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How can I find the cheapest 115cm wide armoires on Furniture Ferret?

Furniture Ferret: On every search page there is an option to sort the results by price (lowest or highest first), or relevance. Click on the drop-down button just above the first armoire, after "Order by", to change the ordering. Ordering by relevance shows the armoire first that matches most of the keywords in the search, while ordering by price shows the cheapest or most expensive armoire at the top. Change the order to "Price: low to high" to see the cheapest 115cm wide armoires available on Furniture Ferret.

What is a good price for an armoire?

Furniture Ferret: You can check what the expected price of a product here is by looking at the median value. For the armoires in this section the median is 439.90 British pounds, that is, 50% of them is priced above this, and 50% below. Most of the armoires in this section cost between 409.90 British pounds and 1,524 British pounds. Only 10% of products cost more or less than these two values. The average price of armoires in this section is £555.99.

Questions and answers

How much clearance should one leave in front of an armoire?

In order for an armoire to be usable, it needs more space on the floorplan than its size alone. You have to be able to access it and stand in front of it to get to the papers and other items stored on an armoire, and if it has doors, it should be possible to open them fully. In general, you will need 40-60 cm in front of an armoire for access. This means, for example, an armoire that is 30 cm deep needs at least 70 cm space. Fortunately, this extra space does not need to be exclusive: access spaces of two or more pieces of furniture can overlap as long as this does not lead to people bumping into each other in, for example, an office setting.

How to choose the best colour for an armoire?

The colour scheme in your home can be a bit accidental, but it has a great effect on how you feel in your home. The two main things to consider for everything colour is balance and associations. Balance means that the colours in one's space should be coordinated, so that the room looks like a unit. Usual techniques to achieve this are considering a colour wheel, and selecting colours that are either quite close to each other (as colours that are only different in intensity of lightness always go together, but small differences in the actual hue can also work), or relatively far. Other colour combinations are likely be somewhat jarring because of how our eyes and brains process colour. Associations with and emotions connected to colours are also important to keep in mind. It is quite probable that these associations are cultural and learnt, which means that they can be quite different in different cultures or just for different people. The associations are even often contradictory, which makes it even more difficult to use them as a guide. Blue is often associated with productivity, but also calmness, stability and even sadness. Green is undoubtedly the colour of nature, and is considered to be connected to safety, luck and envy (though in other cultures this latter is yellow). Yellow is always a shouty colour and can mean brightness, warmth, energy and attention (likely because of the sun), except when it is dark and becomes brown, when it is thought to be relaxing and comfortable. Red is regarded as the colour of friendship, willpower, leadership, desire and revenge, which is a very wide range of emotions. But it is clear that in nature, it means danger or importance, so it should be put next to a calm colour to allow the eye to rest. These associations point in so many directions that these guides seem to boil down to just this: pause and think what the colour means for you.

From the history of furniture: Brass and copper utensils Part 5

In Figure 191 a tow of stout candlesticks of good Colonial types is shown. A " sliding pattern much used among the thrifty, is given in Figure 192. As the candle burned away it could be moved up, so that there was no waste. There is also another early pattern of a stick with a grease tray, which caught the drippings as they fell from the burning candle. This was very necessary in the case of tallow dips, or any candles not made of wax. The big candlestick in the centre is a Russian church stick. Other candlesticks of Russian and often Jewish origin are shown in Figure 193, and all were used for religious purposes. The Jews were noted long ago for their proficiency in metal work. In Bible days at Tyre and Sidon they traded" in vessels of brass in thy [...]

The Chinese also worked in brass and other metals centuries ago, and embodied many of their strange artistic ideas in domestic articles. One of their temple sticks is also shown; it is the one with the two birds on it.

The two candlesticks with glass shades are of English make, one of Sheffield plate and one of ma hogany (see Figure 194). The smaller one was for bedroom use, and the shade prevented draughts from extinguishing the candle when it was carried about. These are reproduced to-day in brass as well as plated ware, and are quite as useful in country houses as they were in the days when they were the latest thing out. The tall mahogany candlestick is one of a pair which are in as fine condition as they were the day they were made. For many a long year they graced the mantel shelf of a fine old house, being one of the chief orna ments of the best room, and lighted only when company was expected. On such occasions conversation or cards were the amusements, and such sticks never left their dignified retreat on the shelf. On the card-tables, many of which were provided with round, flat places for the candlesticks to stand, would be found tall candlesticks like those seen in Figure 195.

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