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The tilt-top tea table on a tripod was first made during the "Queen Anne" (in reality George II) period in the 1730s. [16] Queen Anne eventually was eclipsed by the later Chippendale style; late Queen Anne and early Chippendale pieces are very similar, and the two styles are often identified with each together. [17] [18] [19] [20]
The entrance hall, double parlors, and dining rooms are significant in that the décor and character is preserved. The unpainted windows and stairway banister have natural wood finishes that have darkened over time. The doors, stairway panels below the railing, and dining room wainscoting have the same 19th century oak graining.
Amish furniture-making is often a skill passed through many generations. Most Amish children rarely attend school beyond eighth grade, often to help out at home, or in the shops. Many families become known for their specific design details and niches. Some woodworkers focus only on outdoor furniture, others on pieces for the living room or bedroom.
The William and Mary style was a transitional style between Mannerist and Queen Anne furniture. [4] The William and Mary style was very popular in Britain from 1700 to 1725, [1] and in America until about 1735. [3] It was largely supplanted in both nations by Queen Anne style furniture. [3]
The former House and School of Industry at 120 West 16th Street in New York City Simon C. Sherwood House (1884), Southport, Connecticut. The British 19th-century Queen Anne style that had been formulated there by Norman Shaw and other architects arrived in New York City with the new housing for the New York House and School of Industry [3] at 120 West 16th Street (designed by Sidney V ...
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George Devey (1820–1886) and the better-known Norman Shaw (1831–1912) popularized the Queen Anne style of British architecture of the industrial age in the 1870s. Norman Shaw published a book of architectural sketches as early as 1858, and his evocative pen-and-ink drawings began to appear in trade journals and artistic magazines in the 1870s.