Shopping Guide Console tables are frequently among the last pieces of furniture to be added to a room.
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From accent benches to hairpin console tables in the lightest of woods, it's all here to brighten up any space.
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The front door opens off a deep porch into a wide hallway with built-in bookcases and room for console tables.
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The Consoles are Dripping The gold console tables flanking the fireplace in the living room have metallic drips hanging from their tops.
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Today, at Mr. Merrill's new Lafayette Street location, not a single object predates World War I. The white-walled space is dominated by contemporary creations: monstrous bronze LED chandeliers by Niamh Barry, an Irish designer; sinewy wood console tables by Marc Fish of East Sussex, England; and animal-inspired stools by Erin Sullivan, a New Yorker.
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Console tables in Italy radically changed after the 1760s and 1770s. They were usually far plainer and more classical in style, with grand marble slabs and straight legs, which were often bulky and heavily decorated. But, at the same time, Venetian console tables were still mainly inspired by the Louis XV designs, but usually had plainer and simpler cabriole legs.
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He also devised fire-dogs, sideboards, cabinets, console tables, mirrors and other pieces of furniture. Le Pautre was long employed at the Gobelins manufactory. His work is often very flamboyant and elaborate. He frequently used amorini and swags, arabesques and cartouches in his work.
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Only two hunting pavilions survive, built 1713–1714 to the designs of Jacques de La Guépière and located on either side of the rue du Petit Château.Gallet 1995, p. 277. One of the console tables became a part of the collections of the Louvre Museum.
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In addition to mirrored screens, her trademark pieces included: books covered in white vellum, cutlery with white porcelain handles, console tables with plaster palm-frond, shell, or dolphin bases, upholstered and fringed sleigh beds, fur carpets, dining chairs covered in white leather, and lamps of graduated glass balls, and wreaths.
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While often the Iliffes found great bargains, obtaining 18th-century mahogany doors and marble fireplaces, at other times their luck was less favourable; Lady Iliffe recalled attending the Mentmore Towers auction of 1975 with the intention of buying marble topped console tables for Basildon, but through economic necessity returned with only a coal-scuttle.Lady Iliffe, Basildon Park, p4.
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Florentine Console tables were often richly decorated and sumptuous. The carved wood was often gilded in gold or bronze, and the table legs were mainly caryatids or muscular figures, made to look as if they were holding the marble slab on top. Most of their themes were copied or nearly identical to their Roman counterparts, but the Florentines became famous for these designs.
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Sicilian Rococo furniture tended to be highly unusual, and even though was based on the principles of French Rococo designs, usually included some traditional Sicilian elements. Commodes and console tables had cabriole legs, which were, however, plain, and usually had intricate scrollwork and arabesques. Sicilian tables were often painted, representing typical elements of Sicilian culture, society and life, such as festivals, fruits and Sicilian carts.Miller (2005) p.
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Decorations include the Ox Cranium Frieze and the Bull Relief, both carved in sandstone. On the inside, the temple consists of a barrel vaulted room with two windows which originally had stained glass. The room was furnished with a sofa, chairs and console tables which the royalties could use for drinking tea. From 1874 to 1970, the temple was used as entrance to the Zoo that was built in 1859, and the décor changed.
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Although First Lady Mary Todd Lincoln refurbished most of the rooms in the White House in 1861, there is scant evidence to indicate she did much to the State Dining Room. However, the room was used by Francis Bicknell Carpenter as an artist's workshop as he painted First Reading of the Emancipation Proclamation of President Lincoln from February to July 1864. In 1867, four walnut console tables were placed against the walls of the dining room.
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Marcotte and Co. supplied heavy velvet gold drapes, and topped each window with carved and gilded cornices of the company's own design. The existing pier tables were removed, and four richly carved and gilded Louis XVI Revival style console tables, also designed by Marcotte & Co., were placed between the pilasters. The existing seating was also removed, and Marcotte & Co. replaced it with 13 Louis XVI Revival gilded banquettes (upholstered benches). Marcotte & Co. also supplied new ornate gilded frames for each over- mantel mirror.
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The card table arose around 1700 as card games became wildly popular in Europe. The manufacture of card tables as fine home furniture lasted to the middle of the 1800s. Card tables made in this era often had a folding top, which enabled them to serve as pier tables, console tables, or end tables when not in use. Styles ranged from simple to elaborate, with higher-end card tables featuring inlaid wood or stone, extensive delicate carvings, and expensive veneers.
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This mantel was of white marble (rather than unpolished grey stone) to match the room's new color scheme. At Boudin's suggestion, McKim's mahogany side and console tables were painted to mimick white marble with gold veining, and the eagle supports and bowknots were gilded. The new color scheme for those pieces were intended to make them blend into the panelling. A new carpet, a copy of one Boudin designed for Leeds Castle, was woven by Stark Carpet Co. of New York City and installed.
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81 Guérdions were used near sofas for visitors' gloves and other objects, and were often round with a tripod base. Console tables were used at entrances mainly for decoration, and were usually paired with a mirror or painting above. Another major change from Baroque furnishings was that bureau cabinets or secretary desk surpassed writing tables (used in the 16th and 17th centuries) in popularity. Bureau cabinets were usually ornate, and were considered useful, as one could write, study or prepare oneself, yet store everything at hand.
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Three large crystal chandeliers are suspended from a heavily gilt ceiling bearing three large paintings; Night, Morning and Midday by the artist Bernhard Rode. 18th- century chairs upholstered in leather, vases of faux Egyptian porphyry and console tables furnish the gallery. Situated directly over the Grotto Hall is the Marble Hall, the largest of the festival halls, which was used variously as a ballroom and as a banqueting hall. Rising over two floors, the hall overlooks the eastern parterres and the axial vista leading to Sanssouci.
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Basic form of the console table. The bracket supports are frequently highly decorative Console tables serving as pier tables underneath pier glasses, Denmark A console table is a table whose top surface is supported by corbels or brackets rather than by the usual four legs.Furniture historian Edgar G. Miller differentiates the console table and the pier table. Pier tables are designed with a flat edge to be against the wall, whereas a console table may have any edge against the wall or be freestanding.
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Six large Italian Baroque paintings hang opposite the windows of the gallery. All that remains of the original furnishings are three marble mosaic console tables and upholstered settees. After the revolution of 1918, which overthrew the monarchy, the Weimar Republic allowed 34 train wagons of furniture from the palace to be sent to the exiled Wilhelm II at Huis Doorn in the Netherlands. This is the reason why the furniture in the upper rooms formerly lived in by Wilhelm II and his consort Empress Augusta Viktoria comes from elsewhere.
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The console tables and buffet were made in 1900 to match the room. The main dining room of the house until the 1980s, today it is a private dining room with views over the Parterre and Thames. The second largest room on the ground floor, after the Great Hall, was the original drawing room which today is used as the hotel's main dining room and also has river views. Also on the ground floor is the library, panelled in cedar wood, which the Astors used to call the "cigar box",Crathorne 1995, p.
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French style secretaire writing tables were also popular in Italian furnishings, but were made uniquely Italian by adding pietra dura intricate designs on the marble slabs which covered the writing desks. Italian commodes and console tables were still relatively similar to before, yet they were more classical in style, and rather than having cabriole legs usually had elegantly decorated straight, demi-lune at most, legs.Miller (2005) p. 131 Armachairs made in Italy were based on the French Louis XVI-esque fauteuils, but were made unique by adding gilded gold and many precious and exotic decorations, such as stones and jewels etc.
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She was advised by interior designer Kaki Hockersmith (a long-time friend of the Clintons), interior designer Mark Hampton of New York City (who had worked on the White House for President George H. W. Bush and First Lady Barbara Bush), and the Committee for the Preservation of the White House. The room's walls were repainted a light stone color, with architectural details lightly highlighted. The pedestal console tables were stripped of paint which mimicked white marble with gold veining, and their original mahogany finish was restored. The gilded chandelier and wall sconces were polished and brightened. The room's 66 chairs were reupholstered in a gold damask.
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Twenty were eventually manufactured out of dark wood by White House carpenters, although the gray granite tops for the Kennedy-designed ashtrays were made by Jansen at a cost of $310. Much of the furniture in the East Room was removed by Boudin to make the room appear to be of a single historic era. The 1902 console tables were removed from the piers between the windows, and the 1902 Louis XVI style floor lamps moved out of the corners and in front of the piers. The 1952 Adam-style camelback sofas were removed at the instigation of du Pont, and replaced with gilt benches.
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A shelf is also known as a counter, ledge, mantel, or rack. Tables designed to be placed against a wall, possibly mounted, are known as console tables, and are similar to individual shelves. A shelf can be attached to a wall or other vertical surface, be suspended from a ceiling, be a part of a free-standing frame unit, or it can be part of a piece of furniture such as a cabinet, bookcase, entertainment center, some headboards, and so on. Usually two to six shelves make up a unit, each shelf being attached perpendicularly to the vertical or diagonal supports and positioned parallel one above the other.
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The frescoed galleries of the city's many palazzi were lined with elaborate console tables set against the piers and between the windows. In ceilings the new popular style of frescoing emerged known as the quadratura from its elaborate framing, was reflected in the framing of large looking-glasses, assembled fromsix to eighteen panes of Venetian mirror-glass, themselves being made in larger dimensions than ever. In Florence, grand cabinets known as stippone (plural:stipponi) began to be produced in the ducal workshops, thought to have been inspired from Augsburg cabinets. They had many shells and carved foliages, and were decorated with expensive materials, such as gilt bronze, ebony and pietra dura.
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Around 1667, Leonardo van der Vinne, a well-known cabinet maker from the Low Countries became part of the ducal workshops. In Genoa, grand console tables supporting huge marble slabs on carved gilt bases began to be made. The offer of an armchair continued to convey elite status: inventories record a single one or a pair in rooms where the seating otherwise was on armless side-chairs, sgabelli of traditional construction – now enriched with bold sculpture – and stools. Chairs made by the Genoese were made with rich fabrics, often silk or velvet, to accord with the hangings and were often gilded with gold or silver.
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A new altar with console tables was installed and the communion rails moved outwards to extend the size of the sanctuary. Two old door frames were used to construct side chapels and placed at an angle across the north-east and south-east corners of the church. One, the Lady Chapel, was dedicated to the Rector's parents in 1925 and the other was dedicated to Christ the King. Originally, a baroque aumbry was used for reservation of the Blessed Sacrament, but later a tabernacle was installed on the Lady Chapel altar and the aumbry was used to house a relic of the True Cross.
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Most of the work he did at Christiansborg, however, was eventually lost, having been destroyed in the fire of 1794. Existing still to this day are wood carved vases in Christiansborg’s horse stalls, and relief medallions on the side of the Marble Bridge (Marmorbro) that leads to the castle’s main entrance. Four perspective drawings he made of Christiansborg 1746-1747 are in the collection of the Engraving Museum in Copenhagen. Destroyed work from the castle includes the cornices, capitals and frames of the windows; carved wall panels, fireplaces and console tables in both the king’s and the queen’s suites; the golden dining room with buffet and chandelier; sculptures on the balustrade, and all sculpture work in the castle church. In 1739 he created a fountain in the King’s Garden (Kongens Have) at Rosenborg Castle representing a boy with a swan.
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The gueridon, a tall stand for a candelabrum, offered Brustolon unhampered possibilities for variations of the idea of a caryatid or atlas: the familiar Baroque painted and ebonized blackamoor gueridons, endlessly reproduced since the eighteenth century, found their models in Brustolon's work. His secular commissions from Pietro Venier, of the Venier di San Vio family (a suite of forty sculptural pieces that can be seen in the Sala di Brustolon of the Ca' Rezzonico, Venice), from the Pisani of Strà, and from the Correr di San Simeone families encourage the attribution to him of some extravagantly rich undocumented moveable furniture. Andrea Brustolon's elaborate carved furniture aspired towards the condition of sculpture, such as the Dutch bases for console tables which look like enlargements of the work of the two Van Vianens, Paulus and Adam, perhaps the greatest Dutch silversmiths of the period. These carved pieces display the baroque tendency to develop a form three-dimensionally in space.
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