Photographs Ebooks Catalog
20 volume home improvement repair book series featuring full color step-by-step photographs throughout. Provides in-depth instruction for all home improvement projects. Includes materials checklists and tips to make the job easier. Titles include Everyday Home Repairs , Kitchen Remodeling , and Building Decks . Complete any do-it-yourself project easily and successfully. BLACK & DECKER. Circle No. 349. F & W PUBLICATIONS, INC.
Plate 2 Courtesy of the Victoria and Albert Museum, London (a,b,c) photographs by Nanke Schellmann (d,ef photographs by Clara von Engelhardt Plate 8 (a,c) Photographs by Shayne Rivers (b) Photograph by Dr Lucia Burgio Figure 8.14 Courtesy of the Victoria and Albert Museum photographs by Roger Griffith Figure 9.5 Photographs by Shayne Rivers Figure 9.6 Photographs by Shayne Rivers Figure 12.2 Photographs by Shayne Rivers Figure 12.4 Courtesy of Victoria and Albert Museum, London, photographs by Shayne Rivers Figure 13.8 Photographs by Shayne Rivers Figure 15.8 Courtesy of the Victoria and Albert Museum, London, photographs by Shayne Rivers Figure 15.9 Courtesy of the Victoria and Albert Museum, London, photographs by Sophia Wills Figure 15.16 Courtesy of the Victoria and Albert Museum, London, photographs by Shayne Rivers Figure 16.10 Courtesy of the Victoria and Albert Museum, London, photographs by Shayne Rivers Figure 16.23 Courtesy of the Victoria and Albert Museum, London,...
Two views of the projecting porch of Lavenham Guild Hall are shown in Figs. 181 and 1S2. This is a rich example, although the original door is missing. The carving of the corner bracket and the niched corner-posts is exceedingly choice in secular work, even for the late fifteenth century. The photographs were taken prior to the restoration of 1914, when a number of new bay windows were added in a regrettable endeavour to improve the elevation of the fine old Hall.
The making of each of these joints is covered here in step-by-step photographs and drawings, liefer to these every time you must make a joint until you become familiar with the techniques. By all means, make some practice joints out of scrap hardwood before trying to repair a good piece of furniture. Gain some confidence in your woodworking abilities first then go to work.
The photographs for convenience of classification are divided into broad periods, namely William and Mary, Queen Anne, Chippendale, Adam, Hepplewhite and Sheraton. In the accompanying series of photographs of Queen Anne furniture the simpler forms of the period are mostly given, as showing more plainly the assertion of English ideas of design suggested by the work of the famous contemporary architects. Rooms were more lofty, and, the walls being still covered with panelling, cabinets in proportion were called for. Therefore tall pieces with beautifully designed pediments became popular, and some of the finest cabinet work in history was expended on these.
One of the things the television programmes did emphasise was the large number of variations available from one design In the colour photographs and in the instructions, we are forced to go for one set of options, but you can vary the type of timber, fabric, paint colour, choice of laminate and so on. to suit your particular requirements A good example of this is Brian Davey s dining table, originally built in solid elm with a cork top. but easily varied to a solid teak
The diagram, Fig. 180, mal be of some little service in tracing this evolution of the turned leg on seventeenth-century tables. A writer of an illustrated book, such as this, who has many photographs before him, a far greater number than it is possible to reproduce in a work of this size, has still the advantage over his readers of being able to trace developments from example to example, which, although evident to him on comparison, cannot be stated other than empirically without the use of lavish illustration to prove his statements, which is here impossible. These twelve examples are not actual copies from existing tables the idea has been rather to include several variations in the one type, in order to explain, pictorially, the evolution of form. Thus A must be taken as an example which includes all the bulbous-leg forms of the late sixteenth and early seventeenth centuries, where the squares above and below are pared down, almost disproportionately, in order to...
Ter is broken wood at the bottom of the arm of a bentwood chair. The accompanying photographs detail one creative answer to this wood working difficulty. ter is broken wood at the bottom of the arm of a bentwood chair. The accompanying photographs detail one creative answer to this wood working difficulty.
Sir Frank Baines has kindly furnished two photographs of the Eltham Palace, roof, taken while the work of restoration was in progress. In the latter, the. steel reinforcements to each truss may be noticed, and some idea formed of the defective state of the roof. This photograph is unique, being taken while the tiles were temporarily removed, thereby allowing of the entry of light from above.
Construction and materials The constructional methods employed on these tables often echo those of taller dining, writing or side tables. The main point to remember is that, unlike many items of furniture, there are no rules that apply to low tables. They can be circular, square, rectangular or free-formed the height can be 10 in (25 cm) or 20 in (50 cm), and the top almost any size the top surface can be of glass, slate, marble, leather, wood or plastic, and it can involve intricate veneer or inlay work, bold use of colour, or simply be a slab of unadorned solid wood and the possibilities for the structure that supports the surface,are endless. The following pages of line drawings and photographs illustrate the wide variety of possible interpretations.
Whitehall was the home of the Colonial governor of Maryland, Horatio Sharpe, who has been debited with firSt suggesting the Stamp-aCt. Mr. John Martin Hammond (to whom I am indebted for the use of the photographs) in his Colonial Mansions of Maryland and Delaware tells us that the superb woodwork of this house was all the work of a young redemptioner who was offered his freedom if he would decorate Whitehall. Pathetically, upon the completion of his task he was Stricken by sudden illness and died. The date is not given, but as the governor feturned to England in 1790 it was anterior to that year. The house itself was built before 1763.
SOON AFTER I began writing articles, I discovered that I was in need of extra storage space in my study, to keep all the bits and pieces of photographic equipment that I had acquired in the process of taking photographs for my articles. With only limited space available, I decided to make a hanging comer cupboard which would fit neatly in the space between a bookshelf and a tali chest. As a rule, comer cupboards don't provide as much space as they appear to, because the shape of the shelves restricts the storage possibilities - but in this case it wasn't a problem as all the items I wanted to keep in it were small.
In the UK, the Timber Research and Development Association (TRADA) has published simple keys of this type for both hardwood and softwood identification. Dichotomous identification keys, accompanied with 10X to 15X photographs of transverse cross-sections of wood provide useful supportive data with the hand-lens identification method (Normand, 1972). The main disadvantage of this approach is that no match will be found when that particular genus or species is not included in the key, means that it is often useful to adopt a more flexible approach (Brazier and Franklin, 1961 Hoadley, 1990).
I would like to thank Barbara Adams, Editor of the Shire Egyptology series, and Jacqueline Fearn and John Rotheroe of Shire Publications for the help and guidance they have given me. I am very grateful to John Ruffle, Keeper of the Oriental Museum, University of Durham, for allowing me to examine both the Perpaut boxes preserved in that collection. I thank also Mr W. V. Davies, Keeper of Egyptian Antiquities at the British Museum, and his staff for their continued support and assistance. Most of this work was written in Cambridge and I would like to acknowledge the help given me by Barry Kemp, John Ray and the Librarian and staff of the Faculty of Oriental Studies. I am also indebted to Helen Whitehouse, Department of Antiquities, Ashmolean Museum, Oxford, for providing detailed information regarding fragments of furniture preserved in that collection. I am grateful, too, to the Director of the Egyptian Antiquities Museum, Cairo, Dr Ahmed Mohsen, for allowing me to research and study...
The author has done most of the photographic work personally. In reproducing the photographs he has taken care where possible to avoid the serious error of working out backgrounds a thing which cannot be done successfully. We thus have a richer variety of early American work than has hitherto been attempted.
The author learns, perhaps, more than his readers, from an examination and comparison of a large number of pieces and photographs, providing that they are If it be a truism that the greater one's knowledge the more self-apparent is one's ignorance, I can only say that the real profundity of mine 011 the subject of early oak woodwork was never so apparent to me until after our collaboration had commenced. Ernest Gribble's name figures 011 this book as co-author with my own, but I must acknowledge that he has supplied the bulk of the facts and the greater number of the photographs. In the early chapters I have merely written from his notes, which have exploded many of my pet theories. Some of these, however, have survived his criticism or persisted in spite of it. I have been indebted to so many for the necessary photographs which the book has required that particular mention is almost invidious in itself. I feel, however, that distinct praise is due to those gentlemen who have taken...
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