EdgeH2Ogardener's Profile

The apartment shown in the drawing for the Ricardos is unit 4A which was their first at 623 E. 68th St. It wasn't until they moved into apartment 3D that they gained the extra bedroom for Little Ricky.

If you want them to be effective coasters and not scratch the daylights out of your table surfaces, you need to attach felt to the back of the wood. Don't use silicone or rubber dots, they can have a chemical reaction with the table's finish and leave small holes in the finish.

"These brass items seem super high-end and luxurious in comparison." Wow, that's just rude and condescending.

So, I have a few issues with this article.
1: Top grain leather is actually the second best leather you can get but generally the most readily available. Full grain leather is the best but you want to avoid split grain hides which tend to crack easier and faster.. Top grain is sanded to remove imperfections while a full grain will allow imperfections such as barbed wire scars, brands and wrinkels to show. It is important to look for things like analine dyed or semi analine dyed. Semi analine do not have color going all the way thru the skin but they are coated and are better at repelling stains and being fade resistant.
It is true that down cushions are top of the line however they are extremely labor intensive. They must be fluffed and turned on a continual basis. If you are wanting the feel of down you should look for a down wrapped cushion which will have a foam rubber core that is surrounded by a down 'envelope'.

I work with hi end furniture, much of it veneered and agree with Lumberjack. Start with steel wool to work on removing the polish. Rule of thumb is if you run your fingernail over a piece and it doesn't catch in any scratch then the damage is probably just in the polish and that will come out easy. If you can feel it then it goes into the wood so you will need to proceed with caution. Veneer thickness can vary, a higher end piece will have a thicker veneer that can accept some sanding. A cheaper piece will be tissue paper thin and you will destroy it if you try to sand. Also when you are using the steel wool, try to go in the direction of the grain. Since this is a starburst pattern, pick one direction and stick with it. Go slow and you shouldn't damage the veneer.

@ jokerman:"By the way, *everything* today is veneer. Even $2000 desks from Ethan Allen." Veneering is an old and accepted practice however there is a major difference in a veneered piece from Ikea (or Pottery Barn) and someplace like Ethan Allen or a high end manufacturer. Most are things you can't see such as base material and construction. Also veneer thickness will vary. You (a professional) can repair and work with veneers on higher end pieces because they are thick enough to handle the work. Lower end pieces are much thinner and will always show the damage. Also, if you want solid wood, buy Stickley.

Sam Gilmour, aka Isamu Noguchi,
is depicted very rarely - if at all - as having attended school in Indiana.
Actually, Sam "Noguchi" lived his formative years from ages 13 through 18 as
the typical American boy, with the obligatory paper route and with the typical
middle-class family, and going to the typical school classes in a typical
1920s small midwestern city (LaPorte, Indiana). This otherwise unusual
Hoosier story may be the greatest manifestation of cultural experience
realized in Indiana history. This little-known, often neglected story of
growing up in Indiana as one of the world's greatest artists ever provides
astonishing contrasts between cultures and the life of an adolescent boy in a
changing industrial and demographic period of America. Each perspective on
Noguchi's life offers amazing vignettes into the soul of American culture
through local education, world art, national politics, economic market
changes, and individual life experiences, as told from the vantage of a
typical teenage boy - only in America.
This gifted adolescent - a product of his melting-pot, soup-stirring time
- was a gifted communicator, artist, and humanist and was spiritually
insightful and bull-headed - in short, he was a Hoosier.
"Sometime in early 2004, I was casually surfing the Web and visiting the
expanded Web pages of the Noguchi Museum in Queens, New York. This is a
neighborhood where I had detailed knowledge over a number of years. I had met
with Noguchi a couple of times at this future museum site, and generally knew
how his distinctive art fit into NYC's art world. In casually reviewing the
many topics on their pages, I stumbled across 'Adolescence in Indiana,
1918-1922' [http://homepage.mac.com/gralston/CHAPTERS/Personal86.html]. To me
this was stunning news. I am not generally ignorant of art history, or of
Indiana history," stated Glenn Ralston, a retired media consultant.
Noguchi's Indiana experiences seemed to amount to epic proportions in
developing character and sensibilities, and particularly reflecting the
cultural dualities of combining the "all-American boy" with his Eastern
heritage. This strength of character is the substance on which he thrived
as the "biggest bull-head," as described by classmates in their Indiana high
school yearbook. "... Please don't forget I am a real product of Midwestern
America," Noguchi said. "... you see, I am a Hoosier, too."
"Since then I've made a point of exploring all possible sources on his
Indiana background, and sharing them with other interested parties," continued
Ralston. "Universally acclaimed as a world-class artist, and one of America's
greatest ever, it is now way past time for his Indiana heritage to stop being
ignored. By the way, his personal decision to formally adopt the name Isamu
Noguchi rather than continue as Sam Gilmour as he traveled to New York City
as a young man illustrates to me the strength of character, foresight and
insight that is the bedrock of his unique gifts."

Sherwin Williams Hubbard Squash in semi-gloss. I have a vintage bath with black/white tile and it works fantastic in there.