Producing posies : a technical study of the Frances Jones Poetker collection of bouquet holders at Smithsonian Gardens / Carol A. Grissom.
Idioma: Inglés Series Smithsonian contribution to knowledgeEditor: Washington, D.C. : Smithsonian Scholarly Press, 2024Descripción: 266 pages : illustrationsTipo de contenido:- text
- unmediated
- volume
- 9781944466756
- Technical study of the Frances Jones Poetker collection of bouquet holders at Smithsonian Gardens
- 739.27809753 23/eng/20240129
- SB449.2 .G75 2024
| Imagen de cubierta | Tipo de ítem | Biblioteca actual | Biblioteca de origen | Colección | Ubicación en estantería | Signatura topográfica | Materiales especificados | Info Vol | URL | Copia número | Estado | Notas | Fecha de vencimiento | Código de barras | Reserva de ítems | Prioridad de la cola de reserva de ejemplar | Reservas para cursos | |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Libro | Biblioteca Encarnación Valdés Sala de Referencia bev | R 739.278 G8698p (Navegar estantería(Abre debajo)) | Disponible | 80000002616145 |
Descripciones mejoradas de Syndetics:
"This book focuses on small decorative objects filled with flowers, mainly taken by women to the opera, theater, and balls during the nineteenth century and variously known as posy holders, bouquet holders, flower holders, tussie-mussies, and porte-bouquets. Queen Victoria popularized bouquet holders by appearing with one at the theater shortly after her accession to the throne at age 18, and many reflect designs associated with her reign (1838-1901). In England, the earliest holders were probably owned by the wealthy, but in the latter half of the nineteenth century the low cost of silver and silver plating placed this fashion within reach of a burgeoning middle class. In France, early holders were set with precious gems for the nobility, but thereafter most vases were in electrogilded-brass vases and often set with faux pearls and gems made of glass. Exotic silver filigree holders were imported from China and India, and filigree production in Birmingham, England, catered to the wealthy in New York, Boston, and Philadelphia. Important catalogs of bouquet holder collections have been published, but bouquet holders are rarely marked, and attributions to place are often without basis. Prompted by a project undertaken by a conservator at the Smithsonians Museum Conservation Institute in preparation for digitization of a large collection donated to Smithsonian Gardens by Frances J. Poetker, 239 holders in the catalog have been attributed to places of manufacture, often linked by designs and materials to those in other international collections. Research and detailed study of manufacture have even determined by whom some were made. This evidence-based technical study and reference guide accompanied by high-resolution photographs is intended to fill a significant gap in the available literature and serve as a resource for museums and collectors"--
In scope of the U.S. Government Publishing Office Cataloging and Indexing Program (C&I); Federal Depository Library Program (FDLP) distribution status to be determined upon publication.
Includes bibliographical references.
"This book focuses on small decorative objects filled with flowers, mainly taken by women to the opera, theater, and balls during the nineteenth century and variously known as posy holders, bouquet holders, flower holders, tussie-mussies, and porte-bouquets. Queen Victoria popularized bouquet holders by appearing with one at the theater shortly after her accession to the throne at age 18, and many reflect designs associated with her reign (1838-1901). In England, the earliest holders were probably owned by the wealthy, but in the latter half of the nineteenth century the low cost of silver and silver plating placed this fashion within reach of a burgeoning middle class. In France, early holders were set with precious gems for the nobility, but thereafter most vases were in electrogilded-brass vases and often set with faux pearls and gems made of glass. Exotic silver filigree holders were imported from China and India, and filigree production in Birmingham, England, catered to the wealthy in New York, Boston, and Philadelphia. Important catalogs of bouquet holder collections have been published, but bouquet holders are rarely marked, and attributions to place are often without basis. Prompted by a project undertaken by a conservator at the Smithsonian's Museum Conservation Institute in preparation for digitization of a large collection donated to Smithsonian Gardens by Frances J. Poetker, 239 holders in the catalog have been attributed to places of manufacture, often linked by designs and materials to those in other international collections. Research and detailed study of manufacture have even determined by whom some were made. This evidence-based technical study and reference guide accompanied by high-resolution photographs is intended to fill a significant gap in the available literature and serve as a resource for museums and collectors"-- Provided by publisher.
Compilation copyright ♭ 2024 by Smithsonian Institution 2024