MARTIN FINE FURNITURE : WICKER NURSERY FURNITURE : AMERICAN FURNITURE STORE MIAMI.
Martin Fine Furniture
- Furniture is the mass noun for the movable objects ('mobile' in Latin languages) intended to support various human activities such as seating and sleeping in beds, to hold objects at a convenient height for work using horizontal surfaces above the ground, or to store things.
- Large movable equipment, such as tables and chairs, used to make a house, office, or other space suitable for living or working
- furnishings that make a room or other area ready for occupancy; "they had too much furniture for the small apartment"; "there was only one piece of furniture in the room"
- Furniture + 2 is the most recent EP released by American post-hardcore band Fugazi. It was recorded in January and February 2001, the same time that the band was recording their last album, The Argument, and released in October 2001 on 7" and on CD.
- A person's habitual attitude, outlook, and way of thinking
- Small accessories or fittings for a particular use or piece of equipment
- French bishop who is a patron saint of France (died in 397)
- any of various swallows with squarish or slightly forked tail and long pointed wings; migrate around Martinmas
- A swift-flying, insectivorous songbird of the swallow family, typically having a less strongly forked tail than a swallow
- United States actor and comedian (born in 1945)
- ticket: issue a ticket or a fine to as a penalty; "I was fined for parking on the wrong side of the street"; "Move your car or else you will be ticketed!"
- A sum of money exacted as a penalty by a court of law or other authority
- all right: being satisfactory or in satisfactory condition; "an all-right movie"; "the passengers were shaken up but are all right"; "is everything all right?"; "everything's fine"; "things are okay"; "dinner and the movies had been fine"; "another minute I'd have been fine"
- money extracted as a penalty
Schliephacke & Ssymmank: Avantgarde in Their Day (German Edition)
In the late 1950s, the mass-manufactured lamps "Schliephacke" and "Ssymmank" became understated icons of the Berlin intellectual scene. Today they are renowned as classics of their day, and illustrative of its conflicts. With a crown made of six "leaves" of brightly colored nylon, the ultra-modern "Ssymmank," based on a design by Hans Scharoun and developed for serial production by his assistant Gunter Ssymmank, was a sensation. It has been on display at The Museum of Modern Art in New York since the early 80s. On the other hand, the minimalist, multi-functional "Schliephacke," designed by the architect Fridtjof Schliephacke, clearly adopts the stylistic traditions of the Bauhaus. These two pieces, with their contrary starting points, exemplify the debate on Functionalism that raged in Germany during the postwar reconstruction. Schliephacke & Ssymmank: Avantgarde in their Day presents the development of these two emblematic collectors' items in the context of that debate, and "illuminates" the story with plentiful illustrations.
Michael Gough as Michael Corland in a scene from the Ealing comedy classic "The Man in the White Suit"
Michael Gough (1916 - 2011)
Actor with poise and presence, best known as Alfred the butler in Tim Burton's Batman
The actor Michael Gough, who has died aged 94, was an arresting presence on stage, television and film for the entire postwar period, notably as the butler Alfred Pennyworth in Tim Burton's Batman movies. Eventually he just voiced roles, as with the Dodo Bird in the same director's Alice in Wonderland film last year, but always to striking effect.
Gough started in the Old Vic company in London before the second world war, but it took till 1946 for his career proper to get off to a flying start in the West End, in Frederick Lonsdale's But for the Grace of God. The fistfight-to-the-death scene was done with such startling verisimilitude that nearly all the stage furniture was demolished nightly, and Gough broke three ribs and injured the base of his spine. So copiously did blood flow from his lower lip at one performance that his adversary, played by Robert McDermott, held him up by the scruff of the neck for the audience to gape at the gore dripping over the footlights. Gough, as the degenerate black sheep of an English family trying to blackmail an American adulterer, would curl a long lip into a sneering smile, which became a characteristic of this fine actor's style. Whether villainous or heroic, romantic or sly, funny or frightening, he put that snarl to good use alongside his dark-brown voice and melancholy features in a wide range of parts.
He was born in Kuala Lumpur, Malaya, where his father was a rubber planter. After attending Rose Hill school, Tunbridge Wells, and Durham school, he dropped out of Wye Agricultural College in Kent in order to study acting at the Old Vic. He came to be in great demand in the West End: in Sartre's Crime Passionel (1948), he dithered as a political assassin; later that year, in Daphne du Maurier's September Tide, he set about the seduction of his mother-in-law (Gertrude Lawrence) with a fascinating delicacy when it came to removing her glasses. He played an apt and indignant Laertes to Alec Guinness's Hamlet (1951), then a passionate and neurotic son to a possessive mother in Coward's The Vortex (1952). In Ibsen's The Wild Duck (1955), he was the sardonic idealist Gregers Werle – as Kenneth Tynan put it, "oozing sincerity while letting the man's neuroses seep through the facade". The same performance prompted Caryl Brahms to perceive Gough's "extraordinary capacity for keeping speech straining at the leash; for pent-up emotion; and for the cut and parry and flash of word-play".
Although Gough's mannered elegance was hardly suited to the social misfits erupting in the new wave of British drama or the theatre of the absurd, he did not ignore either movement. He took over from Alan Webb in Orson Welles's production of Ionesco's Rhinoceros when it moved with Laurence Olivier from Sloane Square to the West End in 1960; he appeared in the Royal Court's Brecht anthology in 1962; and in 1969 he toured two of Pinter's one-acters, A Slight Ache and The Lover, to South America.
A busy and regular film actor, he headed the bomb-disposal squad in the Michael Powell and Emeric Pressburger wartime drama The Small Back Room (1949), and in The Go-Between (1970) played the father of a headstrong young woman (Julie Christie). He developed a strong line in science-fiction and horror roles.
At the National theatre, Gough excelled as a comedian. He played a resigned and rueful parent in Ayckbourn's Bedroom Farce (1977), nibbling pilchards on toast in bed with his wife (Joan Hickson) in celebration of a wedding anniversary, their contentment ruined by a daughter with a marital crisis that Gough sneaked shrewdly away from. When the comedy transferred to Broadway the following year, he and Hickson won Tony awards.
One of Gough's funniest West End roles was as Baron von Epp in the 1983 revival of Osborne's A Patriot for Me. Presiding over a military "drag" ball in the heyday of the Austro-Hungarian Empire, he wore a long gown and tiara, carried a fan and handbag, and as Queen Alexandra he moved among his guests with gravity and grace to bring the house down at the Haymarket.
Unafraid to go out on a limb – most notably as King Lear (1974) at the Belgrade theatre, Coventry, or as the old retainer Firs to Judi Dench's Madame Ranevskaya in Chekhov's The Cherry Orchard (1990) at the Aldwych – Gough breathed humour and humanity into all his work. His marriages to Diana Graves, Anne Leon and Anneke Wills ended in divorce, and he is survived by his fourth wife, Henrietta Lawrence, his daughter, Emma, and sons, Simon and Jasper. His daughter Polly predeceased him.
Eric Shorter The Guardian 17 March 2011
Toby Hadoke writes: Michael Gough first made his cinematic mark as Nicholai to Vivien Leigh's Anna Karenina (1948), Michael Corland opposit
Rousham House is a Jacobean style country house in Oxfordshire, England. The house has been in the ownership of one family since it was built.
Rousham HouseThe manor of Rousham was purchased during the 1630s by Sir Robert Dormer. He immediately began construction of the present mansion; however, work was halted by the start of the civil war. The Dormers were a Royalist family, and so the house was attacked by Cromwellian soldiers who stripped the lead from the newly completed roofs.
In 1649 the estate was inherited by Robert Dormer's son, also Robert. He left the house much as his father had created it, repairing only the ravages of the civil war. However, he did more to restore the family fortunes by marrying twice, each time to an heiress. His second wife was the daughter of Sir Charles Cottrell, a high-ranking courtier of King Charles II.
Dovecote in the oldest part of the gardenIt was the grandson of Rousham's builder Colonel Robert Dormer who after inheriting in 1719 began the huge transformations in the gardens that we see today. Initially he employed Charles Bridgeman to lay out the gardens in the new and more natural style that was becoming popular. Bridgeman's layout of the garden was completed circa 1737. Rousham was then inherited by Colonel Dormer's brother, General James Dormer. It was he who called in William Kent to further enhance and carry forward the garden created by Bridgeman. This Kent did with considerable success over the following four years.
At this time Kent was also embellishing the house itself, with castellations and two wings containing a drawing room and a library. Kent's interiors were altered a century later. The hall, the principal room of the house, has survived alteration by successive generations unscathed, and remains as completed in the 17th century. Kent's exterior work is today almost as built, though in 1876 the original octagonal paned glazing was replaced with innovative large sheets of plate glass, during a heavy-handed restoration of the house by the architect J P St Aubyn. The house contains fine collections of Jacobean and 18th-century furniture, paintings and statuary, all displayed in a domestic setting.
One of the many vistasThe gardens, created by Bridgeman and then Kent, are situated in a curve of the River Cherwell. Bridgeman had laid out the skeleton of the garden, with meandering walks through the woods, and pools of varying degrees of formality. Kent's theme was to create and transform the natural landscape created by Bridgeman into an Augustan landscape to recall the glories and atmosphere of ancient Rome. Thus the Roman Forum was to be recreated in the verdant English countryside.
Statue detailAway and unseen from the mansion, Kent's garden rambles past classical temples, follies and statuary representing the spirit of that era, dying gladiators, a horse being savaged by a lion and other statues depicting similar themes. Paths lead through woods where the abundant water from the Cherwell is fully utilised: small rills lead to larger ponds and formal pools, classical statuary of Roman Gods and mythological creatures are cunningly positioned to catch the eye as one progresses from a cascade to the cold bath and on to the next temple or arcade, each set in its own valley or glade, a string of picturesque events.
A rill flows along a woodland pathAmong the most revealing and thought-provoking of the follies is a grotto with a small cascade with the inscription: In Front of this Stone lie the Remains of Ringwood an otter-hound of extraordinary Sagacity: this shows that while the English squire who created this garden attempted to achieve Arcadia, his interests and loves remained hunting and hounds. A separate garden closer to the house evokes the spirit of the Tudor and Stuart eras of English gardening. Box-edged beds and borders of old roses and herbaceous plants are surrounded by walls of ancient red brick; here an historic circular dovecote still retains its doves and close by through a small gate is the parish church, where generations of Cottrell-Dormers are buried. One memorial in the church commemorates three sons of the family killed in the fighting of World War I.
The Cottrell-Dormer family still live at the house, and keep the garden and estate so uncommercialised that no book exists to guide the unwary tourist, and no shop sells colourful postcards or souvenirs. A visit to Rousham today is very similar to one enjoyed by a visitor in the 18th century. While the gardens and buildings are in a superb state of repair, they are not manicured, one does not feel afraid to tread on the grass or to pause for thought on a rustic bench; in such a state the spirit of the 18th century lingers on at Rousham.
martin fine furniture
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