2011'10.17.Mon

COPPER CONSOLE TABLES - CONSOLE TABLES


Copper console tables - Round glass coffe table.



Copper Console Tables





copper console tables






    console tables
  • A table supported by ornamented brackets, either movable or fixed against a wall

  • Tables made for fixing against a wall and having no legs at the back. They came into fashion early in the eighteenth century, and were made often in pairs.





    copper
  • A police officer

  • a ductile malleable reddish-brown corrosion-resistant diamagnetic metallic element; occurs in various minerals but is the only metal that occurs abundantly in large masses; used as an electrical and thermal conductor

  • coat with a layer of copper

  • a copper penny











copper console tables - Copper and




Copper and Slate Console Table


Copper and Slate Console Table



The Bassett Mirror Company has been America's first name in home fashion since 1922, when their family business was founded on the eastern slopes of the Blue Ridge mountains of Virginia. Four generations later, they make more than mirrors that are worth looking into! Their home decor division offers a wide selection of decorative mirrors, framed art and small accent items. Their furniture division provides occasional tables, large accents, dining and bedroom collections. The Bassett Mirror Company has the looks today's homemakers are buying! Their design teams travel the world and work closely with America's leading retailers to keep their products on the leading edge of current fashion trends. Whether you're an "empty nester" or a first time home owner, they have the look.










84% (14)





(Former) Helen Miller Gould Stable




(Former) Helen Miller Gould Stable





Midtown West, Manhattan, New York City, New York, United States

The former Helen Miller Gould Stable, an early work of the noted firm of York & Sawyer, is an eminently pure example of the late French Renaissance style and set an exceptionally high standard of carriage house design. The facade presents the style's general characteristics, including symmetry, vertical correspondence, the combination of limestone and brick laid in Flemish bond with dark headers, aediculated dormers, the high hipped roof of slate and the tall flanking chimneys, while details culled from early 17th century prototypes successfully evoke the architecture of the reign of Henri IV. Built in 1902-03, this stable, the only one of the many lining this mews-like section of West 58th Street to survive unaltered and intact, adds dignity to the street with its distinguished facade design.

This stable, four stories and a basement, is constructed of limestone and brick laid up in Flemish Bond with dark headers. Characteristic of the late French Renaissance style — associated with the reign of Henri IV — the limestone is used for those parts of the facade where the load is greatest: the ground story arch, the quoins at the wall angles, the window frames, and the entablature. The attenuated hipped roof, flanked by a lower mansard, masks the fourth story. The massive flanking chimneys are also characteristic of the style.

The broad, three-centered arch entrance is the most prominent feature of the stable's ground story, informing the ornamental program dependent upon it: the granite base, the elaborate water table, the banded limestone rustication, and elbow voussoirs. The limestone water table, resting upon the granite base, is separated by the arch and each side is treated individually, though identically (Plate 2). A generous cavetto supports a thick, oblong molding. Superimposed upon the cavetto and molding are square blocks on whose surfaces are carved cleated, pendant tethering rings. The upper and lower edges of the banded rustication are rounded (Plate 4). Originally solid doors had filled the arch; today the entrance is glazed, framed in steel with a simple configuration of thin steel millions echoing the tripartite bay above.10 Two narrow windows, flanking the arched entrance, pierce the rustication. They are screened with ornamental wrought-iron grilles painted black (Plate 2). Three consoles — the swagged keystone of the entrance arch and those flanking with pendant guttae — suppport the second story balcony.

A thick, oblong molding separates the limestone ground story from the limestone and brick of the second and third stories. The base of the second story balcony projects from this molding and carries a wrought-iron balustrade.ir Rising from behind the balcony (Plate 5), a two story smooth-faced ashlar, limestone bay breaks through the entablature, terminating as an aediculated dormer in the base of the hipped roof. The deeply set, wood sash casement and transom windows on both the second and third stories are contained within this tripartite bay.12 Their present configuration and material are characteristic of the building's style. The cavetto [a concave molding] of the building's water table is repeated in the spandrels of the third story windows. The sides of this bay are keyed into the Flemish bond and mirror the limestone quoins. To accommodate the fourth story dormer, the entablature is artibulated as two separate but identical elements.

The dormer's limestone balconet and its wrought-iron railing are supported by two brackets projecting from the architrave (Plate 3). The dormer's limestone aediculation (Plate 6) consists of an earred architrave supported by volutes, a laurel frieze and denticulated pediment. Behind it rises the high hipped roof of slate and lower, flanking mansard. Above the dormer there is an eyebrow-hooded ventilator. The tall flanking chimneys are of brick with limestone quoins and caps. Limestone volutes, precisely articulated, support the base of the chimneys. Apparently the chimney pots are limestone. A copper cap with two finials crowns the hipped roof. The lower mansard roof, also of slate, is visible between the chimneys and the hipped roof (Plate 7).

In 1921 this carriage house and stable was converted to a private garage and the interior was altered to accommodate four automobiles. The second and third floors became an apartment for a chauffeur. At m?. Shepard's death in 1944 the building passed from Gould ownership. In 1957 the interior was renovated as a custom shoe show room and two apartments. Since 1982 it has been the home of the Unity Center for Practical Christianity which has owned the building since 1983.

- From the 1989 NYCLPC Landmark Designation Report











(Former) Helen Miller Gould Stable




(Former) Helen Miller Gould Stable





Theater District, Midtown, Manhattan

Midtown Manhattan

The former Helen Miller Gould Stable, an early work of the noted firm of York & Sawyer, is an eminently pure example of the late French Renaissance style and set an exceptionally high standard of carriage house design. The facade presents the style's general characteristics, including symmetry, vertical correspondence, the combination of limestone and brick laid in Flemish bond with dark headers, aediculated dormers, the high hipped roof of slate and the tall flanking chimneys, while details culled from early 17th century prototypes successfully evoke the architecture of the reign of Henri IV. Built in 1902-03, this stable, the only one of the many lining this mews-like section of West 58th Street to survive unaltered and intact, adds dignity to the street with its distinguished facade design.

This stable, four stories and a basement, is constructed of limestone and brick laid up in Flemish Bond with dark headers. Characteristic of the late French Renaissance style — associated with the reign of Henri IV — the limestone is used for those parts of the facade where the load is greatest: the ground story arch, the quoins at the wall angles, the window frames, and the entablature. The attenuated hipped roof, flanked by a lower mansard, masks the fourth story. The massive flanking chimneys are also characteristic of the style.

The broad, three-centered arch entrance is the most prominent feature of the stable's ground story, informing the ornamental program dependent upon it: the granite base, the elaborate water table, the banded limestone rustication, and elbow voussoirs. The limestone water table, resting upon the granite base, is separated by the arch and each side is treated individually, though identically (Plate 2). A generous cavetto supports a thick, oblong molding. Superimposed upon the cavetto and molding are square blocks on whose surfaces are carved cleated, pendant tethering rings. The upper and lower edges of the banded rustication are rounded (Plate 4). Originally solid doors had filled the arch; today the entrance is glazed, framed in steel with a simple configuration of thin steel millions echoing the tripartite bay above.10 Two narrow windows, flanking the arched entrance, pierce the rustication. They are screened with ornamental wrought-iron grilles painted black (Plate 2). Three consoles — the swagged keystone of the entrance arch and those flanking with pendant guttae — suppport the second story balcony.

A thick, oblong molding separates the limestone ground story from the limestone and brick of the second and third stories. The base of the second story balcony projects from this molding and carries a wrought-iron balustrade.ir Rising from behind the balcony (Plate 5), a two story smooth-faced ashlar, limestone bay breaks through the entablature, terminating as an aediculated dormer in the base of the hipped roof. The deeply set, wood sash casement and transom windows on both the second and third stories are contained within this tripartite bay.12 Their present configuration and material are characteristic of the building's style. The cavetto [a concave molding] of the building's water table is repeated in the spandrels of the third story windows. The sides of this bay are keyed into the Flemish bond and mirror the limestone quoins. To accommodate the fourth story dormer, the entablature is artibulated as two separate but identical elements.

The dormer's limestone balconet and its wrought-iron railing are supported by two brackets projecting from the architrave (Plate 3). The dormer's limestone aediculation (Plate 6) consists of an earred architrave supported by volutes, a laurel frieze and denticulated pediment. Behind it rises the high hipped roof of slate and lower, flanking mansard. Above the dormer there is an eyebrow-hooded ventilator. The tall flanking chimneys are of brick with limestone quoins and caps. Limestone volutes, precisely articulated, support the base of the chimneys. Apparently the chimney pots are limestone. A copper cap with two finials crowns the hipped roof. The lower mansard roof, also of slate, is visible between the chimneys and the hipped roof (Plate 7).

In 1921 this carriage house and stable was converted to a private garage and the interior was altered to accommodate four automobiles. The second and third floors became an apartment for a chauffeur. At m?. Shepard's death in 1944 the building passed from Gould ownership. In 1957 the interior was renovated as a custom shoe show room and two apartments. Since 1982 it has been the home of the Unity Center for Practical Christianity which has owned the building since 1983.

- From the 1989 NYCLPC Landmark Designation Report









copper console tables








copper console tables




Kichler Lighting 70495 Collage Burnished Copper 31-Inch Portable Table Lamp, Khaki Linen Hard Back Shade






Light Bulb:(1)150w A21 Med F Incand
Showcasing a classic, upscale look with contemporary undertones, this novel 31' high table lamp is ideal for almost anyone looking for a fantastic piece of transitional lighting. In addition to its unique design, the eye is naturally drawn to the large, brown marble accent in the center of the lamp, which partners exceptionally well with the antique feel provided by our burnished copper finish. The Khaki linen hard back shade has a fantastic and timeless profile while providing ideal ambiance for any lighting situation - from reading a favorite book to entertaining houseguests.
3-way turn switch










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