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The soluion for he problem was simple. The minisry were ined in a super glossy whie. In combinaion wih he colorful backsplash hey look wonderful.{found on sfgirlbybay}.Color is very imporan in any area also no jus he kichen. However wih his space in paricular needs o be brigh plus open. So pain he pariions whie wih creae conras wih some of he furniure pieces. This kichen wen from dark o brigh & he change was based on a very simple concep.{found on decois}. wooden table lamp kit Save to Moodboard Rough-luxe look This decorative chandelier contrasts with the weathered kitchen furniture and industrial-style setting, adding another dimension to the space. The Mud Beaded Chandelier from Abigail Ahern, offers an edgy, modern glamour that suits the contemporary scheme 5. When it comes to proportion, most designers agree that you should up-scale, as a small lamp base or chandelier can look mean. Inspired? Save to Moodboard Up size Play with scale and proportion by opting for an oversized floor lamp such as this one - Anglepoise's Giant 1227 is a similar style. It's less obvious than going for a large pendant light; leave the ceiling rose without a fitting so the task lamp can take centre stage. 6. Being able to set differing lighting levels is really key with statement pieces. As with stage lighting, some areas will look better brighter, allowing others to fade to gentle pools. If budget is not a concern then using a Lutron circuit is a shortcut to achieving this, as you can programme different settings without having to fiddle with individual dimmers. 7. The first time I saw the Dale Chihuly light installation in the V&A my first thought was ‘Wow', closely followed by ‘How are they going to clean that?' If you don't happen to have a full maintenance team to hand like at the V&A, which is unlikely, you need to consider practicalities of owning a big chandelier from the outset. If it will show the dust, you need to know that you can reach it safely. Can you change the bulbs easily? If not, it might be worth considering an LED fixture or converting to LED bulbs. "Tradition of Progress" Exhibit | Maine Antique Digest "Tradition of Progress" Exhibit Don Johnson | February 7th, 2015 A section of balcony railing made by the Rose Iron Works, Cleveland, circa 1927, serves as a focal point at the entrance of A Tradition of Progress. Overhead is one of four name boards from the steamer Queen City. Made of painted wood, it dates to 1897. Cambridge Glass Company items shown at A Tradition of Progress include this ball pitcher and eight matching tumblers. In the #3400 line and with applied silver decoration at the edges of the flowers and some leaves, this set dates to the 1930s or 1940s. Second Empire architecture is mimicked in the design of this parlor stove, made circa 1875 by the Perry Stove Company, Salem, Ohio. Fancy stoves such as this were often placed in rooms where guests were entertained. Among the decorated stoneware in the exhibition is this imposing water cooler from Akron, Ohio. Note the jug-shaped motif around the bung hole. The piece is dated 1876. Shop of the Crafters operated in Cincinnati from 1904 to 1919. Circa 1910, this is one of two matching side chairs in oak with inlay designed by Paul Horti. Henry L. Fry was an instrumental figure in the art-carved movement in Cincinnati. This mantel was made for Sunflower Cottage, a Gothic Revival house built by Fry and his second wife. Decorative elements include sunflowers and lilies. The floral-motif andirons in wrought iron and bronze were designed by Paul Feher for Rose Iron Works, Cleveland. On the mantel is a silver-plated salver produced by Homan Manufacturing Company, Cincinnati. Arts and Crafts furniture and accessories are the focus in this gallery, with items ranging from furniture to pottery. The smaller size of the KitchenAid model G stand mixer significantly increased sales over the previous version. Made from 1928 to 1931 in Springfield, Ohio, the steel and chrome appliance was proof that good design could help sell common household items. Made around 1890 to 1910, this roll-top desk by Conant Brothers Furniture Company, Toledo, is typical of large pieces of furniture from the Victorian era. The fitted interior was designed to maximize the efficiency of the user. Both paint-decorated and stenciled, the blanket chest in the foreground was made by Jacob Werrey of Fulton County, Ohio. Little is known about the Mennonite craftsman. At the top of a curving staircase in the Reese-Peters House, home to the Decorative Arts Center of Ohio, visitors since February 7 have been greeted by a section of wrought-iron balcony railing, an arched name board from an Ohio River steamboat, and a crisp-looking panel announcing the exhibition housed through doors to the left and right. In Art Deco-style type it reads, “A Tradition of Progress: Ohio Decorative Arts 1860-1945.” Part metaphor, part metamorphosis, A Tradition of Progress offers an intriguing view of cultural heritage in the Buckeye State. Open in Lancaster through May 17, the exhibition is the sequel to Equal in Goodness: Ohio Decorative Arts 1788-1860, which was featured at the same location in 2011. Andrew Richmond, vice president of Garth’s and a M.A.D. columnist, returns as curator for this second show, which in the planning stages had the working title of Equal the Sequel. However, A Tradition of Progress found its own identity and gained its own voice. In the process, it did something else. It accomplished the nearly impossible by summing up 85 years of decorative arts in 152 individual objects and groupings. The items showcased were made in Ohio during a period that began before the Civil War and ended after the conclusion of World War II. It was a time when America had become fully industrialized, transitioning from handwork to machine-made goods. And it was an era when middle-class Americans had enough change jingling in their pockets to splurge on objects that were not merely functional but were also decorative. These everyday folks were no Rockefellers, but they could begin to furnish their homes with nice items that bespoke of the upward mobility of the U.S. populace. That’s where part of the metaphor comes in, as the material found in A Tradition of Progress represents more than just a period of time, but also the American dream of living a life bigger and better than one’s ancestors. The metamorphosis can be seen in the five rooms where the exhibition is presented, as visitors advance counterclockwise, essentially turning back time. 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