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Relevant bibliographies by topics / Victorian furniture

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Journal articles
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Books
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Academic literature on the topic 'Victorian furniture'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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Journal articles on the topic "Victorian furniture"

1

Carls, Kenneth R., and Clive D. Edwards. "Victorian Furniture: Technology and Design." Albion: A Quarterly Journal Concerned with British Studies 27, no. 1 (1995): 151. http://dx.doi.org/10.2307/4052717.

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Chatterjee, Arup K. "A Study in Furniture: The Moonstone’s “Detective Fever” and Pharmacy of Deduction." Interdisciplinary Literary Studies 24, no. 1 (March 1, 2021): 142–71. http://dx.doi.org/10.5325/intelitestud.24.1.0142.

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ABSTRACT This article challenges notions of furniture as being merely figures of speech in Victorian fiction, through what is here demonstrated in an archetypology of furniture based on Wilkie Collins’s novel, The Moonstone (1868). Taking the story beyond its allegory of imperial psychology, I chart the functional aspects of furniture, viewed as archetypes. The Moonstone inspired the interiors of detective plots in the works of Sir Arthur Conan Doyle and Agatha Christie, enabling furniture to transcend its status as dispensable nouns and assume archetypal roles that catalyse and morph the interiors and plots of literary texts. The Moonstone overturned prescriptive and eroticized stereotypes of Victorian parlours, replacing them with male-criminal-and-detective archetypes and the archetypal pharmacy—the prototypical 221B Baker Street quarters. The novel furnished characters’ intimate relationships to objects (glass artifacts, tables and chairs, chests of drawers, and bookshelves), which in turn furnishes the detective plot, at a time when Victorian aesthetics was witnessing a functionalist turn. This in turn shaped the investigative spaces of Holmes and Poirot with tremendous value derived from the new archetypal functions of furniture.

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ATTFIELD, J. "Victorian Furniture: Technology and Design * Twentieth-Century Furniture: Materials, Manufacture and Markets." Journal of Design History 8, no. 3 (January 1, 1995): 231–35. http://dx.doi.org/10.1093/jdh/8.3.231.

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Snyder, Ellen Marie. "Victory over Nature: Victorian Cast-Iron Seating Furniture." Winterthur Portfolio 20, no. 4 (December 1985): 221–42. http://dx.doi.org/10.1086/496238.

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5

Ward, Gerald W. R. "Living in Style: Fine Furniture in Victorian Quebec. John R. Porter." Studies in the Decorative Arts 3, no. 1 (October 1995): 86–87. http://dx.doi.org/10.1086/studdecoarts.3.1.40662562.

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6

KIRKHAM, P. "Victorian and Edwardian Furniture and Interiors from the Gothic Revival to Art Nouveau." Journal of Design History 2, no. 1 (January 1, 1989): 55–56. http://dx.doi.org/10.1093/jdh/2.1.55.

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7

Tange, Andrea Kaston. "Gestures of Connection: Victorian Technologies of Photography and Visible Mothering." Victorian Studies 65, no. 2 (January 2023): 193–225. http://dx.doi.org/10.2979/victorianstudies.65.2.01.

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Abstract: Victorian "hidden mother" photographs are portraits of babies in which adult figures are draped with textiles, blocked with furniture, tucked behind a mat, orotherwise (often ineffectively) obscured. Fascination with them habitually turns on their presumed erasure of nineteenth-century women's labor; however, modern assumptions about the production of these photos have shaped consumption of them. This essay locates these images within multiple contexts: the technologies of their production, growingsentimental ideals of middle-class motherhood, and the ways that carework and its cultural (in)visibilities varied widely by gender, race, and class in the period. Arguing thatthe mother figures' persistent presence (not hiddenness) is fundamental to these photographs, this essay makes a case for reading them as revealing intimacies and documenting tenderness rather than evincing erasures.

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Tange, Andrea Kaston. "Gestures of Connection: Victorian Technologies of Photography and Visible Mothering." Victorian Studies 65, no. 2 (January 2023): 193–225. http://dx.doi.org/10.2979/vic.2023.a911106.

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Abstract: Victorian "hidden mother" photographs are portraits of babies in which adult figures are draped with textiles, blocked with furniture, tucked behind a mat, orotherwise (often ineffectively) obscured. Fascination with them habitually turns on their presumed erasure of nineteenth-century women's labor; however, modern assumptions about the production of these photos have shaped consumption of them. This essay locates these images within multiple contexts: the technologies of their production, growingsentimental ideals of middle-class motherhood, and the ways that carework and its cultural (in)visibilities varied widely by gender, race, and class in the period. Arguing thatthe mother figures' persistent presence (not hiddenness) is fundamental to these photographs, this essay makes a case for reading them as revealing intimacies and documenting tenderness rather than evincing erasures.

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9

CEVIK, GÜLEN. "American Missionaries and the Harem: Cultural Exchanges behind the Scenes." Journal of American Studies 45, no. 3 (March 28, 2011): 463–81. http://dx.doi.org/10.1017/s0021875811000065.

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This article examines the impact on American furniture and clothing styles by women missionaries traveling to Turkey in the Victorian era. Although there has been much discussion of the impact of Western missionaries on Turkey and other parts of Asia, the reciprocal impact on American culture has not been adequately assessed. Missionary work, which started in the 1820s in a modest manner, turned into a systematic and large-scale activity, reaching its climax during the last quarter of the nineteenth century. Unlike Western diplomats, whose visits took place in the palaces of Istanbul, far from the realities of everyday life, missionary women had informal contact with ordinary Turkish women. Ottoman Turkish domestic space was highly gendered, so only these missionary women would have had access to authentic Ottoman Turkish interiors and been able to observe them as social spaces. The furniture style and the unique concept of comfort that they observed in Turkey presented an alternative point of view of home life and its organization. After spending years abroad, these women would return to the US to recruit and raise money for their missions by traveling from community to community, often creating interest for their work abroad by presenting examples of material culture. This article will put letters, diaries, travelogues and other contemporary material in the context of American culture of the Victorian era in order to chart the unusual way in which American and Turkish women interacted with each other at this historical moment.

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10

Tsoumas, Johannis. "VICTORIAN GOTHIC FURNITURE AND PERSONAL HYGIENE: THE CASE OF WASHSTANDS Muebles góticos victorianos e higiene personal: el caso de los lavamanos." Res Mobilis 7, no. 8 (January 29, 2018): 65. http://dx.doi.org/10.17811/rm.7.8.2018.65-81.

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Dissertations / Theses on the topic "Victorian furniture"

1

De, Falbe Sophia J. "James Shoolbred & Co : late Victorian department store furniture." Thesis, Royal College of Art, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.638824.

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Books on the topic "Victorian furniture"

1

Symonds, R. W. Victorian furniture. London: Studio Editions, 1987.

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2

C, Warren Caroline, ed. Victorian furniture with prices. Radnor, Pa: Wallace-Homestead Bk. Co., 1995.

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3

Edwards, Clive. Victorian furniture: Technology and design. Manchester: Manchester University Press, 1993.

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4

R, Porter John, Montreal Museum of Fine Arts., and Musée de la civilisation (Québec), eds. Living in style: Fine furniture in Victorian Quebec. Montreal: Montreal Museum of Fine Arts, 1993.

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5

Banham, Joanna. Victorian interior design. New York: Crescent Books, 1991.

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6

R, Porter John. Un Art de vivre: Le meuble de gou t a l'e poque victorienne au Que bec. Montre al: Muse e des beaux-arts de Montre al, 1993.

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7

Andrews, John. The price Guide to Victorian, Edwardian and 1920's furniture (1860-1930). Woodbridge: Antique Collectors' Club, 1985.

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John, Andrews. Victorian and Edwardian furniture: Price guide and reasons for values. Woodbridge, Suffolk: Antique Collectors' Club, 1992.

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Sotheby, Parke-Bernet, London. Victorian furniture: Day of sale, Friday, 19th July 1985 ... . London: Sotheby's, 1985.

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Sotheby, Parke-Bernet, London. Victorian furniture: Day of sale Friday 22nd February 1985. London: Sotheby's, 1985.

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Book chapters on the topic "Victorian furniture"

1

Cross, John M. "Victorian Furniture in Jamaica." In Victorian Jamaica, 420–38. Duke University Press, 2018. http://dx.doi.org/10.1215/9780822374626-014.

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CROSS, JOHN M. "Victorian Furniture in Jamaica." In Victorian Jamaica, 420–38. Duke University Press, 2018. http://dx.doi.org/10.2307/j.ctv11hpgxv.40.

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"Chapter 13. Victorian Furniture in Jamaica." In Victorian Jamaica, 420–38. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822374626-039.

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4

Shakespeare, Critics Theatre. "[1985], Roger Warren on Howard Davies s production of Troilus and Cressida at the Royal Shakespeare Theatre, Stratford-upon-Avon, from Shakespeare Quarterly, yj (1986), pp. 116-18." In Shakespeare in the Theatre, 294–96. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198711773.003.0073.

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Abstract Howard Davies’s1 production of Troilus and Cressida took place during the Crimean War. A war-shattered nineteenth-century interior was the setting throughout, with heavy Victorian furniture added to suggest the different locations. The Greek council became a war cabinet meeting around a long table. The Myrmidons’ mess was a smoky, seedy saloon bar. The Trojan council took place amid the silver and cut glass of a family dining room; Cassandra was a family embarrassment, the mad sister whose remarks were tolerated but could be safely disregarded.

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Horsburgh, Tim. "Cinematic Social Inquiry: A Brief History of Kartemquin Films." In World Film Locations: Chicago, 106–23. Intellect, 2013. http://dx.doi.org/10.1386/9781841508016_8.

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For four decades, one of the world’s most quietly influential documentary production companies has been located inside a large Victorian-era house on the corner of Wellington and Wolcott, in the far west of the Lakeview neighbourhood. A sprawling two-storey brick property of vaulted ceilings, random doors, resale furniture and creaky stairs, it is immediately noticeable from the outside by its imposing corner turret. Harder to notice is which of the three exterior doors to enter by, and that inside the walls iconic films like Hoop Dreams (Steve James, 1994) and The Interrupters (Steve James, 2011) were born.

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Moore, Robbie. "Lounging Bodies: The Lobby and Piazza." In Hotel Modernity, 27–58. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474456654.003.0002.

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This chapter considers oversized American hotel lobbies and the kinds of bodies that were imagined to inhabit it. It focusses on Henry James’s early travel journalism, ‘Daisy Miller’ and The American, as well as Fanny Fern’s writing on hotel etiquette. For James, the lobby produced a new kind of masculinity and a new kind of body: the stretched-out, elastic body of leisured bourgeois men. James’s fiction contains a hidden genealogy of long-legged men, many of whom were drawn to big hotel spaces. If the genteel ideal of the well-mannered body was self-control and self-possession, James’s long-legged men breach the genteel code. Their elasticity confounds the margin between self and other, and by melding into hotel furniture and architectural structures, they also confound the margin between human and stuff. In ‘Daisy Miller’, the comingling of elastic bodies means that servants, bourgeois gentlemen and counts, minor characters and major characters, all look the same. Hotel lobbies and hotel bodies are shown to be disruptive agents in Victorian culture with ambivalent social potential.

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Collier, Patrick. "Reactionary Materialism: Book Collecting, Connoisseurship and the Reading Life in J. C. Squire’s London Mercury." In Modern Print Artefacts. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474413473.003.0004.

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The London Mercury attained popularity and notoriety as the leading anti-modernist voice of the early 1920s. It reached more than 10,000 circulation by presenting itself as a voice of reason in an age of critical anarchy, and its material form communicated seriousness of mission, tasteful restraint, and allusion to the great Victorian quarterlies. This chapter argues that, through a combination of economic necessity and editorial eccentricity, the Mercury went on to posit solid, material objects—particularly fine and rare books, but also collectible furniture and historic churches—as loci of stable value. The Mercury shored up its readership by appealing to rare and fine book enthusiasts and the businesses that catered to them. Combined with its literary partisanship, which began to appear increasingly reactionary, this emphasis on high-end textual materiality implicitly but powerfully posited reading as an activity of the leisured and educated, book-buying as a hobby for those with ample disposable income. Its ethos of value-in-the-object reached its reductio ad absurdum in the early 1930s, in two special issues on book production and typography, in which the magazine effectively became an advertiser-cum-trade-journal for London’s high-end printing concerns.

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Eldridge, Ken, John Davidson, Chris Harwood, and Gerrit Van Wyk. "Eucalyptus delegatensis." In Eucalypt Domestication and Breeding, 81–87. Oxford University PressOxford, 1994. http://dx.doi.org/10.1093/oso/9780198541493.003.0008.

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Abstract Eucalyptus delegatensis and E. nitens are the only eucalypts which combine fast growth, cold tolerance, and production of high-quality sawn timber suitable for joinery and furniture. E. delegatensis is economically important in Tasmania, eastern Victoria, and southern New South Wales. In Tasmania and Victoria it has been the principal timber-producing species for many years, probably exceeded only byE. obliqua in total quantity of sawlogs and pulpwood harvested in those regions.

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Brown, Katie. "Dorothy Draper." In Invisible Giants, 62–66. Oxford University PressNew York, NY, 2003. http://dx.doi.org/10.1093/oso/9780195168839.003.0012.

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Abstract My infatuation with the interior designer Dorothy Draper began with my love of hot dogs. When I was young I would eat one thing and one thing only-hot dogs with mustard. I also had a favorite place to eat my meal and that was Howard John- son s. The grilled dogs satisfied my stomach. But the colors of the restaurant, a combination of bright orange and turquoise blue, dazzled in my eyes. Dorothy Draper, the restaurant’s designer, was brave enough to pair these colors. I developed my most significant attachment to Dorothy Draper during the long summer days in a small northern Michigan town. These days were often slow, dull, and depressing. But there was always one day I looked forward to: the day my mother, my sisters, and I spent on Mackinaw Island. My sisters loved the horseback riding, the boat rides, and the chocolate fudge. But I had eyes only for Grand Hotel. It is a beautiful white Victorian fortress. The outside took my breath away, but the inside made my heart beat fast. There was no doubt about it - Dorothy had been there. The long halls, the dining rooms, and the shops were all decorated in bright colors, long stripes, and soft.florals. Each wall,. floor, and furniture covering seemed so whimsical they seemed to possess their own dzstinctive, enticing scent. We usually settled in some corner where we ordered tea and cakes. I would nestle in comfortably on some big over-stuffed yummy chair covered in the softest, brightest fabric the back of my knees had ever felt. Dorothy Draper was not only a maverick in my profession, she was the magician who entertained and inspired the imagination of a growing girl.

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