19TH CENTURY GERMANY EMPIRE FURNITURE.
19TH CENTURY GERMANY EMPIRE FURNITURE
ROYAL INFLUENCES
It was the Bonapartes themselves who really made Empire furniture fashionable in Germany. The Emperor’s brother, Jerome Bonaparte, became King of Westphalia in 1810, and he furnished the Schloss Wilhelmshohe with Empire-style pieces. These included pieces ordered from Georges Jacob-Desmalter (see p.201), and an imposing desk which was decorated with marble reliefs designed by
Friedrich Wichmann. In 1806, Napoleon had a suite of Empire furniture made for his Resident at Wurzburg, Franconia. These pieces were inspired by the work of French architects Percier and Fontaine, whose work Napoleon favoured. Their ISO] pattern book, Recueil de decorations interieurs comprenant tout ce qui a rapport a l`ameublement, was well received and highly influential in Germany, inspiring local craftsmen to produce their own publications.
WHEN NAPOLEON BONAPARTE became
ruler of Germany in 1806 he brought the Empire style to the region. Germany and Austria retained
close stylistic links with France, as many German
craftsmen trained and worked in Paris, and became familiar with the Empire style. The grand, Classical motifs
used in Empire style furniture, including eagles, mythical creatures, laurel
Gift bronze embellishes the interior fittings.
VIENNESE SECRETAIRE
This exquisite secretaire is made of fruitwood and mahogany. It has a lyre-shaped case which is decorated with partial inlay and gilding. The case has a single arched pediment, flanked on either side by gilded Classical figures. A rectangular, fall-front writing surface opens to reveal a fitted interior with an
arrangement of drawers and arched compartments, luxuriously decorated with gilt bronze. The lower section of the secretaire consists of two graduated drawers which are decorated to give the appearance of the strings of a lyre. The whole piece is raised on a rectangular plinth which is supported on carved paw feet. c.1807.
Fall-front writing surface
The body of the desk is modelled on a lyre.
The applied bronze decoration includes gilded stars and lion’s heads.
A rectangular plinth supports the piece.
Carved paw feet
VIENNESE GUERIDON
This mahogany-veneered and partially carved gueridon has an overhanging table top with a gilt-edged round frieze below. The three tapering legs are topped by lions’ heads and terminate in a tripartite base with paw feet. c.1810
BEECHWOOD CHAIR
This chair has a scrolled back and rose-coloured upholstery on both the back and seat. The chair has tapering front legs and cabriole back legs. The design is attributed to Leo von Klenze and the chair is thought to have come from the Resident in Munich. c.1818.
GERMAN INTERPRETATIONS German furniture was often larger and grander than its French Empire equivalents. Locally-produced pieces tended to have heavy columns and be rigidly symmetrical.
Empire furniture was predominantly a style for the nobility and was soon adopted by the rulers of the monarchies and princedoms that made up the German Confederation after the Vienna Congress in 1815. These rulers showed off their power by building new castles or by lavishly refurbishing existing ones, and the exuberant interiors of the palaces were designed in the Empire style.
Anterooms and throne rooms were furnished with gilded Empire pieces. Gifted court cabinet-makers produced various ensembles with matching sofa tables and console tables based on French designs or adapted from the fashion magazines that were popular at the time. Private rooms were furnished with mahogany pieces ornamented with gilt-bronze mounts. Decorative motifs were influenced by those of ancient Egypt.
Seating furniture was also directly inspired by the designs of the ancient world. The influence of the Greek Klismos chair, for example, can be seen in the chairs designed by Leo von
Klenze, who worked for the Bavarian King Ludwig I in Munich and whose Neoclassical buildings form much of the city of Munich today.
VIENNESE DESIGN
Vienna was a leading centre for the production of furniture. It was here that some of the most inventive designs were developed, including the lyre-secretaire, which often took on unusual shapes. Unlike the designers and craftsmen working in the German
states, Viennese designers favoured the striking contrast of ebonized wood and gilt bronze and created finely cast and chased gilt bronze mounts that equalled the work of French craftsmen.
One of the most gifted Viennese cabinet-makers was Josef Ulrich Danhauser. He ran the first Viennese furniture manufacturers, from 1804 until his death in 1829, and made his name by decorating his furniture with wood paste moulded to look like expensive bronzes.
This table has a rectangular top with rounded corners, which rests above a single frieze drawer. The piece is raised on sharply tapering, square-section legs. c.1810. H:77crn
AUSTRIAN CHERRY WOOD TABLE
KARL FRIEDRICH SCHINKEL (1781-1841)
THE MOST INFLUENTIAL GERMAN MASTER-BUILDER OF THE EARLY 19th CENTURY,
SCHINKEI_ WAS ALSO A CITY PLANNER AND ARTIST, AND A FAMOUS FURNITURE DESIGNER.
Karl Friedrich Schinkel was born near Berlin, and originally trained as an architect as one of the first students at the new Berlin Bouakademie. He studied under the architect Friedrich Gilly, whose plans for a monument to Frederick the Great of Prussia greatly inspired the young Schinkel.
He travelled to France and Italy, and was influenced by the Classical-style architecture and furnishings he saw. His theory was that new designs should draw on the ancient world for inspiration, rather than slavishly recreate it. On his return to Germany, he worked for the Prussian state, including working as a
stage designer for the National Theatre.
One of Schinkels earliest works was a bed with bedside table, designed for Queen Louise for the Charlottenburg castle in Berlin. His use of light-coloured veneers anticipated the Biedermeier style (see pp.216-17). He was not
afraid to experiment with shape and created pieces designed for specific places within a room. Typical Schinkel designs are for architectural secretaires and comfortable armchairs. His publication Vorbilder fur Fabrihanten and Handwerker (Role Models for Makers and Craftsmen) in 1835 had a widespread influence. In later years, Schinkels work drew less on the
Neoclassical style, and more on the designs of the Renaissance.
Schinkel armchair This generously upholstered armchair has a curvaceous frame with a high backrest and is decorated with motifs from the ancient world.
Schinkel in Naples This oil painting, by Franz Louis Catel, shows Karl Friedrich Schinkel in Naples in 1824 during his second Italian journey. 1824
This rectilinear commode is made from mahogany veneered with maple. It has canted corners and three drawers with ebony stringing. The commode is supported on square, tapering legs. Early 19th century.
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