West Indies Style Decorating

west indies style decorating
    west indies
  • A chain of islands that extends from the Florida peninsula to the coast of Venezuela and lies between the Caribbean Sea and the Atlantic Ocean. They consist of three main island groups: the Greater and Lesser Antilles and the Bahamas, with Bermuda lying further to the north. Originally inhabited by Arawak and Carib Indians, the islands were visited by Columbus in 1492 and named by him in the belief that he had reached the coast of India. The islands now consist of a number of independent states and British, French, Dutch, and US dependencies
  • The islands of the Caribbean sea; A Federation of Caribbean states which, together with Guyana, play Test matches as if they were a single nation
  • the string of islands between North America and South America; a popular resort area
  • The term refers to the parts of America first discovered by European explorers, so called because they were initially believed to be part of Asia. They consist of the islands of the Caribbean sea, also known as the Antilles.
  • (decorate) make more attractive by adding ornament, colour, etc.; "Decorate the room for the party"; "beautify yourself for the special day"
  • Make (something) look more attractive by adding ornament to it
  • (decorate) deck: be beautiful to look at; "Flowers adorned the tables everywhere"
  • (decorate) award a mark of honor, such as a medal, to; "He was decorated for his services in the military"
  • Provide (a room or building) with a color scheme, paint, wallpaper, etc
  • Confer an award or medal on (a member of the armed forces)
  • A way of painting, writing, composing, building, etc., characteristic of a particular period, place, person, or movement
  • A way of using language
  • designate by an identifying term; "They styled their nation `The Confederate States'"
  • A manner of doing something
  • make consistent with a certain fashion or style; "Style my hair"; "style the dress"
  • manner: how something is done or how it happens; "her dignified manner"; "his rapid manner of talking"; "their nomadic mode of existence"; "in the characteristic New York style"; "a lonely way of life"; "in an abrasive fashion"
west indies style decorating - British West
British West Indies Style: Antigua, Jamaica, Barbados, and Beyond
British West Indies Style: Antigua, Jamaica, Barbados, and Beyond
Breathtaking photographs capture the history and unique design of the English island great houses, detailing the hardwood furniture, terraced gardens, walled courtyards, and interiors. Perhaps the most admired and influential of tropical styles, the English island style transformed residences into private paradises. British West Indies Style is a lavish account of the interiors, architecture, and lifestyle of the English colonial great houses and historic town houses in the Caribbean—from Antigua, Jamaica, Nevis, Barbados, St. Lucia, Trinidad and Tobago, St. Kitts, Mustique to the less-traveled islands of Bequia and Dominica. Close to fifty private homes are featured, with unique collections of antique, indigenous, and colonial furniture: a southern plantation style scaled and refreshingly adapted to the airy, sunny climate of the Windward and Leeward Islands. Presenting a world rarely seen by visitors—the homes of the islands’ affluent planters, both historical and contemporary—the English island styles are elegant yet practical and accessible, giving ideas for the use of local materials, painting and stenciling techniques, environment-enhancing design, and indoor/outdoor living—all of which are ubiquitous in contemporary interior design.

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023 - A Conceit: The Patroness of the Smoke-sellers guild paints Mississippi, which wastes France's wealth
023 - A Conceit: The Patroness of the Smoke-sellers guild paints Mississippi, which wastes France's wealth
"DE INBEELDING; HEERSSERES VAN'T ROOKVERKOPERS-GILD MAALD MISSISSIPPI HIER, 'T GEEN VRANKRYKS SCHAT VERSPILD." [The Conceit; the Patroness of the Guild of Smoke-Sellers, paints here Mississippi, which wastes France's treasures.] Five distinct designs. [1720] The Patroness of the Smoke-sellers’ Guild paints a pretty landscape of the Mississippi, while the reality of the scheme named after it appears in ugly vignettes. Details below: This design consists of five distinct compartments and three columns of Dutch verse engraved below it and printed from a separate plate. The design comprises an oval compartment in the centre, and four smaller ones occupying the spandrels exterior to the oval. The latter represents a female artist seated in a chair before an easel and holding a palette and brushes; she is painting a picture of "Missisippi", consisting of a coast view with a city at the head of an estuary or bay; a ship approaches the shore having the flag of France, three fleurs-de-lis on a white ground, displayed at her poop. Near the artist is a naked putto (baby spirit) seated on a box and holding a book inscribed "Actie boek van Missisippi” (share book, or ledger of the Mississippi Company}] the lid of the box has fallen down, showing the box to be empty; three rats are playing inside, the inscriptions are; "Desulate Boel" (All is wiped away), and "Goet voor Rotte" (Good for rats); on the ground near the boy's feet is a scroll, inscribed, "Tiggel Acties, Rottege Acties, Acties in pypen, Suiker Acties" (Stone stocks, Rotten stocks, stocks in pipes and sugar.) Before this boy stands another who is grinding colours on a slab; a globular mirror (?) surmounted by a meridian sun stands near the easel; behind the painter another boy sits and blows bubbles from a bowl of water held on his lap; a fourth boy leans over the shoulder of the last; a fifth, who supports himself against a large package, converses with these two and points to the bubbles. The package bears papers with the inscriptions, "Pakt de Acties weg want over honderd Jare zal ment niet Geloven" (Take the stocks away, for after a hundred years people will not believe it); and "Acties van ‘t Riem" (Shares by the ream.) It is probable that this part of the plate was originally engraved, not intended as a satire, but merely as a picturesque subject. The designs in the spandrels may have been added, instead of arabesques or foliage. The upper spandrel on our left shows an open landscape with, in the foreground, two men seated at a table and smoking tobacco in long pipes; at their feet is, "Wy leve gerust" (We live quietly.) Behind this group is a second table, on which a man appears to be arranging pipes or filling one of them with tobacco; near him is "Gouwse pype "(Gouda clay pipes – known in Britain as “Aldermans”.) The lower spandrel on our left gives a view of a street, in front of "Actie Beurs" (Share Exchange), and near "Gekhuis der Rotte" (Madhouse of the Rotte; river that gave Rotterdam its name); two men stand near this building and at the edge of a quay, one of these persons holds a book inscribed "goet koop "(cheap); the other seems to be crying "Koop wat" (Buy something.) A boat is moored to the wall of the quay and laden with packages, apparently of paper, probably shares in gross ; these packages are inscribed, "Rotterd(am)’, "ter Gouw" (Gouda), Enkhu(izen), "Alkmaar", "Middel"(burg), "Dor[drech]t", "Hoorn", "[E]dam", "Stein-Zwol 1; this boat is styled, "Vlotschuit geldden met alderhande Acties" [A lighter laden with all kinds of shares.] The upper spandrel on our right gives a view of the sea-shore in the West Indies; an Indian standing on the back of a tortoise is smoking a long tobacco pipe, from the bowl of which proceeds "al Rook" (all Smoke); his head is decorated with wreaths and flags; in the distance is "Klater-goud mynen" (Mines of fool’s-gold.) The lower compartment on our right shows the sea-shore, with a gentleman on horseback busily distributing papers to many persons who approach; he says, "Dit is voor ‘t Gelt" (This is for the money); the papers are inscribed, "100", "100", "1000", "1000", "10", "1000", "1000", "10000", "100", "10", "1000", "100" "100", "10000" "1000", "100", "1000", "10"; the horse excretes coins, "gemengeld" (mixed, alloyed.) Below the design the three engraved columns of Dutch verse have been translated to the following effect: "Fancy paints here Mississippi, apparently beautiful, but in colours that will soon fade. Many a one in France has been cheated out of his
Cunard Building
Cunard Building
Financial District, Downtown Manhattan, New York City, New York Situated at the southernmost section of Broadway, where that thoroughfare widens into Bowling Green, the site of 25 Broadway has long been associated with maritime trade and travel. As early as 1660, the location contained several Dutch colonial dwellings, one of which belonged to Lucas Andries, a skipper and part-owner of a trading yacht. In 1846, Swiss-born restaurateurs Joseph and Lorenzo Delmonico, who had been revolutionizing the eating habits of New Yorkers at other downtown locations since the 1820s, opened a restaurant and hotel on the site. Reopened as the Stevens House hotel in 1856, it was frequented by many whose fame derives from their association with shipping and other mercantile interests. The "Stevens House" name survived into the twentieth century, when, as "the executive office centre for shipping interests in this country," it applied to two five-story buildings at the northeast corner of the block, and counted among its occupants the Russian-American Line Steamship Company. Three other edifices on the site along Broadway accommodated restaurants, an art publisher, a haberdasher, and the offices of the Anchor Line Steamship Company. Facing Greenwich Street, along the western side of the site, stood a series of masonry buildings owned by the Manhattan Railway Company and used as a repository for property lost on subway and elevated trains of the IRT Company. Among the small structures which had stood facing Morris Street was the former home of Aaron Burr. In February 1918 the long-established real estate firm of Irons & Todd acquired the individual lots for $5 million and formed the construction concern of Todd, Irons & Robertson, Inc. in preparation for the erection of a large office building to be turned over after its completion to the Twenty-Five Broadway Corporation, led by Cunard official Thomas Ashley Sparks. Cunard's decision to build its own headquarters in New York — contemporaneous to the remodeling in 1919-21 of No. 1 Broadway for the headquarters of the International Mercantile Marine Company — signaled the city's growing supremacy as a world port. The assemblage of property was the largest single possession in the lower part of Manhattan at that time and the largest real estate transaction since the preparations for erecting the Equitable Building a few blocks further north on Broadway. Cunard Lines Company A leading Nova Scotia businessman engaged in banking, lumbering, shipping, and shipbuilding enterprises, Samuel Cunard (1787-1865) became a pioneer of regular transatlantic steam navigation. He cross the Atlantic, in 1833, from Canada to England, and six years later received the contract from the British government to carry the mails fortnightly to and from Liverpool, Halifax, and Boston. In association with others, he formed the British and North American Royal Mail Steam Packet Company, which with its four ships began the first regular steamship service between the continents in 1840, and was a turning point in the conquest of steam over sail. During that year "Cunard's Line of Mail Steam Ships" published its first advertisement in New York; customers could send mail overseas via Cunard's New York agent, William F. Harnden, whose one-year-old express service between New York and Boston was the first in the nation. When in 1847 a New York-based competitor arranged to run a federally-subsidized steam-packet line directly between New York and Europe, Cunard responded by establishing direct service on a weekly basis between New York (via the Hudson River piers in Jersey City) and Liverpool; eventually service was extended to Glasgow and other European ports. By the 1850s Samuel's son, Edward, was listed in city directories as the representative of his father's company, which maintained its address at 4 Bowling Green for many years. That site and its neighbors, collectively known as "Steamship Row" after all the ticket-booking agents there, were replaced in 18991907 by the United States Custom House. Subsequently, Cunard moved its offices to 29 Broadway and 21-24 State Street among other downtown sites, before building its new headquarters at 25 Broadway. Cunard fared well in the competitive market of transporting passengers and packages across the Atlantic. To attract well-to-do customers, the ships soon introduced steam heating and spacious, well-illuminated public rooms. By the late nineteenth century, Cunard was closely associated with luxurious travel, far outstripping its rivals in that regard and thus emerging as the premier British passenger line. Furthermore, beginning in the 1860s, ships transported many emigrants to North America in steerage, thus profiting from travel by low-income passengers as well. Such dominance required constant innovation to increase speed, safety, and (for some) comfort: as the decades passed, technologic

west indies style decorating
west indies style decorating
Cowboy Style
Cowboy Style highlights today's Western furnishings-from meticulous leather-wrapped armoires to hand-carved mantelpieces depicting a trout stream or local wildlife. An extraordinary commitment of time plus a pure passion and singular creative vision are the hallmarks of the fine furnishings of the contemporary West. Today's artisans are creating works that are fresh, beautiful, meticulously crafted, sometimes nostalgic, often humorous, and always celebratory of both the region and its traditions.
In Cowboy Style, Ewald interviews dozens of today's craftsmen, including Jimmy and Lynda Covert, Peter M. Fillerup, Mike Patrick, and Chris Chapman, and explores Cowboy decor for every room in the house!
" . . . Dozens of full-color photographs take you into the homes of people who love the West and have furnished their living quarters with the finest western craftsmanship available." -
-American Cowboy Magazine
"An excellent place to start. . . Ewald breaks down Western decor by individual U.S.-based designers that contributed to the look."
-Toronto Star