I’m splitting town for five days and I’m too irresponsible and neurotic to use the Queue feature to maintain posting while I’m away, so apologies in advance for the lack of content over the next few days! Please don’t unfollow me (when I’m gone). I love you.
Sincerely,
Eloise
Totally thought this was one of those cool round sofas that one might find in a Mid-Century Modern hotel lobby. Imagine? It looks like it could have a phone booth on the inside. If I ever get into hospitality design, I’m completely ripping this off.
Cray-1 Computer System promotional brochure (pdf)
The Cray-1, released in 1976, had a single megabyte of RAM, weighed 5.25 tons, cost $8.86 million, and was advertised as “a compact mainframe occupying a mere 70 sq. ft. of floorspace”.
The Cray-1 had roughly 4% of the computational power of an iPhone 3GS.
Life size Barcelona daybed chocolcate cake.
I want to eat this for breakfast.
via tinytomato via bloomaciousfoodie via anddouglassays
Cauliflower coffee pot
Josiah Wedgewood, 1759
from the Wedgewood Museum
Jacques Brel - Les Bergers
Okay, I know that this song is about shepherds and not chairs, but I can’t help thinking of it every time I read about bergères. See, at school we just finished going over all the French court styles, which covers the period when these types of chairs were first developed, so this song has been floating about in my head all week. Now when I listen to it, I imagine a bunch of silk damask upholstered bergères exuberantly dancing around in a meadow, with flocks of confused sheep looking on.
(Image via Les collections du Musée Des Arts Décoratifs via Design Sponge)
Walnut & marquetry inlaid Cassone
Late 17th century, Spain
“Cassoni were often made to commemorate a marriage, and in them would have been stored clothing, linen, textiles and other articles given as dowry. Many are embellished with inlay, as in this example; others were finely painted with mythological or figural subjects. Important cassoni were often made in pairs and bore the arms and other heraldic devices of the respective noble families, and the finest cassoni were of carved and polished wood and painted with mannerist designs.” — via Doe and Hope
Two adjectives are competing with each other in my head: staggering and stunning. Fine, they both win. This cassone is staggeringly stunning.
Follow Doe and Hope on twitter if you like, they are a new instant favorite of mine.
Art Nouveau cabinet/vitrine by Gustave Serrurier-Bovy
Red narra wood, ash, copper & enamel
Belgium, 1899
Located in the European Sculpture and Decorative Arts wing at The Metropolitan Museum of Art
This cabinet says one word to me. And that word is: BLADOW
Winchester Cathedral, England.
Silver plate toast rack by Christopher Dresser
England, 1881
Located in the European Sculpture and Decorative Arts wing at The Metropolitan Museum of Art
Eloise Moorehead is now on twitter! It’s Follow Friday, you know what that means…
(p.s that garbled link in the screenshot points to a past post about Thomas Edison’s concrete piano)
Willem Gispen 201 chair
c. 1930s, Netherlands.
Sprung-steel armchair with tubular chromed steel frame and Bakelite armrests.
(via)
![Louis XVI Music Chairs from Le Garde-meuble, ancien et moderne (Furniture repository, ancient and modern)
Le Garde-meuble was “a bimonthly periodical published in Paris, which exerted an enormous influence throughout the world by promoting French styles in furniture, fabrics, and interior decoration for a nearly a century, beginning in 1839 during the reign of Louis Philippe and ceasing in the waning years of the Third Republic around 1935”. [source]](http://8.media.tumblr.com/tumblr_ksywm9uN3z1qzvxbko1_r1_400.jpg)
Louis XVI Music Chairs from Le Garde-meuble, ancien et moderne (Furniture repository, ancient and modern)
Le Garde-meuble was “a bimonthly periodical published in Paris, which exerted an enormous influence throughout the world by promoting French styles in furniture, fabrics, and interior decoration for a nearly a century, beginning in 1839 during the reign of Louis Philippe and ceasing in the waning years of the Third Republic around 1935”. [source]
![Large lead-glazed earthenware oval platter with high relief of a snake, a perch, a crayfish, and other assorted squirmy creatures. Attributed to Bernard Palissy, second half 16th century, France. Located in the Salle de Bernard Palissy at the Louvre.
Known for having attempted to imitate Chinese porcelain for years, by the middle of the 16th century, Palissy developed a mixture of glazes which made ceramic resemble jasper, chalcedony and other exotic, colored stones.
Palissy produced his designs by attaching casts of dead lizards, snakes, and shellfish to traditional ceramic forms such as basins, ewers, and plates. He then painted these wares in blue, green, purple, and brown, and glazed them with runny lead-based glaze to increase their watery realism. [source]
These designs were called terre jaspée, but are now known as Palissy ware. Queen Catherine de’ Medici, who had given Palissy the title of Inventor of Rustic Ware to the King*, commissioned him to design her private grotto at the garden of the Palais des Tuileries in Paris, which he decorated in tile with his repertoire of super-realistic, creepy crawly marine/reptilian rustiques figulines.
*“The title of Inventeur des rustiques figulines du roi was bestowed on Palissy by Catherine de Medici at the instance of the Constable de Montmorency who knew that the only way to save the artist from death on the charge of heresy was to have him numbered among those of the royal household.” [source]](http://7.media.tumblr.com/tumblr_ksz2msx7dS1qzvxbko1_400.jpg)
Large lead-glazed earthenware oval platter with high relief of a snake, a perch, a crayfish, and other assorted squirmy creatures. Attributed to Bernard Palissy, second half 16th century, France. Located in the Salle de Bernard Palissy at the Louvre.
Known for having attempted to imitate Chinese porcelain for years, by the middle of the 16th century, Palissy developed a mixture of glazes which made ceramic resemble jasper, chalcedony and other exotic, colored stones.
Palissy produced his designs by attaching casts of dead lizards, snakes, and shellfish to traditional ceramic forms such as basins, ewers, and plates. He then painted these wares in blue, green, purple, and brown, and glazed them with runny lead-based glaze to increase their watery realism. [source]
These designs were called terre jaspée, but are now known as Palissy ware. Queen Catherine de’ Medici, who had given Palissy the title of Inventor of Rustic Ware to the King*, commissioned him to design her private grotto at the garden of the Palais des Tuileries in Paris, which he decorated in tile with his repertoire of super-realistic, creepy crawly marine/reptilian rustiques figulines.
*“The title of Inventeur des rustiques figulines du roi was bestowed on Palissy by Catherine de Medici at the instance of the Constable de Montmorency who knew that the only way to save the artist from death on the charge of heresy was to have him numbered among those of the royal household.” [source]
Ceramic lamp designed by Marcello Fantoni
Italy, c.1950’s
(via)
I really like this REALLY BIG TABLE
Large scale (144” x 36” x 4”) concrete table by Gore Design Co.
