gothic revival side chair

Transcription

GOTHIC REVIVAL SIDE CHAIR
Rosewood, Ash Upholstery c. 1845-55
designed and manufactured by a Chair Maker
Thursday, December 6, 12
T E R M I N O LO GY! ! !
Ogee Arch - A pointed arch composed of reversed curves,
the lower concave and the upper convex
Crocket - an ornament usually in the form of curved and
bent foliage used on the edge of a gable or spire
Finial - a crowning ornament or detail
(as a decorative knob)
Lancet - a pointed arch, of which the width,
or span, is narrow compared with the height
Tracery - architectural ornamental work
with branching lines
Quatrefoil - tracery or an ornament
with four foils or lobes
Finial
Crocket
Ogee Arch
Quatrefoil
Lancet
Tracery
CURULE SIDE CHAIR
Ebonized Cherry, Gilding, Silk Cover, c. 1870
George Hunzinger
Like so many figures in the New York furniture industry of the 1860-70s,
George Hunzinger immigrated to America in 1855 at age 20. Through his long
and fertile career, he was granted 21 patents for furniture innovations. This
chair is perhaps his most enduring one with diagonal cross bracing on the
legs to the back of the chair for strength. The patent date is impressed on
the verso of the crest rail. The upholstery foundations are original to
the chair; however, the show covers are new and composed of a goldtu!ed satin encased in a black, satin-rouched border.
Made by his eponymous firm (1866-98) in New York
City, the chair was offered with less gilding and
more modest upholstery to appeal to different
income levels. The modified curule base, Neo-Grec
style turnings and gilded incising could be admired by
the historicist; conversely, the structurally determined
frame geometry, articulated joinery, standardized
machine-turned components and spare efficiency
of the frame are all true to the modernist canon.
SLING SEAT LOUNGE CHAIR
Anodized Aluminum. Rubber, Upholstery, c. 1935
designed by Warren MacArthur Jr.
ADJUSTABLE LOUNGE CHAIR
Laminated Birch, Brass, 1947
designed by Herbert Von Thaden
Designed by Herbert von Thaden (1898-1969)
Manufactured by Thaden Jordan Furniture
Company (Est. 1946), Roanoke, Virginia
Adjustable Lounge Chair, 1947
Laminated Birch, Brass
TIMELINE!!!
1948: The Museum of Modern Art features
the ‘International Competition for Low-cost
Furniture Design’
MAF (MEDIUM ARM FIBERGLASS) CHAIR
Fiberglass, Enameled Metal
designed by George Nelson
SOLID ELM BALL CHAIR, 1970
Elm Wood
designed and manufactured by Jon Brooks
Designed and Manufactured by Jon Brooks (b. 1944)
New Boston, New Hampshire
Solid Elm Ball Chair, 1970
Elm Wood
TIMELINE!!!
1775: Loyalists cut down
the Boston Liberty
Tree, an elm tree and
meeting spot for the
Sons of Liberty
1960s: Post-Modernism
1970: The Dutch Elm
disease kills 77 million
trees by 1970
HIGH STOOL
corrugated cardboard, masonite, wood, 1971
designed by Frank Gehry
Designed by Frank Gehry (b. 1929)
Easy Edges, Inc. (active 1969-73)
Los Angeles, California
High Stool, 1971
Corrugated Cardboard,
Masonite, Wood
TIMELINE!!!
April 22, 1970: First Earth Day
reflects the growing interest in
recycling and environmentalism
SYNERGISTIC SYNTHESIS XVII, SUB B1 CHAIR
Finn Birch Laminate, Formica ColorCore, Latigo Leather, Sunbrella Acrylic, Top Grain
Leather, Foam, Rubber, Steel, Maple Dowels, 2003
designed and manufactured by Kenneth Smythe
Kenneth Smythe studied architecture briefly in Berkeley, California. His
designs are generated from a unique and personal cosmology and are
gestated over many years. Smythe was inspired by several sources: the
theories of mathematician and philosopher Bertrand Russell (1872-1970);
the music composed by Frederick A.T. Delius (1862-1934); and the Fibonacci
numerical calculations. The designs that he creates come
from the idea of creating them in a series, not each as
individuals. He creates pieces that possess a consistent
seat height and angle. All of Smythe’s
designs are comprised of birch laminate
from Finland stacked together and
finished with Formica ColorCore
plastic. These pieces are next
held together and compressed with
a threaded rod. Although appearing
to be machine manufactured, the chair
is designed and cra!ed by hand.
APPALACHIAN BENT WILLOW
ARM CHAIR
willow branches, wood plank seat, hook
rug seat cushion cover, c. 1890
Designed and Manufactured by a Chair Maker
Southern Appalachian Mountains Region
Appalachian Bent Willow Arm Chair, c. 1890
Willow Branches, Wood Plank Seat,
Hook Rug Seat Cushion Cover
TIMELINE!!!
1897: Francis Goodrich opens
Allanstand Cra! Shop to bring a"ention
to Appalachian cra!s
Late 19th century: Edward Sands Frost
(1843-94) of Biddeford, Maine sells hook
rug designs—burlap fabric with imprinted
artistic pa"erns
1933: The American Federation of the Arts
publishes A Catalogue of Mountain
Handcra!s
LARGE DIAMOND LOUNGE CHAIR
Chrome Wire Frame with Original Green Wool, c. 1952
designed by Harry Bertoia
Italian born sculptor, university lecturer and
furniture designer, Harry Bertoia displayed
a unique stroke of genius with his patented
Diamond Chair for Knoll International in 1952.
Bertoia was an inventor of form and an enricher
of furniture design with his introduction of a new
material: he turned industrial wire rods into a
design icon. Educated at Detroit Technical High
School, the Detroit School of Arts and Cra!s
and Cranbrook Academy of Art in Bloomfield
Hills, Michigan, Bertoia taught metal cra!s at
Cranbrook. He worked with Charles Eames to
develop his signature molded plywood chairs.
Eero Saarinen commissioned him to design a
metal sculptured screen for the General Motors
Technical Center in Detroit. His awards include
the cra!smanship medal from the American
Institute of Architects, as well as AIA’s Gold Medal.
1961 Playboy photo featuring le! to right —
George Nelson, Edward Wormley, Eero Saarinen,
Harry Bertoia, Charles Eames and Jens Risom
“If you look at these chairs, you will see
that they are mainly made of air,
just like light sculptures…
Space goes clean through them.”
— Harry Bertoia
BIRD LOUNGE CHAIR
Chrome Wire Frame with Original Green Wool, c. 1952
designed by Harry Bertoia
FANCY SIDE CHAIR
Wood, Paint, Rush, Upholstery, c. 1820
WIRE SEAT SIDE CHAIR
MAPLE, POLYCHROME, COTTON COVERED METAL STRAPS
designed by George Hunzinger
FAUX BAMBOO SIDE CHAIR
Maple, Cane, c. 1880-1890
designed by Robert J. Horner
The American design industry was so heavily influenced by
Japanese culture towards the turn of the century that bamboo had
started making appearances in almost every form of cra!s, such as
wallpaper, glass, furniture and textiles. Real bamboo itself is very
sturdy and abundant, but hollow. This
resulted in a dilemma for R.J. Horner
and Company and their desire to
manufacture bamboo furniture. They
solved this by creating a formulated and
precise system of lathe-turned rings and
joint balls on very light, hard and round
pieces of maple—giving way to the “Faux
Bamboo” style furniture for which they
were most known. The popularity of
these items grew and were placed in
bedrooms, garden rooms, country homes,
hobby rooms and private si"ing rooms.
“MCKINLEY ARM CHAIR”
Oak, Cane, Pigment and Stain, 1894-96
designed by David Wolcott Kendall
Designed by David Wolco! Kendall (1851-1910)
Manufactured by Phoenix Furniture Company
(Founded 1870), Grand Rapids, Michigan
“McKinley” Arm Chair, c. 1894-96
Oak, Cane, Pigment and Stain
TIMELINE!!!
1888-89: David Wolco! Kendall
develops wood-stain colors
April 5, 1897: First ”American Arts
and Cra"s Exhibition” opens at
Copley Hall, Boston
COLONIAL REVIVAL COMB-BACK
WINDSOR ARM CHAIR
Oak, Southern Yellow Pine, c. 1928
designed and manufactured by Virginia Craftsman, Inc
JOHNSON WAX COMPANY CHAIR
Enameled Steel, Original Loop Pile Upholstery, Brass
designed by Frank Lloyd Wright
Designed by Frank Lloyd Wright (1867-1959)
Manufactured by Steelcase Corporation
Grand Rapids, Michigan
Johnson Wax Company Chair, c. 1938
Enameled Steel, Original Loop Pile Upholstery, Brass
TIMELINE!!!
1886 - present: S.C. Johnson Company also known as
Johnson’s Wax of Racine, Wisconsin
1930-45: Art Moderne Style
1933-39: “Falling Water,” Bear Run, Pennsylvania
1937: “Taliesin West,” Sco!sdale, Arizona
1956-59: Solomon R. Guggenheim Museum,
New York, New York
THE NAVY CHAIR, 1944
Brushed Aluminum
designed by manufactured by Emeco for the U.S. Navy
ACRYLIC CHAIR, 1957
Modeled Acrylic Resin, Polyester Upholstery
designed by Erwine Laverne
ROCKING STOOL, 1958
Walnut, Chromium Plated Steel Wire
designed by Isamu Noguchi
Isamu Noguchi (1904-1988) is considered one of the foremost
American sculptors of the middle 20th century. In 1954, Knoll
Associates debuted a rocking stool, which Noguchi had designed
for them a year earlier. Available in two heights, it
was patented in 1958. This example is
the taller version. Though not
many sold, the design was
so acclaimed that in 1957,
and without any involvement
from the designer, the manufacturer
adapted the stool design into to a
dining table by substituting a broad white
laminate top and a heavy flat cast iron disc as
the base. That version sold well for many years.
Noguchi’s former sculpture studio in Long Island
City, New York is now a museum.
RUSTIC TWIG BENCH
Cast Iron, Black/Green Paint, c. 1855
designed and manufactured by Janes Beebe & Co.
GRASSHOPPER ARM CHAIR
Laminated Birch Upholstery
designed by Eero Saarinen, manufactured by Knoll Associates
EGYPTIAN REVIVAL SIDE CHAIR
Ebonized Cherry, Lisere Rep 1865 Document Cover
Designed and Manufacture Attributed to Pottier & Stymus
LADDERBACK DOLL’S CHAIR
Wood, Rush, Dark Green Paint with Floral Sprays
SIDE CHAIR
Ebonized Cherry, Gilding, Silk Lampas of Document
used on Herter Seating Furniture (original foundation), c. 1880
designed by Christian Herter
LADY’ RECEPTION CHAIR
Natural unpainted Rattan, Hardwood, c. 1885
designed and manufactured by Wakefield Rattan Co.
CHILD’S WICKER RECLINING CHAIR
Natural Wicker, Printed Velvet, Brass
designed and manufactured by Wakefield Rattan Co.
SIDE CHAIR
Mahogany, Rosewood, Inlay of Copper, Brass, Pewter and
Mother-of-Pearl, Silk Lampas Cover, 1885
designed and manufactured by Hertz Brothers
“SHERATON” CHAIR
Screenprinted Laminate over Plywood
designed by Robert Charles Venturi
PIERCED TALL BACK SIDE CHAIR
Ebonzied Cherry, Silk Gauffrage Velvet Cover
designed and manufactured by Frederick Krutina
TEXAS LONGHORN ARM CHAIR
DESIGNED BY WENZEL FRIEDRICH
Texas Longhorns, Ivory, Oak, Silk Satin Cover, Brass, and Louis
Comfort Tiffany Glass Ball Casters, c. 1890
Designed by Wenzel Friedrich (1827-1902)
Manufactured by Wenzel Friedrich (active 1880-c.1890), San Antonio, Texas
Texas Longhorn Arm Chair, c. 1890
Texas Longhorns, Ivory, Oak, Silk Satin Cover, Brass and
Louis Comfort Tiffany Glass Ball Casters
TI M EL I N E! ! !
1845: Texas becomes the 28th state to join Union
1867: The Chisholm Trail is used to move longhorn ca"le to
market from Wichita to Abilene
1880s: Barb wire fencing closes the open range in Texas and
led to the demise of longhorn and open range
1890: U.S. government declares the frontier closed
1890: Buffalo Bill’s Wild West Show travels
Music – 1893: Two Kentucky teachers write Happy Birthday
IONIC BENCH
baltic birch plywood, 2010
designed by Laurie Beckerman
Designed by Laurie Beckerman (b. 1953), New York
Fabricated by Heritage Woodshop (Est. 1995),
Brooklyn, New York
Ionic Bench, 2010
Baltic Birch Plywood Laminate
The Ionic Bench is inspired by the capital of an ionic column.
Instead of the look of dense stone, the lines of the form are
extracted to create a light, spacious and resilient bench in
which a person sits in the middle — framed on either side
by two big, luxurious scrolls. The lines of the plies evoke a
feeling of movement and vibrancy. Made from 1" thick Baltic
Birch plywood, the bench’s profile is cut out 18 times with the use of CNC technology. The slices
are laminated together for a strong, curvaceous form. The surfaces that reveal the plies are finely
sanded and coated with a high-quality Italian acrylic; the result is a seat that is sensuously smooth
to the touch. Beckerman, an architecture graduate of the Pra! Institute, envisioned this design
as perhaps a hallway bench where boots could be stored in the curves. Not only is this bench
functional, it’s beautiful proportion was inspired by the artist’s study of the golden rectangle.
LCW (LOUNGE CHAIR WOOD)
Molded Birch Plywood, c. 1954
designed by Charles and Ray Eames
The ‘LCW’ (Lounge Chair Wood), designed by husband and wife team Charles and Ray Eames,
is undoubtedly the most celebrated chair design of the 20th century. The underlying material
choice actually begins with New Yorker John Henry Belter’s long-expired the long expired 1858
patent for using heat and pressure to bend laminated wood with alternating grain direction into
complex curved profiles. A!er meeting at the Cranbrook
Academy, Ray assisted Charles and Eero Saarinen in their
molded plywood design for the Museum of Modern Art’s
“Organic Furniture Competition” for which they won
first place. The Eameses continued working in molded
plywood with a wartime commission to supply leg splints
to the military. Further refinements in their technology
resulted in the Biomorphic Modernism Style LCW. The
striking aesthetics of this chair, which can seem almost
zoomorphic, derive from the separation of the so!ly
biomorphic-shaped back (head), seat (thorax), spine and
legs, appearing to float by way of the mostly unseen
rubber shock mounts. The chair’s stance feels animated.
ROCKING ARM CHAIR
MAPLE, CLOTH TAPE, C. 1840
SLIPPER
CHAIR
Grape Vine, Oak Leaf, Carved and Laminated Rosewood,
Caster, Silk Damask Cover, c. 1855
designed and manufactured by John Henry Belter
In the late 18th century, enlightened Americans like Thomas Jefferson admired the fashion, culture,
and arts of our revolutionary war ally, France. With the return to power of Napoleon III’s second
empire in the mid-19th century, interest was revived in the Rococo style of France’s ‘Ancien Regime’.
A German immigrant, John Henry Belter, used technological innovations in the
creation of his chairs which manifested in a number of forward looking patents.
On July 31, 1847, Belter patented a type of jigsaw that efficiently cut the
elaborate pierced back. He then followed with a patent on February 23, 1858,
that detailed a method for bending laminated wood in multiple directions into
a continuous rail and stile for pleasing aesthetics and added strength. This
innovative process was employed 100 years later in the modernist chair designs
of Charles and Ray Eames’ LCW, c. 1954. Rococo Revival motifs are represented
by realistically carved floral and foliate bundles at the back, crest, undulating
apron front, and on the delicate front cabriole legs integrated with the bold
pierced silhoue#e of intertwined volute scrolls. The low seat height made it
easier for women during the 19th century to put on stockings and slippers,
in addition to other a#ire which included fashionable camisoles, pe#icoats,
laced corsets and full-skirted dresses. The blue silk damask fabric cover is
similar to that which is used in an example at the Metropolitan Museum of Art.
CENTRIPETAL ARM CHAIR
Cast Iron, Wood, Sheet Metal, Gauffrage Velvet Cover,
Faux Rosewood Cover, c. 1850
Designed by Thomas E. Warren (active with American Chair Co. 1849-52)
Manufactured by the American Chair Co., Troy, New York (1829-1858)
Centripetal Spring Arm Chair, c. 1850
Cast Iron, Wood, Sheet Metal, Gauffrage Velvet Cover, Faux Rosewood Graining
T I MEL I N E!!!
1820-40s: Railroads blossom and link towns; by 1840,
3,000 miles of tracks; then by 1890, 164,000 total miles;
U.S. time zones created to coordinate railroad timetables
1840-70: Rococo Revival Movement
Music – 1851: Old Folks at Home
Music – 1855: Old Lang Syne
1857: The steel coil spring is first patented for use in a chair seat
1858: W.S. Thomson patents steel cage ladies crinoline in the U.S.
HOUSE OF REPRESENTATIVES
CHAMBER ARM CHAIR
designed by Thomas Ustick Walter, c. 1857
Designed by Thomas Ustick Walter (1804-1887)
Manufactured by Hammi! Desk Manufacturing Company,
Philadelphia, Pennsylvania
House of Representatives Chamber Arm Chair, 1857
TIMELINE!!!
1860-1880: American Second Empire Style
Music – 1861-2: Ba!le Hymn of the Republic
1851: Walter is appointed Architect of the Capitol June 11
1857-1859: The 35th Congress, composed of 237
Representatives and 7 Delegates, meets
1863: Ma!hew Brady Studio photographs President
Lincoln in a House of Representatives Chamber Arm Chair
1861-1865: Civil War fought
1863: Lincoln issues Emancipation Proclamation
SUPERLIGHT, 2004
Brushed Aluminum
designed by Frank Gehry, Manufactured by Emeco
CURRENT, 2004
Steel, Auto Paint
designed by manufactured by Vivian Beer
OXBOW ARM CHAIR, 1903
Oak, Original Green Leather, Hand-wrought Copper
designed by David Robertson Smith
Designed by David Robertson Smith
Manufactured by Stickley Brothers (Albert and John George)
(1891- c. 1932), Grand Rapids, Michigan
Oxbow Arm Chair, c. 1903
Oak, Original Green Leather, Hand-wrought Copper
TIMELINE!!!
1900-25: American Arts and Cra!s Movement
1900: Jazz developed in New Orleans
1900: U.S. population 76 million, more than
4,000 millionaires
1901: Gustav Stickley publishes Cra!sman
Magazine
1903: Wright Brothers fly the first
successful airplane
PLANK-BACK CHAIR
Fumed Oak, Leather, Brass, c. 1905
designed by Charles P. Limpert Company
The intellectual underpinnings of the Arts and Cra!s
Movement came from the 19th century reformers John
Ruskin (1819-1908) and William Morris (1834-1896). In
the early 20th century, it was brought into the arena
of design as a reaction against the late Victorian era,
and moved towards a focus on morality and domestic
life. Stickley Brothers, Roycro!ers, Joseph McHugh
and Charles Limbert used much of the language
that describes the Arts and Cra!s Movement
in advertising copy. Considered to be part
of Limbert’s “Dutch Arts and Cra!s” line of
1902, this design employs unique synthesis of
styles used in the Glasgow school and Weiner
Werksta"e. An example of this rare design has
surfaced bearing the original paper label of
the firm indicating a manufacture date of 190205.
GRASSHOPPER ARM CHAIR
designed by Eeron Saarinen
MOLDED FIBERGLASS CHAIR
Molded Fiberglass, Iron, c. 1950
designed by Greta Magnusson Grossman

gothic revival side chair

Transcription

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