Tradewins Queen Bed – For a Classy yet Relaxing Setting

A bedroom can be rightly reckoned as soul of the entire house. Choosing that classy piece of bedroom furniture, especially a bed, can give sleepless nights to many. The perfect bedroom furniture is something that adds elegance to your bedroom, while providing maximum comfort. And what better option than an oak finish queen bed to add that royal touch. If you have spent hours on the Internet trying to find the finest bedroom furniture in vain, then we suggest you check out the Tradewins Queen Bed offered at Nebraska Furniture Mart.

Setting up your bedroom is of prime importance, as it is the place in your house that personifies peace and tranquility. So, when choosing a bed for your bedroom, consider a few things. First, select a bed that is spacious and provides enough space to unwind yourself completely. Other things to consider are the durability and comfort factor. With all these in mind, we think that the Tradewins Queen Bed, which can comfortably accommodate two adults, would be the best option. You can happily stretch out your arms and legs or even roll around on the bed if you sleep alone!

Owing to their glossy finish, oak finish queen beds have always been a great option to add charm to bedrooms. Thus, the Tradewins Queen Bed with a classy oak finish will be an elegant addition to your bedroom.

Most bed sets do not necessarily include a headboard and a footboard. But, the Tradewins Queen Bed includes a queen headboard, which is decorative as well. The queen footboard not only complements the elegant design, but also lets you keep your blankets in place. The set also includes rails and slats.

So, do you think the Tradewins Queen Bed will make a comfortable bed set for your bedroom? Then, consider purchasing it from nowhere else other than NFM, if you want to get the best deal ever!

Double Dresser

Southern Textiles Ambrose Falls Bedding brings together beautiful autumn colors highlighted by a woven paisley comforter with lime greens, golds, blues, and orange spice

Southern Textiles Bridges Bedding is a simple ensemble consisting of woven fabrics in solid saddle tan and black

Southern Textiles Hobie Bedding Red, white, and blue stripes in all cotton give this contemporary ensemble the patriotic feeling of the 4th of July

Chrysanthemum is a large sale all over woven floral in black and gold on a luminescent ground. Different woven fabrics are coordinated to enhance this opulent ensemble and the decorative pillows are accented with Asian inspired details.

Lawrence Silence Bedding Collection

The Veratex Waterlily Collection drawns upon Asian influences to create a clean, modern ensemble. Veratex uses only the highest quality fabrics. In the Waterlily Collection, the sheen of these fabrics is offset by shimmering detail work, the combination of which softly reflects light to create a luminous feeling.

New Idea Luxury Bedding

Southern Textiles Ambrose Falls Bedding brings together beautiful autumn colors highlighted by a woven paisley comforter with lime greens, golds, blues, and orange spice

Southern Textiles Bridges Bedding is a simple ensemble consisting of woven fabrics in solid saddle tan and black

Southern Textiles Hobie Bedding Red, white, and blue stripes in all cotton give this contemporary ensemble the patriotic feeling of the 4th of July

Chrysanthemum is a large sale all over woven floral in black and gold on a luminescent ground. Different woven fabrics are coordinated to enhance this opulent ensemble and the decorative pillows are accented with Asian inspired details.

Lawrence Silence Bedding Collection

The Veratex Waterlily Collection drawns upon Asian influences to create a clean, modern ensemble. Veratex uses only the highest quality fabrics. In the Waterlily Collection, the sheen of these fabrics is offset by shimmering detail work, the combination of which softly reflects light to create a luminous feeling.

Country Dressers

La Salle Triple Dresser- Cafe Noir Finish

Celebrate Northern European Country styling with bold, architectural silhouettes and multiple colors in Alexandria Collection. Gentle curves, warm tones, and grand scale offer a new look to classic European design.

Bring a bright, classic style to your child's bedroom with the Sand Castle Double Dresser and Mirror in Pure White. This chic double dresser has a functional unisex design that grows with the child and blends right into any decor.

The Oak River Collection imbues your bedroom with a classic country look. A warm Oak finish and delicate traditional drawer pulls add grace to this collection. The complete look is one of country homes of the past. The Oak River Dresser and Mirror make a perfect pair in any bedroom. The dresser has nine drawers, and the mirror features a simple, elegant arch at the top.

Owen Jones and Medieval Stained Glass Design

Illustration: Stained Glass from Owen Jones The Grammar of Ornament, 1856

In Britain stained glass design and production saw a massive rise in both popularity and function in the nineteenth century. It was used extensively in both the domestic and ecclesiastical markets and although artistically it can be said that the twentieth century may well have seen the apex of stained glass design work as far as creativity is concerned, it is still the nineteenth century that saw the craft appealing almost universally, probably for the first time since the medieval period.

Although Owen Jones does cover stained glass decorative work in his 1856 The Grammar of Ornament, it is very much tucked away within the larger Medieval Ornament chapter. However, there are twenty nine examples on two large colour plates covering the time period between the twelfth and fourteenth centuries.

As with many examples of ornament around the world and in a number of different time periods that Jones included within his seminal book, he was convinced that on average and with some exceptions, the earlier the period of decoration the more symptomatic it was to an ideal that later became subverted or diluted, ending in an eventual ghost impression of the original ideal. Although this to a certain extent is a simplification of Jones theories regarding the history of decoration, it is also to some extent again, an over simplification on Jones part of the history of the decorative arts. There are always a number of factors that go into the development of styles and eras of decoration. Trying to seek the early purest form of a decorative style and isolating that style from all other influences and cultural cross-pollinations is difficult at the best of times and often impossible.

Illustration: Stained Glass from Owen Jones The Grammar of Ornament, 1856

This theory of early is best, was used by Jones for his all too brief description of medieval stained glass decoration. He closely associated the pattern and ornamental elements of early stained glass design with that of medieval illuminated manuscripts. In some respects this makes a great deal of sense as stained glass, along with painted wall decoration was often the only physical example of the ideals of a religion that was available to the general public. The Bible itself during this period was considered off limits to all but the chosen few and therefore interpretation was limited to the visual.

Jones believed that the more accomplished stained glass designers and craftsmen became, the more pretentious they eventually became, adding superfluous affectations and gimmicks within the work. Eventually this was to lead to the craft trying to imitate the world around it, rather than being content to interpret that world symbolically. As far as Jones was concerned, along with many of his contemporary nineteenth century critics, the attempt was always doomed to failure with the craft tradition and decorative arts always being the ones to suffer most.

Although perhaps Jones critical stand was more of an ideological one than that of one that considered the elements of practical application, there is still much to be said for the theory. There is little doubt that many craft disciplines, particularly those such as stained glass that were heavily defined by their own practicalities, have suffered by the imposition of decorative fashions and styling.  There are particular eras whereby designers either failed to understand the physical limitations of stained glass, or refused point blank to curtail their enthusiasm for decorative schemes in order to accommodate stained glass limits.

This attitude has inevitably led to stained glass work that can only be seen to be classed as such under the very loosest of definitions. It was perhaps no bad thing for Victorian stained glass designers to be gently attracted towards the earlier forms of the craft by such critics as Jones.

Reference links:
The Grammar of Ornament: All 100 Color Plates from the Folio Edition of the Great Victorian Sourcebook of Historic Design (Dover Pictorial Archive Series)
The Grammar of Ornament. Folio Edition
Grammar of Ornament: A Monumental Work of Art
Victorian Stained Glass Pattern Book (Dover Pictorial Archives Series)
Stained Glass and the Victorian Gothic Revival (Studies in Design)
Medieval and Renaissance Stained Glass in the Victoria and Albert Museum
English and French Medieval Stained Glass in the Collection of the Metropolitan Museum of Art, New York (Corpus Vitrearum)

Interior Pictures

Interior design by integrating several warnasehingga create a cool and beautiful impression in the eye

Wallpaper Design by Otto Eckmann

Illustration: Otto Eckmann. Wallpaper design, c1899

Otto Eckmann can be counted as one of the most interesting and diverse designers of his period. When he took up a second career in design at the end of 1894, he put a symbolic end to his first career as a fine art painter by auctioning off his entire collection of work, so as to start anew and fresh as a decorative artist.

Eckmann was involved in the design work of textiles and in particular embroidery and tugs, ceramics, metal, furniture, wallpaper and graphics. It is with wallpaper design that we are concerned with in this particular article. All of the wallpapers featured here were produced by Eckmann in around 1899. They are a stunning display of an individual's approach to wallpaper design and shows that Eckmann was neither overly influenced nor cowed or intimidated by the long history and traditions of the wallpaper industry, particularly by an individual who was approaching commercial design from a fine art background.

Illustration: Otto Eckmann. Wallpaper design, c1899

It could be said that it was actually Eckmann's artistic experience that gave him a particular edge over some of his rivals. It was the individual approach to both styling and composition that made his work appealing for both its novelty and its decorative potential. It was this external attitude that often produced work by artists and designers that stood out when they approached another and relatively unfamiliar discipline, achieving results of unexpected and unusual directions. However, this was not always the case and there were some spectacularly dire results of cross-discipline experiments. These failed ventures have proved to be of a serial nature and have dogged the decorative arts world down to our own contemporary era, mostly in the form of celebrity design launches.

Illustration: Otto Eckmann. Wallpaper design, c1899

Eckmann himself was not of this ilk and the wallpaper design work that he produced from the 1890s until his death in 1902 at the incredibly early age of thirty seven, show a clear definition of his approach to the decorative arts. It has been said by many that the artist turned designer was heavily influenced by the Japanese artistic and decorative format, and while this is true to a certain extent, it can only ever be classed as one thread of the creative work of Eckmann, not the only one.

It is the graphic work produced during the last years of his life that tended to influence the rest of his work through the various disciplines. This is an interesting development as many of the decorative arts had come to rely on the defined graphic quality of flat design. This came to be particularly true at the end of the nineteenth century when considering the textile and wallpaper disciplines for example. A number of illustrators and graphic artists became involved in wallpaper design at the turn of the century and there was a relatively busy and productive cross-pollination of ideas and theories that was to include the whole world of poster art, text, book illustration and wallpaper design.

Illustration: Otto Eckmann. Margueriten wallpaper design, c1899

It was this fruitful period that coincided with the general European Art Nouveau movement, known more specifically in Germany as the Jugendstil of which Eckmann became one of the leading lights. It was with the help of the individual styling of Eckmann's work along with that of others in Germany, that the Jugendstil made its own unique contribution to that of Art Nouveau, often countering to a certain extent, the inbuilt and often overly conscious flamboyance of the French and Belgian versions of the movement.

As with so many scenarios of the early death of a talented individual, it would have been interesting to have known how Eckmann had he lived past 1902, would have affected and influenced not only the dynamics of German decorative arts under the Jugendstil, but much further a field towards that of German Modernism. How his own personal career would have faired during the first and most important half of the twentieth century, we will never know.

Illustration: Otto Eckmann. Self Portrait

Reference links:
Modern Style: Jugendstil/Art Nouveau 1899-1905
Jugendstil, Graphik und Druckkunst
Art nouveau in Munich: Masters of Jugendstil from the Stadtmuseum, Munich, and other public and private collections
Jugendstil Art Nouveau
Ornament und Illustration um 1900: Handbuch fur Bild- und Textdokumente bekannter und unbekannter Kunstler aus der Zeit des Jugendstil (Asthetik der Alltagswelt) (German Edition)

Rajdeep Interior Decoration and Cleaning Servicescordyn

Rajdeep Interior Decoration

Modern Luxury Bedding

Southern Textiles Larisa Bedding is a beautiful French vanilla shantung comforter made in a cotton poly blend that easily lends itself to a variety of room décor. The vertical stripes of the bedskirt and square accent pillows lead the eye to the splash of red and the look of a gold embroid

Southern Textiles Lattice Bedding is a soft teal lattice work design on a chocolate brown background with teal micro suede accent pillows

Southern Textiles Legacy Bedding is a sophisticated ensemble in rich golden hues with detailed cording and fringe

Southern Textiles Mabry Bedding is a contemporary set featuring a block design in sangria and khaki

The Southern Textiles Malibu Bedding Ensemble is a California or Florida cotton print concept of the magnolia flower, conventionalized. The creamy-yellow petals of the flower motif are punctuated by bright red-orange centers with multi-green leaves super-imposed on a grayed blue ground.

Southern Textiles Paddock Bedding is a large contemporary paisley print in avocado green and chocolate brown with muted yellow shantung accents and stripes with the same colors combined.

Southern Textiles Prescott Bedding is a gold comforter background with large Chrysanthemum flowers in colors of bronze and light beige.

Modern Bedroom Furniture

If you want a modern bed with a traditional feel, check out this Contemporary Platform Bed in Cherry finish. It has the headboard shape of a traditional sleigh bed with modern cutouts and an angular platform base. The finish is rich and stunning, and this Contemporary Platform Bed is a beautiful way to modernize your bedroom. Add additional pieces from this Collection for a complete set.

If you're looking to redecorate your child's room with class and elegance, this Contemporary Kids Full Bed is perfect for you. You can't go wrong with its subtle and sophisticated style! Add other pieces from this collection to complete the look.

Modern platform bed with mat finish, has one drawer on the side and two drawers in front of the bed. Optional two drawer nightstand. Eight drawer dresser with st steel handles. Stylish mirror has wood frame.

Modern contemporary bed in lacquer finish