This major illustrated study investigates farmhouse and cabin furniture from all over the island of Ireland. It discusses the origins and evolution of useful objects, what materials were used and why, and how furniture made for small spaces, often with renewable elements, was innate and expected. Encompassing three centuries, it illuminates a way of life that has almost vanished. It contributes as much to our knowledge of Ireland's cultural history as to its history of furniture. Lavishly illustrated with a mass of the author's own photographs, mostly in colour and many previously unpublished, it draws on several decades of fieldwork, underpinned by academic research. It looks at influences such as traditional architecture, shortage of timber, why and how furniture was painted, and the characteristics of designs made by a range of furniture makers. The incorporation of natural materials such as bog oak, turf, driftwood, straw, recycled tyres or packing cases is viewed in terms of use, and durability. Chapters individually examine stools, chairs and then settles in all their ingenious and multi-purpose forms. How dressers were authentically arranged, with displays varying minutely according to time and place, reveal how some had indoor coops to encourage hens to lay through winter. Some people ate communally or slept in outshot beds, in the coldest north-west, this is illustrated through art as well as surviving objects. Hanging cradles and falling tables are discussed. A chapter is devoted to the hearth and the shrine, another focuses on small furnishings, such as horn spoons, wooden drinking vessels, basketry, tin-ware, aluminium, coarse earthenware and spongeware pottery.

This study focuses on the various customs and behaviour surrounding the objects which belonged to the majority of the Irish population. Where some were too impoverished to own furniture, it looks at how they managed without it, as well as the interaction of means of survival. The emphasis is placed upon materials, techniques, and makers; within this framework there emerges a functionalism and purity which has no heroes.

A preoccupation with the finest period furnishings of the upper classes of English society has, until very recently, dominated the literature on antique furniture, resulting in a neglect of the humbler, but equally important furniture used in ordinary homes over the centuries. While furniture historians in North America and in many European countries have long accepted the vital importance of their own vernacular - or "country" - furniture, recognising it as an essential element of social history, the English equivalent has often been treated almost with contempt by British writers and relegated to the back pages of native furniture studies. This attitude is now recognised as unacceptable, however, and the vernacular furniture of England has accordingly become the focus of intensive research. Making use of much of this recent research, English Country Furniture throws fresh light on the uses, dates and stylistic differences of the everyday furniture found in cottages, farmhouses and town houses of ordinary people over a span of some four centuries. Special emphasis is placed on the 18th and 19th centuries in recognition of the much higher survival rates of true "folk" furniture from more recent times. Each of the examples illustrated, most of them previously unpublished in book form, is accompanied by a detailed caption giving timber, an accurate date-range and an extensive description, including such information as regional characteristics, finish, stylistic influence and construction. This is the only major work devoted to the evolution of both national and regional vernacular furniture in England from the Middle Ages up to the 20th century. It is also the first to stress the full importance of Oriental influence on 18th-century furniture design; the first to make use of fresh and exciting material salvaged from the Mary Rose; and the first to pinpoint precisely the inventions of several items of machinery used in furniture-making.

"Part of the appeal of vernacular furniture - a relatively recent field of serious study - is that to understand it we must look closely at social history, and engage with lifestyles that range from self-sufficient to sophisticated." "Bernard Cotton investigated museums and libraries; but whenever possible he and his wife Gerry made it a priority to discover pieces in their contexts, to meet the people who used them, and to understand how they were made. The story of their quest is itself an adventure. Some of the objects they photographed - on, for instance, the deserted northern island of Stroma - represent the life and death of a community, the vital evidence of a vanished culture."--BOOK JACKET.

In Essentially Irish, antiques dealer and stylist Josephine Ryan offers a privileged glimpse into a fascinating array of Irish homes. The interiors featured include elegant Georgian country houses, chic city apartments, pretty cottages and striking contemporary homes. Their decorative styles may differ, but each home demonstrates what has made Irish interiors admired the world over - a rich colour palette, a close affinity with the landscape, an appreciation of the patina of the antique and a passion for the work created by a rich tradition of artists and craftsmen. The homes in this book are every bit as varied as their creative owners, and the carefully chosen locations illustrate the many facets of classic Irish style. This book is perfect for anyone who seeks ideas for their own Irish-inspired interior, or for those who simply want to dream... * From the author of the best-selling French Home (more than 37,000 copies sold). * An easy-to-achieve, beautiful look for anyone who loves Ireland and Irish style. * Stunning photography by leading Irish interiors photographer James Fennell.

Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.

This book describes the living-room artifacts, clothing styles, and intellectual proclivities of American classes from top to bottom.

Illustrated with 200 stunning photographs and encompassing objects from furniture and ceramics to jewelry and metal, this definitive work from Jo Lauria and Steve Fenton showcases some of the greatest pieces of American crafts of the last two centuries. Potter Craft

Catalogue published in conjunction with the exhibition "Extravagant Inventions: the Princely Furniture of the Roentgens" on view at The Metropolitan Museum of Art, New York, from October 30, 2102, through January 27, 2013.