 30, 2011), is an eye opener. The colonial revival, a movement encompassing aesthetic and political expression, had roots in the nineteenth century, accelerated with the centennial of the American Revolution, flourished in the first half of the twentieth century and remains with us today. While many of its proponents were from historical American families, such as the architect Stanford White, even recent immigrants identified with the style, such as the furniture maker Ernest Hagen from Germanyand the antiques dealer Israel Sack from Lithuania. The fervor for the colonial revival style coincided with a wakening national awareness of America’s own rich legacy. As the curators explain, the American style creates an “overall sense of elegance derived from economy and restraint.” Because of its emphasis on proportion and design, colonial revival serves as a springboard for endless re-interpretation. The colonial revival movement was the summation of the efforts of many scholars, publishers, museums, collectors and tastemakers over a substantial period of time. Artisans also began to look to the more recent past, with many abandoning the inspiration of distant periods, such as the Egyptian Greek, Roman and Gothic, in favor of a revival of more recent seventeenth- and eighteenth-century styles, such as the Rococo. One of the greatest aspects of the exhibition is the attention it pays to the emergence, in the third quarter of the nineteenth century, of scholarly interest in and recognition of what makes the American colonial style unique. The curators also highlight Wallace Nutting as one of the pioneers in the study of antique furniture and colonial architecture. The colonial revival style in furniture includes a range of sources and manifests itself in various interpretations, from faithful copies to creative and artistic works informed by the past. In the heyday of the colonial revival, there was an almost hysterical passion for reviving the early work of Duncan Phyfe, one of New York’s most famous cabinetmakers in the first half of the nineteenth century.  While Ernest Hagen pioneered the renewed admiration of Phyfe, by the early twentieth century, other craftsmen were following his example. I want to plant a red and white flag on that beautiful Massachusetts’ restored farmhouse and move in the red and white colonial dresser built and revived in Canada by Canadians.

Broadly defined in aesthetic terms, colonial revival encompasses the period from the seventeenth century to Greek Revival classicism.  In its heyday, colonial revival relied on the eighteenth-century American interpretation of Georgian architecture and the Federal period’s interpretation of the Adam style and the English Regency.
Longings for the colonial spirit surfaced as early as the first half of the nineteenth century, as New Yorkers felt the shock of the rapidly changing times of the industrial age.
The exhibition pays special attention to the pioneering contribution of the firm McKim, Meade and White, not just for their outstanding architectural contributions but also for their scholarship of the colonial heritage. He took a great interest in the old New York furniture his clients asked him to repair and started collecting information, compiling a scrapbook now at the Museum of the City of New York. Hagen initiated the study of the furniture of Duncan Phyfe, the renowned nineteenth-century New York cabinet maker, and acquired some of Phyfe’s templates and tools.
In 1904, he opened the Wallace Nutting Art Prints Studio in New York, where he sold tinted photographic images of the American countryside and interiors of early homes with period furniture and models dressed in historic costumes.
Suburbs soon featured modest colonial-inspired dwellings, and local banks, town halls and even commercial establishments like Howard Johnson’s adopted an interpretation of the style. Many revivalists reproduced antiques faithfully, including Wallace Nutting, Ernest Hagen, the Margolis brothers and Eleanor Roosevelt, who founded and managed Val Kill Industries, a firm that copied colonial furniture and decorative arts. In the New York City borough of Queens, a factory called the Company of Master Craftsmen produced Phyfe-style furniture for their sponsor, the W.
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The hardcover catalogue, The American Style—Colonial Revival and the Modern Metropolis (City of New York and the Monacelli Press) includes essays by the co-curators of the exhibition, Donald Albrecht, the Museum’s curator of architecture and design,  and Thomas Mellins, an architectural historian.
Long before the founding of the firm in 1879, these architects had documented, sketched and measured historic colonial houses in Newport, Rhode Island, and Newburyport, Marblehead and Salem in Massachusetts, as well as Portsmouth, New Hampshire. By 1917, he was producing reproductions, and in 1928 he published his Furniture Treasury, with 5,000 photographs of antique American furniture. In his Colonial Furniture in America (Scribner’s, 1901),  Luke Vincent Lockwood covered nearly three centuries of American furniture.

The curators offer the Knickerbocker Club (1913) on East 62nd Street as an example of the colonial revival style in architecture.
While no evidence of the building’s original appearance existed, the newly renovated building conveyed a colonialism suitable for its new purpose as the Sons’ headquarters. The celebration included the first major public exhibition of American antique furniture, held at the Metropolitan Museum of Art. For the colonial revival movement, what made the American style was distinct sense of conciseness. Freedlander, is itself an outstanding example of the colonial revival movement, with its portico echoing Pierre L’Enfant’s 1788 facade for Federal Hall on Wall Street.
With the leadership of the Institute of Classical Art and Architecture, architects continuing the colonial revival legacy include Robert A. Horner, wereNew Yorkfirms that instead freely mixed colonial and other styles in the same object. For the bicentennial of the birth of George Washington in 1932, New York department stores such as Altman’s offered Colonial-style for the celebration ball at the Waldorf. Schmidt’s three colonial revival houses (1920), which helped make Sutton Placea stylish enclave. What makes this teapot such a great example of the American style is that Tiffany chose neither the most elaborate nor the plainest example, but rather one with the elegance and restraint sought by the colonial revival movement.

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