Bibliography - Art and domestic crafts: Furniture
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A Rolle of the several Armors and furniture, with theire names of the Clergie within the Arch Deaconry of Lewes and Deanery of South Malling, with the Deanery of Battell, by Reginald W. Sackville-West, published 1859 in Sussex Archæological Collections (vol. 11, notes & queries, pp.225-227) accessible at: W.S.R.O. [Lib 2096] & The Keep [LIB/500230] & S.A.S. library   View Online

A History of the Royal Pavilion Brighton. With an account of its original furniture and decoration, by Henry D. Roberts, published 1939 (xvii + 224 pp., London: Country Life) accessible at: R.I.B.A. Library & West Sussex Libraries & East Sussex Libraries

Regency Furniture, 1800 to 1830, by Clifford Musgrave, published 1961 (London: Faber and Faber) accessible at: & West Sussex Libraries & East Sussex Libraries

Adam and Hepplewhite and other neo-classical Furniture, by Clifford Musgrave, published 1966 (223 pp., London: Faber and Faber) accessible at: & West Sussex Libraries & East Sussex Libraries

The Furniture of Petworth, by Gervase Jackson-Stops, published May 1977 in Apollo : the international magazine of art and antiques (vol. 105, no. 183, article, p.358)

Furniture in Steyning, a Sussex Parish, 1587-1706: a Study of Documentary Sources, by Janet Pennington and Joyce Sleight, published 1987 in Regional Furniture (vol. 1, article, pp.41-49) accessible at: W.S.R.O. [Lib 9837]

The Craces: Royal Decorators 1768-1899, by Megan Aldrich, published 1 January 1990 (John Murray, ISBN-10: 0948723130 & ISBN-13: 9780948723131) accessible at: East Sussex Libraries
The Crace family were the most important firm of interior decorators working in Britain in the 19th century. They worked for every British monarch from George Ill to Queen Victoria and on a range of buildings that include royal palaces (among them the Royal Pavilion at Brighton, Buckingham Palace and Windsor Castle), the Prince of Wales' Carlton House, Leeds Town Hall, the Houses of Parliament, Knightshayes, Ickworth, Chatsworth, Cliveden, the Great Exhibition building of 1862 and numerous others. To study the Craces is to study the design of an age. This book is illustrated in colour and black-and-white showing the designs for furniture, ceilings, panelling and interiors in general together with photographs showing the interiors themselves.

Two arts and crafts interiors by Aston Webb, by Ian Dungavell, published 1997 in Journal of the Decorative Arts Society 1850-the Present (vol. 21, article, pp.103-115)
One of the interiors is Paddockhurst, near Turner's Hill, which in 1933 became Worth Abbey

Classical sculpture and the English interior, 1640-1840: purpose and meaning, by Ruth A. Guilding, 2000 at Bristol University (Ph.D. thesis)
The 2nd Earl of Arundel was the first English collector to imitate directly Italian Renaissance collections, creating sculpture displays in Arundel House and its gardens in the 1640s which became famous throughout Europe . Translated into the quasi-domestic context, classical sculpture represented the veneration of the cultural and political mores of ancient Rome and Greece, the props and justification of political power, but could also be portrayed as an inspirational 'body of history' augmenting civic culture, as 'national treasure' and exemplars for the improvement of the arts, carrying the onus of granting opportunities for their public consumption . Arundel's displays were piously recreated, at Wilton House, Easton Neston and the University of Oxford, but subsequent collectors adopted the Palladian format, based on Roman architectural vocabulary, as the convention for display until c.1760 . Dependent on symmetry and niche architecture, Palladian displays required full-length statues, or copies and casts of the best works in the antique canon. Outside the context of the 'atrium'/entrance hall. where busts and statues could stand as putative ancestors, sculpture continued to hold the same resonances, but in these controlled and formalised settings its significance could be diminished to that of grand furniture. The more intensive antiquarianism of the Enlightenment gradually eclipsed such resonances. From the 1760s, tastes broadened to encompass the works of Piranesi, inscriptions, funerary sculpture, and non-classical antiquities, placed in 'Museum' room displays . In the last full-blown aristocratic galleries, at Castle Howard, Woburn, Petworth and Chatsworth, between 1800-c.1840, marble antiquities were juxtaposed with modern sculpture, to convey a political message, or as antique exemplars. The cachet of ownership increased: Charles Townley's reputation was entirely vested in his antique marbles; his housemuseum at Park Street acquired a quasi-public status, becoming the model for the first public sculpture galleries, when his marbles were bought by the British Museum.

Charles Davis, the 15th Duke of Norfolk, and the Formation of the Collection of Furniture at Arundel Castle, by S. S. Jervis, published 2005 in Furniture History (vol. 41, article, pp.231-248)

Goodwood: Art and Architecture, Sport and Family, by Rosemary Baird, published 9 September 2007 (256 pp., Frances Lincoln, ISBN-10: 0711227691 & ISBN-13: 9780711227699) accessible at: West Sussex Libraries & East Sussex Libraries
The estate of Goodwood is glorious not only for its famous racecourse and motor racing circuit but also for its magnificent art collection. This superbly illustrated book reveals the treasures of Goodwood. Curator Rosemary Baird tells the story of the Dukes of Richmond, from the birth of the 1st Duke (son of Louise de Kéroualle and Charles II), who purchased Goodwood. She describes events such as the Duchess of Richmond's famous ball, from which officers were called to fight in the Battle of Waterloo ('some arrived at the field of battle in silk stockings and dancing shoes') and how, with wealth largely derived from a tax on coal leaving Newcastle, the Richmond family developed Goodwood and acquired works of art to adorn it. In particular the book focuses on the great 18th-century collections of the 2nd and 3rd Dukes. The 2nd Duke was a leading exponent of the Palladian movement, building Richmond House on the banks of the Thames at Whitehall as well as an extension to Goodwood. He commissioned from Canaletto two views of the Thames, which were painted from Richmond House. The 3rd Duke patronized some of the greatest painters and architects of the day - at the age of 24 he gave the unknown George Stubbs his first commission - and collected French furniture, tapestries and porcelain.
Review by Sue Berry in Sussex Past & Present no. 114, April 2008:
The new book on Goodwood should encourage visits to this fascinating building and its setting. Lavishly illustrated and well written by Rosemary Baird, the Curator of the Goodwood Collection who uses her superb knowledge of the House, its collections and its setting to give a clear account of the family's life, at their home in London and at Goodwood.

French furniture at Petworth: Boulle & the acquisitions from Hamilton Palace in 1882, by Peter Hughes, published 2008 in National Trust historic houses & collections (article, pp.58-66) accessible at: R.I.B.A. Library
Looks at a group of early 18th century furniture at Petworth, Sussex, by Andre-Charles Boulle (or in his style) acquired in the 1882 sale of the contents of Hamilton Palace, near Glasgow (expanded 1822 onwards, demolished between 1919-26).

John Leng & Sons, furniture dealers, Chichester, by Susan Millard, published 2013 in West Sussex History, the Journal of West Sussex Archives Society (no. 81, article, p.20) accessible at: W.S.R.O. [Lib 16404/81] & The Keep [LIB/507838]