Upholstered Furniture in the Lady Lever Art Gallery

by Lucy Wood

Overview

This magnificent two-volume set explores one aspect of the outstanding collection of furniture that the great collector Sir William Lever, 1st Viscount Leverhulme (1851–1925), bequeathed to the Lady Lever Art Gallery in Port Sunlight, Merseyside: the pieces designed for support—primarily seat furniture, but also beds, footstools, and a coach model.While most of the collection is British, the largest and one of the most important sets was crafted in Rome for Napoleon’s uncle, Cardinal Fesch. The catalogue provides detailed information on patrons, designers, and makers, and on aspects of design, manufacture, upholstery, and usage for each piece in the collection.

Product Details

ISBN-13:	9780300111316
Publisher:	Yale University Press
Publication date:	03/10/2009
Pages:	1200
Product dimensions:	250.00(w) x 230.00(h) x (d)

About the Author

Lucy Wood is senior curator in the Furniture, Textiles and Fashion Department of the Victoria and Albert Museum. She is former curator of the Lady Lever Art Gallery and author of the catalogue of commodes in its collection.

Editorial Reviews

The 18th-century furniture in the collection of Liverpool's Lady Lever Art Gallery, the gift of Sir William Lever (1851-1925), is one of the most extensive in the world. This catalog deals with those pieces designed for human support, such as chairs, stools, and beds. Working with a remarkably complete documentation of background for the items in the collection, Wood (senior curator, furniture, textiles, & fashion, Victoria & Albert Museum) meticulously examines techniques of carving and design, newly emerging in this period, as well as the entire structure and organization of the 18th-century furniture industry. The catalog covers furniture types; timbers, both primary and secondary; upholstery design and material; dimensions; inventory numbers of the collection; marks and/or inscriptions and labels; orientation (from the spectator's viewpoint); a detailed description of the construction of each piece; and the stain and surface finishes. The accompanying essays include some theorizing about changes made over the years in restoration, replication, and repair. Appendixes, concordances, a glossary, and more conclude the second volume of this imposing and highly recommended publication.
—Paula Frosch

Library Journal