Posts Tagged ‘antique centre pieces for dining table’

LONG AND LIGHT EARRINGS
Right: A pair of gold repousse and turquoise pendent earrings, circa 1840. Turquoise and carbuncles in association with gold repousse work were particularly favoured at the time.
Below: A portrait miniature of a lady, by Leopold Grosz (or Gross), circa 183o. Note the fashionable coiffure with hair arranged in three clusters of curls expanding sideways, counterbalanced by cannetille earrings en girandole.
Bottom: Two pairs of repousse gold earrings, circa 1840, one with carbuncle the other with polychrome enamel.
Left and below: Four pairs of pendent earrings, set with citrines and pink topazes, circa 1835, characterized by the combination of cannetille and repousse work which marks the transition between the two goldsmith techniques used in this type of earring.
Typically all the earrings illustrated on these pages are long, light, set with semiprecious gemstones or decorated with polychrome enamels and of moderate intrinsic value.
Left: Three pairs of pendent earrings circa
I 870-8o, English, set with diamonds or pearl and diamonds. The designs, though more rigid and stiff, are close to the contemporary French examples illustrated above, but their fluttering ribbons and garland motifs are replaced by plain lines of diamonds.
THE 1860s AND 1870s: BIZARRE VARIETY
In the i86os and 187os earrings became extremely popular, and the fashionable lady would suspend virtually anything from her ears providing it was decorative. Objects of common use such as baskets of flowers or hammers, animals and archaeologically
A parure of emerald, pearl and diamond earrings and matching necklace, with the relevant design, commissioned by Napoleon III and Eugenie from the Parisian jeweller Mellerio in 1863 as a wedding gift to Mar6chal Canrobert. The impact of these earrings relies on the use of important gemstones such as the large cabochon emerald drops rather than the explicit archaeological motifs, though the Greek key pattern and the extensive use of yellow gold even for the setting of the diamonds betrays an archaeological interest. Emeralds were the favourite coloured gemstones of the Empress Eugenie and because of this became one of the most popular gemstones of the time.
WAFER-THIN: EARRINGS OF THE EARLY 19TH CENTURY
Right: A portrait of Maria de la Conception Rodriguez of Granada, painted by Jose Gil in 1816. Her earrings, typical of the early i 9th century, are two circular gold plaques set with corals connected by fine chains. Their linearity and two-dimensional quality is well suited to the low d6collet6 and contemporary hairstyle of Classical inspiration.
Above left: A diamond pendent earring, early
i 9th century, showing how the structure of the contemporary gold earrings made of articulated plaques was rendered, almost unaltered, in lavish gemstones such as diamonds.
Above right: Pair of gold earrings, early i 9th century, made of several paper-thin gold plaques of different shapes connected by lateral chains.
Above left: Pair of gold earrings, early i 9th century. Although quite long, these earrings are comfortable to wear because they are cut out of very thin and light gold sheet and not set with gemstones.
Above right: A pair of gold and enamel pendent earrings, probably French, early T 9th century, decorated with portrait miniatures of a man and his wife. Though the design is typical of the
time, this pair presents unusual sentimental imagery: a dove, a pair of flaming hearts, the inscription ‘Fidel’ and forget-me-nots.
TORPEDO-SHAPED DROPS OF THE
1830s AND 1840s
Opposite and below: Three pairs of gold, chalcedony and gem-set pendent earrings, each accompanied by a typical Maltese cross pendant en suite, circa 1830. Contemporary fashion encouraged the use of such elongated drops decorated with applied gold floral motifs, often set with turquoises or other coloured gemstones. They were carved in white or stained chalcedony, usually blue or green.
Right and far right: Two examples of repouss~ gold earrings of elongated drop design, circa 1840, the first applied with turquoise florets, the second decorated with quatrefoil motifs suspended from a shell-shaped surmount. Earrings of this type were usually made of thin foils of metal decorated en repousse and extremely long (i0-12 ems). Their size and lightness were dictated by fashion and economic factors. The exaggerated horizontal lines of dress and hairstyle needed to be offset by long pendants, while at the same time the scarcity of precious metal encouraged the use of wafer-thin foil of embossed gold.
Below centre: A gold and gem-set torpedo-shaped earring, circa 1835, combining embossed and cannetille decoration.
FROM CANNETILLE TO REPOUSSE
Left: Two gold cannetille, diamond and gem-set parures, English, circa T 830. In both cases the parures include a pair of earrings set with rubies and emeralds respectively. Though the design is that of the traditional girandole, the setting in cannetille is typical of the time, the design of the earrings matching those of the necklace
pendants. On the Continent canetille earrings were mainly set with semiprecious stones such as foiled topazes, amethysts and citrines. In England more expensive gemstones such as emeralds, diamonds and rubies were often used.
Right: An exceptional pair of pendent earrings set with aquamarines within repouss~ gold borders, circa 1835. These earrings are typical of the time for their length (12 CMS approximately), for their lightness (15 grams) and for the choice of the stones, two large kite-shaped aquamarines. The lightness of the mount makes them comfortable to wear in spite of their size. Gold repouss~ work replaced cannetille because it was cheaper to manufacture and used small quantities of precious metal.
EGYPTIAN AND CLASSICAL STYLE
Above: An impressive pair of gold earrings and matching necklace, circa I 870. The dominating element of these jewels is the pharaoh mask, so the Egyptian inspiration is sufficiently obvious. Nonetheless the surmount is Classical Greek, a rosette; I 9th-century revivalism was often the result of such combination of elements deriving from different cultures and periods.
Opposite:
A group of Classical revival earrings, circa 1865. Top left: laurel leaf suspended from an Athenian owl surmount. Top right: A pair of gold rams’ head earrings, deriving its design from Greek examples of the late Classical period, the antique counterparts usually consist of a tapered hoop to be inserted into the earlobe terminating with a rams’ head motif, in this case the rams’ head is suspended from a rosette surmount. Below left: A pair of gold and cornelian intaglio earrings, by Castellani, incorporating original Roman intaglios that depict a trophy of arms and a hunting scene. Below right: A pair of gold pendent earrings, by Ernesto Pierret, each designed as a triangular panel decorated with beaded work and corded wire typical of Greek and Etruscan goldsmithwork, flanked by baton motifs with spherical drop terminals.
Opposite: Two pairs of Roman earrings, circa 1870- The first by Civilotti of Rome, combines elements from various sources. The amphora motifs in matt gold find precise counterparts in Greek and Etruscan examples, the gold mosaic plaque with its Christian symbolism is reminiscent of Byzantine mosaics, while the lilies of the circular surmounts belong unmistakably to the i 9th century. The second pair, of gold and Roman mosaic, carry lozenge-shaped plaques with portraits of Sabina and Maximus Caesar. Note in this case the contrast between the sober, classical lines of the pendant and the frivolous design of the floral surmount.
Above: A pair of gold and enamel pendent earrings, circa 1870, in the shape of stylized amphorae. The design has no specific counterpart in Antiquity but is a pastiche of various elements. The amphora motif derives from a popular type of Hellenistic earring; the granulation and corded wire decoration from Greek and Etruscan tradition; and the stylized papyri and palmettos in bright contrasting colours are Egyptian.
Left: A pair of gold and Roman mosaic earrings, circa 1870, in the shape of ewers. The gold chains with pearl terminals are meant to simulate water being poured out — an amusing i 9th-century touch not to be found in Antiquity.
A RANGE OF REVIVALS: THE 1870s
Many Classical designs took the amphora as their model, in, for instance,
tortoiseshell (right) or lapis lazuli (below right). Rams’ heads feature as a pair of gold earrings (below).
Above: Gold and enamel a baule earrings in the Etruscan tradition, seen in front, back and side views. Right top left to bottom right: Hardstonc maenad heads set in elaborate gold and enamel mounts; gold rosette; Wedgwood jasper-ware drops decorated with a white figurative frieze on a blue ground; two earrings based on amphorae in matt gold; and finally a pair of Japanese-influenced gold and polychrome enamel earrings designed as fans on screens.
LIGHTHEARTED EARRINGS OF THE 1860s AND 1870s
Common features of these earrings are a playful naturalistic inspiration, the use of relatively inexpensive material such as gold, enamel, ivory and turquoises, and the combination of bright colours. They are in line with the concept of novelty jewellery, more a fashion accessory —hence the low value of the materials — than precious heirlooms to be treasured.
Left-hand column
Above: A pair of gold and turquoise pendent earrings in the shape of bulrush sprays, the heads pave-set with turquoises. English, circa i 86o.
Below: A pair of gold and enamel earrings, French, circa 18 70, designed as birds nesting in bulrushes.
Centre column
Above: A pair of gold and tinted intaglio earrings, English, circa 1870, depicting goldfish in round bowls.
Middle: A pair of three-coloured gold and enamel earrings, probably French, circa 1860, designed as coiled snakes supporting bunches of grapes.
Below: A pair of gold and enamel earrings, English, circa 1870, in the form of frogs amongst bulrushes in a triangular frame of twigs.
Right-hand column
Above: A pair of gold and tinted ivory earrings, English, circa 1860, designed as cascades of fuchsia blossom carved in tinted pink ivory.
Below: A pair of silver-gilt and turquoise earrings in the form of nesting birds pave-set with turquoises, the wire-work nests containing pearl eggs, French, 18.50-60.
FASHIONS OF THE 1870s
Above: Five designs for earrings from the archives of Mellerio, Paris. Their variety is a reflection of the eclecticism of contemporary jewellery design.
Noticeable, however, is the persistence of motifs of archaeological inspiration such
as the amphora-shaped drops, the cameo supporting a trophy of love and stylized papyri.
Opposite: Among the earrings of naturalistic inspiration fashionable in the I 870s, those designed as acorns found great favour throughout Europe. In Mellerio’s archive are two variations of the same design (below), while similar earrings with a matching pendant are advertised in a contemporary issue of the magazine La Femme et la Famille.
Right: Stylized papyri also form the surmount of this English gold and turquoise earring.
RETURN TO NATURE
During the i 86os women suspended all sorts of ornaments from their ears, from delicate and appealing bouquets of flowers to rather repulsive Brazilian beetles.
Far left: Two pairs of Italian gold earrings, i 86os. The upper pair, set with pearls, has rather disturbing hands supporting a basket of fruits. The lower pair consists of acorns on a two-oak-leaves surmount.
Left: A pair of gold and stained ivory earrings designed as cascading fuchsia blossoms, English, 18 6os.
Above: A pair of Brazilian beetle earrings, English, i 86os. The improved communication with South America prompted the introduction of unusual materials such as Brazilian beetles, whose hard, brilliant and iridescent green shell could be mounted as a gemstone.
EROS, AMPHORAE AND OIL LAMPS
Variations of amphora- and lamp-shaped earrings, circa 1870. Left: A mask of a Maenad supports an amphora carved in lava from Vesuvius, and a pair of gold, enamel and pearl earrings in the shape of oil lamps, by Carlo Giuliano, circa ‘865, modelled on lamps used for votive offerings. Below: a pair of gold earrings designed as amphorae suspended from fine chains; a gold ewer-shaped earring decorated with corded wire and granulation; and a seed pearl, gold and banded agate earring designed as an amphora on a disc surmount, by Carlo Giuliano, bearing the maker’s mark C.G. and the retailer’s mark HR for Hunt and Roskell of London
Eros, or Cupid, a recurrent figure in Hellenistic earrings, appeared frequently, involved in various activities, in earrings of the 18 6os and 18 70s. In two examples (above right) he is riding a gold dove decorated with corded wire and granulation simulating the plumage; the lower pair retains the original fitting, very close in design to the Antique prototype, while the upper is a later alteration.
In a pair of gold and enamel pendent earrings by Eugene Fontenay, circa 1870 (above), Eros is depicted carrying wine jugs on painted enamel plaques imitating Roman wall paintings, while in a pair of gold, seed pearl and enamel earrings by Carlo Giuliano, last quarter of the i 9th century (bottom right) he is playing the lyre and holding a mirror, on circular enamelled plaques.
Left andfar left: Two pairs of earrings set with cameos carved respectively in lava and banded agate, circa 1870.
RENAISSANCE REVIVAL
A pair of gold and polychrome earrings, by Carlo Giuliano, circa 1865, designed as a stork devouring a snake. The subject derives from a Renaissance emblem — the soul overcoming carnal pleasures — and the interest in the sculptural effect from Renaissance jewellery.
Above: A pair of gold and Roman mosaic earrings and matching brooch/pendant, the surmounts of the earrings depicting red, green and white scarabs supporting three elongated drops.
Left: A gold and Roman mosaic pendent earring, the circular surmount decorated with a dolphin and supporting an elaborate drop decorated with the figure of Cupid.
ROMAN AND FLORENTINE MOSAICS OF THE 1870s
Roman and Florentine mosaics, widely exploited in jewellery at the beginning of the i 9th century, came back in great favour in the late i 86os. Roman micromosaic technique was especially favoured, not only because it was suited to render motifs of archaeological
inspiration but also because its technique derived from Antiquity. This consisted in arranging minute coloured glass paste tessarae within hardstone, glass or gold borders.
Left: Gold earrings of archaeological design decorated with Roman mosaic plaques of winged putti, and a brooch/pendant showing a Raphael tondo.
Below left: A pair of Florentine mosaic earrings set with onyx and coloured stones. Florentine mosaic consisted of an inlay of differently coloured hard and semiprecious stones arranged in naturalistic patterns.
Below centre: A pair of gold and Roman mosaic half-hoop earrings in Egyptian revival style. Note the scarab, similar to the example illustrated on the opposite page.
Below right: A Roman mosaic earring of floral design.
SOUVENIR EARRINGS
Since the beginning of the century earrings and other jewels set with Roman mosaic plaques depicting architectural views of Rome or scenes from the Campagna had been popular souvenirs to take back home. Early i 9th-century earrings are characterized by a very simple and linear design. They usually consist of an oval surmount supporting a pear-shaped drop or an oval plaque connected by fine chains. The mosaics are of a high quality, consisting of very small tessarae where the colours are graduated in a very subtle manner giving the illusion of a miniature painting. A good example of this is the pair of earrings (left) set with four mosaic plaques of famous views of Rome including the Pyramid of Cestius and the Columns of Trajan and Antoninus.
Later examples of the 18 6os and 18 70S tend to be more elaborate in design, adapting shapes and decorations to contemporary trends. The quality of the mosaics though, is coarser, a consequence of the increased demand. The earrings and matching pendant (right) with mosaic plaques depicting peasant women of the Campagna in the typical ciociara costume are good examples of the time; their Roman origin is confirmed by the city’s gold hallmark. Note the ubiquitous Egyptian scarab motif on the surmount and the coarse tessarae.
Star motifs first appeared in the late i 86os as an inlaid central decorative motif of earrings set with large cabochon gemstones such as amethysts and carbuncles or enamel bosses as the example illustrated here in black enamel and half pearls (far left). Later six-, eight-, twelve-pointed stars, or more, became extremely popular, often accompanied by a matching pendant and set for instance, with pearls (left).
The popularity of knife-wire setting and the fashion for light and less symmetrical shapes prompted, in the late 18 8os and i 89os, the development of shooting stars and comets.
Opposite centre and far left below:
Numerous points alternate with weightless knife-wires set with diamonds. Left: A pear-shaped drop terminating with a graduated fringe. Above: Set of twelve-pointed star earrings and matching pendant set with pale opals.
Top right: Designs by Mellerio for two variations of star-shaped pendent earrings, part of a parure commissioned by Queen Isabella II of Spain.
INNOVATION AND TRADITION:
FRENCH EARRINGS OF THE 1870s AND 1880s
Two pages of earring designs in pencil and gouache of the late 1870s and early i 88os from the archives of Mellerio, Paris. They range from naturalistic floral creations to pendeloques and girandoles in the i Sth-century tradition, mainly set with pearls and diamonds, together with amusing arrows which appear to pierce the ear, in the style of novelty jewellery. The eclecticism of the sources of inspiration is especially evident on the right-hand page, where Classical archaeology with a typical Greek key pattern, naturalism with floral motifs, Persian and Northern African art with botch and crescent hoops co-exist.
Above: A collection of gold and gem-set earrings spanning the years from 1850 to the 1870s. Noticeable are the small compact earrings of the I 850s designed as clusters of foliate motifs or coiled ribbons; the long pointed drops of the 18 6os in archaeological revival style; the oval panels star-set with half pearls of the early I 87os, and the tiger’s claw earrings fringed by gold drops of the I 870s, brought back from India as souvenirs to commemorate hunting expeditions.
Left: A page of earring drawings from Cartier’s archive in Paris, dated from March 1874 to May 1874, illustrating some of the great number of shapes, both long and short, fashionable at the time.
FRINGED EARRINGS OF THE 1870s
One of the most distinctive forms of earring in the
18 70s consisted of a circular, oval or otherwise shaped panel variously decorated with enamel, gemstones or chased gold, supporting a graduated fringe of articulated pointed drops. The type was particularly fashionable in England where the favourite surmounts for the tagged drops were oval carbuncles (below), or enamel plaques star-set at the centre with various gemstones (opposite). Fringe or tassel earrings with matching pendants were popular throughout Europe as testified by the archival records of the German jeweller Kreuter dating from 1868 to 1872 (right). More unusual surmounts were occasionally exploited, such as the trapeze-shaped Wedgwood jasper-ware plaque (opposite lower right).
CASCADES OF FLOWERS
Among the plethora of 1870s earrings those designed as cascades of flowers, flowerhead clusters with pampille decorations or sprays of leaves and flowers were particularly favoured by a more conservative public.
Far left, top: A pencil and gouache drawing by Mellerio depicting a flower spray earring. It is interesting to note how the design includes the ear to show precisely how the earring should be positioned on it. Beneath it are two ink designs by Mellerio in the form of flowers with
cascading stamens.
Left: Two ink drawings by the German jeweller Kreuter of 1873, depicting earrings in the shape of cascades of flowerheads and leaves.
Lower left: A gold and turquoise demi-parure comprising a pair of fuchsia earrings and a matching pendant. Note the naturalistic rendering of the blossoms and the use of calibr~- cut turquoises. Though turquoise had been a popular stone for many decades it is only in the
i 870s that it began to be cut en calibre in order to fit the shape of the mount.
Opposite: English diamond-set examples belonging to the same type as those by Kreuter.
BEETLES AND BACCHUS
A gold and Brazilian beetle demi-parure comprising a necklace and a pair of pendent earrings of modified girandole design, probably English, circa 18 70. In this case a ‘novelty’ material — the Brazilian beetles — is combined with an overall archaeological design in a bizarre and unconventional way. The iridescent green beetles are turned into miniature tortoises by the addition of feet, head and tail in gold; on the earrings they are clustered in groups of four.
ARTISTRY OF LALIQUE
Right: A pair of opal, enamel and gold pendent earrings, by Rene Lalique, French, circa I goo, in their original case. The fluid line, the thistle motif, the choice of the opal as a gemstone and the opalescent enamel epitomizes Art Nouveau jewellery. Though earrings continued to be worn at this time, they were not a particularly prominent ornament so the large proportions of this pair of Lalique earrings are an exception rather than the rule. Even within Lalique’s unconventional and daring production of jewellery, they may be regarded as a rarity. The back view (bottom) shows the unusual clip fitting which anticipates the fashionable clips of the thirties.
Upper left: A collection of very simple and relatively small earrings typical of late i gth century and of the very beginning of the loth century. From left to right: A peridot and diamond cluster earring, the large peridot claw-set at the centre; a diamond earring simply claw set with a brilliant-cut stone; a carbuncle (cabochon almandine garnet) and rose diamond cluster earring, probably by Boucheron; a diamond earring designed as a circular cluster of table-cut stones.

Cupboards, Wardrobes and Small Hanging
Cupboards
Evolution of the cupboard—development from a chest form—the Gothic hutch or livery cupboard—origin of the “cup board” or buffet—the court cupboard and press—lasting popularity in Wales of the deuddarn and tridarn—armoires, cloak cupboards and the linen press—later appearance of the wardrobe—hanging dole and medicine cupboards—various fronts of the corner cupboard—painted interiors—Victorian buffets antique porcelain tea pot made in france .
The cupboard may have evolved from a chest form because a chest, when placed on its end, would serve as a narrow cupboard or locker sabino marks . Again, the chest on legs with an overhanging top and hinged doors beneath, like the counter mentioned in Chapter 3, could also have been an ancestor of the cupboard gateleg table imperial furniture .
The counter was sometimes referred to as a hutch in old documents but nowadays the latter name is usually only given to a wired cage for tame rabbits value of antique rectangular drop leaf pedestal dining . In the Gothic period the hutch was a small planked cupboard used chiefly as a food larder antique harlequin figure . The door and front were perforated with frets of an architectural character to allow air to circulate and so keep the food fresh cheap art neuvou side tables . Pieces of loosely woven horse-hair were nailed to the inside of the frets to keep flies and insects away from the contents art deco chairs mahogany . While the horse-hair has long since perished the remains of the small nails which held it in position are sometimes still to be seen antique oak drawleaf trestle table .
Many books on antique furniture show an illustration of Prince Arthur’s Cupboard, which is in the Victoria and Albert Museum antique glass “la granja” . It dates from around 1500 and is one of the finest pieces of English Gothic furniture in existence the most expensive silver tray . It is unique and the chances of discovering a similar piece are negligible king george 1v furniture . However, it is possible that the smaller planked hutch, although very rare, may still be found by the discerning seeker after antique oak peter behrens side chair . I know of one in the possession of a Cotswold antique dealer but he says that f1,000 would not buy it satsuma pottery thousand flower . On the other hand, there are a considerable number of hutches at Haddon Hall in Derbyshire l shaped sideboard . In that part of the house open to public view I have counted nearly a score, so it is not beyond a reasonable possibility that there are hutches lying in old barns and attics elsewhere which might turn up one day and offer themselves to a knowing buyer inlaid moorish bone .
Apparently, it was a custom in the Middle Ages to keep a small supply of food in private rooms for use at any time antique epergnes . This would be stored in hutches which in time came to be referred to as livery cupboards lusterware made in czecho-slovakia . This term was in use until a few years ago and I remember an inn near my home where there was a painted notice over the entrance to the inn-yard, now given over to car parking, which bore the legend “livery and bait” french style porcelain gilded weight driven clock . This indicated that change of horses and refreshments for the journey were always readily available italian spider leg table .
Aumbry is another old name for a hutch or livery cupboard 16th century spanish trunk . There are some antiquaries, however, who maintain that the aumbry was not a standing cupboard but was essentially a recess in a wall which was enclosed by a door in a frame antique drop leaf side table furniture makers mark england . It may be that in different times the word was used to describe several types of cupboard 18th century rococo copper candlesticks .
The “cup board” proper was originally a side table or buffet which was a fitment with two or three shelves made to stand against the wall in the proximity of the dining table aimone mfg co new york . On this were kept the wooden trenchers or platters for use at meal times antique austrian furniture . In the 16th century and later it was used to display the silver or pewter table-ware, according to the opulence of the household georgian kneehole cabinet .
Early buffets vary in the amount of decoration, some being merely a set of shelves with some simple carving on the rails supporting the shelves classic furniture drawing . Others were larger and more elaborate with bulbous turnings on the front uprights and sometimes the centre and top rails concealed long shallow drawers which fitted under the shelves chippendale gateleg table . These were used for storing spoons and knives only as forks had not been adopted for table use at this time cheap art neuvou side tables .
Towards the end of the Elizabethan period it became the practice to construct buffets with the upper staging enclosed with panels and doors old antique sofa tables . This piece of furniture was known as a court cupboard from the French word court, meaning short or low origins art deco . Eventually, the lower stage of the court cupboard was enclosed as well during the early years of the 17th century and the cupboard form became really established from then onward chippendale style coffee table tilt value . In recent years the term court cupboard has been quite often misapplied to these completely enclosed cupboards late 1920s patek winged lugs . The late R american made ceramic french figurine . W christian mayer furniture . Symonds, who was probably one of the most authoritative furniture historians of the 20th century, has been able to confirm by much diligent research into old house inventories and wills that the correct name is actually a press renaisance design dining table made .
The press was invariably made in oak and a considerable
number were produced during the 17th century gate leg table 17thc . They were
built as a rule with three tiers of cupboard doors showing
on the front, two doors being on each of the top and
middle tiers and one on the bottom antique bread rack . The rails were decora-
ted with low-relief strapwork carving and ornamental
mouldings were sometimes applied to the panels and
door frames dining habit tendency . Carved initials of the owner and his wife,
together with a date to commemorate some family hap-
pening, were favourite additions to the design napoleon leather and steel campaign chair . Many of
these cupboards had large pendant turnings on either
side of the overhanging top george 3 style . These were the vestiges of the original bulbous turnings used on the front uprights of the buffet and court cupboard collectors glasgow school of art . The small doors are, for the most part, found with wrought-iron butterfly hinges but early presses had upper doors which turned on wooden dowel pins dutch plate family dining . Small turned wooden knobs were used as handles on the door frames cantagalli marks .
The early press was essentially a cupboard for storing food and table-ware and should not be confused with the linen press of the following century, details of which will be given later in the chapter antique tea set - rh macy . For the most part it was of fairly large size being 6 to 8 feet in length and would have been found in the dining or living rooms of the more prosperous Stuart and Commonwealth farmers dressing a tea table . Consequently, it can seldom be accommodated in a present-day house myott,son&co. .
However, there are smaller and rather attractive versions of the press which were made in Wales and enjoyed a degree of popularity during the 18th century, although the press in England had been superseded by the dresser mother of pearl coffe table fake antique egypt . These Welsh pieces were of two very similar types and were known as the deuddarn and tridarn, the former being constructed with two tiers or stages only while the latter had three pictures of 5 drawer antique library desks and tables . The top tier of the tridarn is seldom a fixture and can usually be lifted off, should this be necessary louis sue . These small press-type cupboards are seldom ornate but being comparatively small, often only 4 to 412 feet in length, the breaking up of the front surface with doors and panelling permits the mellowness of the old oak to be appreciated to the full new york city 18th century pembroke tables . In the deuddarn, drawers are sometimes included between the lower and upper tiers vases ceramic antique carved figures on front .
Tall cupboards for hanging clothes had been in use on the continent since the early 16th century chicken coops shelves . There they were referred to as armoires and it is thought that they were probably used for storing armour and weapons as well as clothes 17th century dutch silver . The few early armoires to be found in Britain are nearly always of French or Flemish origin, and cupboards designed for holding garments were rarely to be found in these islands until the beginning of the 18th century kneehole dressing table styles .
Hitherto, the accepted method of storing gowns and suits of clothes was to use a chest or a large chest of drawers “perspectiva cabinet” . Now a large cupboard with double doors was adopted for the purpose antiques furniture,josef hoffmann . It was mounted on a chest of drawers but a closer examination of the two top drawers will show them to be merely false fronts which do not open antique centre pieces for dining table . Behind them the space is used to afford greater hanging room for the clothes in the cupboard above art deco candle sticks . The lower drawers were made to function in the normal way oak draw refectory table . Before the invention of clothes hangers the contents of the cloak cupboard or clothes press were hung on a series of wooden pegs placed along the back and sides of the cupboard interior 18th century knife boxes .
Sometimes, the cupboard space above the drawers was fitted with wide trays for the storage of linen large rectangle dropleaf table . Although the exterior would be identical to that of a cloak cupboard, the article in this case would be called a linen press and the top drawers would be real ones as a deeper hanging space for clothes would not be necessary candelabrum .
Taller wardrobes without dummy drawers were pro-
duced by Chippendale, Hepplewhite and other cabinet-
makers type of wood used for roman furniture . These were very elegant in appearance with
finely veneered doors and sometimes with bow-fronts 18th century mahogany drop leaf table cabriole legs .
In mid-Victorian times some huge wardrobes were con-
structed in three or four separate sections kashgai carpet . These were
screwed together when assembled in position and included
bays for hanging clothes, long dressing mirrors and sections
with trays for keeping linen wear drop leaf table with spiral legs . Today, these well-made
mahogany and satinwood edifices are indeed white
elephants for they are much too large ever to go into a
modern house or flat royal staffordshire by clarice cliff nancy . Usually they are bought very
cheaply and then taken apart so that the fine wood in them can be used in the manufacture of reproduction pieces, sometimes advertised as “made from genuine old wood”  . I suppose that if one cannot acquire the authentic article then these are the next best thing five legs two leaf oak antique dining table .
Since the late 16th century, small hanging cupboards have always appeared among the more usual furnishings george speight porcelain . Towards the end of the reign of Elizabeth I and in early Stuart times wall cupboards with, fretted fronts or with the door frames filled with rows of baluster shaped spindles were in general use barley sugar twist pillars timber . Nowadays they are referred to as dole, or food, cupboards and were once hung inside churches to contain the bread doles provided by charity bequests antique 19th century nesting tables birds-eye maple . They were probably used as food larders in the kitchens of private houses as well art deco writing sets . Although this cupboard form is rarely found as an antique in England these days it is not an uncommon discovery in Wales social origins of art deco .
In the 17th and 18th centuries when doctors and apothecaries were few and far between, every housewife kept a store of medicinal herbs and remedies for administering to her family in times of sickness care of antique tortoiseshell . These were preserved in small cupboards which hung on the wall or stood on a chest of drawers and contained a number of pigeon-holes and small drawers for separating the various herbs antique paper mache trays . I always regret having failed to acquire one of these little spice or herb cupboards which a dealer friend of mine had in the shop meissen figures dating . Other dealers had passed it by, saying that it was only an old top from a grandfather clock which had been converted into a little cupboard vintage wooden card table . Actually, it was a genuine Queen Anne medicine cupboard with a finely panelled door and a neat compartment of drawers inside maccasar modernism france . However, the question had then arisen, as it does for all collectors sooner or later, of just where it was going to fit in with all the other things, and the opportunity had to be missed the revival of the games in the 19th century .
Corner cupboards, like tripod tables, are probably more numerous than any other type of antique furniture and are still to be had very reasonably antique table footed clock . They were in general use throughout the Georgian period and served many purposes antique dutch coffee table 17th century . Nowadays a corner cupboard with the doors left open makes an attractive setting fora small collection of china or Staffordshire chimney ornaments antique sideboard with built-in pendulum clock . Oak corner cupboards are usually flat-fronted with canted corners but occasionally they are found with bow-fronts patek philippe, 1930s, rectangular, hinged back . This is the pattern which was more often adopted for the mahogany cupboard and with an inlaid frieze at the top and a couple of small drawers beneath, this would make a very desirable acquisition to any modest collection of antique furniture antique dressers yorkshire .
Some flat fronted corner cupboards have glazed, astragal doors, that is with little panes of glass set into a framework of thin bars or beads robinson and leadbeater figure . These are usually original but a door with a single sheet of glass in it has probably had the wooden panel removed and glass substituted for the display of china or silver oak draw leaf table 18. th . Do not be in a hurry to strip or paint over if the interior of your cupboard is decorated in a faded olive green colour american antique slant front desk . This is probably the original finish as the Georgians were very fond of green linings to their cupboards and cabinets and a little toilet soap and warm water will most likely restore the paintwork very nearly to its original condition decoupage on veneer .
Finally, some mention should be made of the reappearance of the buffet in mid-Victorian dining rooms late 1800’s dining table european . Much lighter in design than its Tudor counterpart, it usually consisted of three quite deep shelves supported on four slim mahogany, turned corner uprights renaissance dining tables . These buffets, like the 17th-century press, are often too large for the modern house moser, austrian furniture designer . Occasionally they are to be seen, laden with dish covers, cutlery and cruets, in the spacious dining rooms of those old-fashioned but comfortable coaching inns which have survived into the day of the motor car art deco dresser inlaid wood .
Beds, Day-beds and Cradies
Early beds—rest for the rich and not-so-rich—misnomer of the “four-poster”—characteristics of 17th-century bed construction—development of the tester—beds of the mid-Georgian era—foreign influences on late 18th-century bed design—truckle and folding beds—origin of the day-bed—Restoration and early 18th-century types—Regency elegance of the chaise-longue—the Victorian sofa—cots and cradles padded antique library wood arm chair .
Early beds were looked upon as the most important items in any household 18 century porcelain placks louis xvi . They were handed down from father to son and were always mentioned with some degree of pride of possession czechoslovakia porclian . They were often very heavy, monumental constructions and the occupants depended for their comfort on enormously thick, feather mattresses 19th century parian busts . These were laid either on a network of ropes which passed through holes in the framework or on a foundation of wooden slats scroll planter table y chair .
There must have been a general fear of draughts and fresh air at night or the bedrooms were very cold and draughty because it was the practice to enclose the beds with panelling or heavy curtains until the end of the 18th century antique tea caddies, penwork . It is hardly likely that many people nowadays would sleep in a 17th or 18th-century bed for choice, although I have an old collector friend who nightly repairs to his Georgian four-poster neo classic bookcase maple tuscany . I should add that it has been fitted with a box-spring mattress of the latest slumber-inducing design antique half leaf table .
In medieval times the wealthy slept on free standing
frame beds overhung by a tent-like canopy which was suspended from the ceiling 19th century desk cabinet . Servants and attendants slept on the floor or on straw palliasses antique oak dressing table with mirror . For information about beds in the time of Elizabeth 1, we look again at William Harrison’s Description of England narrow entryway chest of drawers . In it he wrote: “Our fathers have lain full often upon straw pallets, on rough mats covered with a sheet and a good round log under their heads for a pillow 18 century wooden novelty pipes . If the goodman of the house had purchased a mattress or flock bed, and thereto a sack of chaff to rest his head upon, he thought himself to be as well lodged as the lord of the town, that peradventure lay seldom in a bed of down or whole feathers charles neo classism boulle . As for servants, if they had any sheet above them, it was well, for seldom had they any under their bodies to keep them from the pricking straws that ran oft through the canvas of the pallet and rased their hardened hides inexpensive french desks furniture .”
The “four-poster” bed of antiquity is a well-known term but few have stopped to think that the four-poster, at any rate until the early Georgian period, was in fact only a two-poster, the back or bed-head which supported the top, or tester, being a panelled framework without posts dressoir antique . In the 17th century these beds were known as tester or posted beds staffordshire porcelain rococo revival period . Medieval beds are so rare as to be almost non-existent but there are a number of beds with testers which can be dated from the late 16th century 18th century boulle cabinet . Some of these were excessively large like the Great Bed of Ware, now in the Victoria and Albert Museum antique sideboard styles and makers . It was made about 1595 and is 10 feet 9 inches wide antique gate legged side table . The great majority of beds, however, were between 5 and 6 feet in width art nouveau dresser .
Posted beds all followed a similar pattern, having a strong rectangular frame to carry the mattress and at the head a panelled screen, often elaborately decorated with carving and inlaid woods antique american tilt top pedestal table . This screen and two turned pillars at the foot of the bed supported a panelled ceiling or tester from which hung the curtains, to be drawn at night are william and mary chest of drawers rare? . The pillars at the bed-end were usually incorporated in the bed framework and acted as feet for the mattress franl;ng characteristics of english medieval gateleg table . On larger beds, however, the framing would have separate feet and the posts supporting the tester would be freestanding on rectangular pedestal bases period art nouveau galle bronze table lamp .
Some smaller beds were made with panelled screens erected at the bottom end as well as at the head so that they formed, in effect, large panelled boxes with curtained sides american spoonback armchair . They must have been very stuffy and altogether unhealthy japanned bracket clocks . Whether it was a reaction against the unhygienic properties of the enclosed bed or just a simplification for economy’s sake, a plainer type of bed appeared about the middle of the 17th century 19th century lacquered japanese cabinet with paintings . It consisted merely of a framework on short legs and a low panelled bed-head deco porcelain spanish dancers female . It is usually referred to as a farm-house bed victorian renaissance revival credenza . For those who have an ambition to equip their homes with antique furniture entirely, this type of bed, with a box-spring mattress fitted, can be quite an interesting acquisition wileman/shelley vases . They are not uncommon and I have seen them from time to time in several sale-rooms drop leaf table oak uk antique .
The tester undoubtedly developed from the tent-like covering of the medieval bed and during the 16th and 17th centuries was a very heavy structure which demanded a strong supporting bed-framework cupboard design for keeping cockery . During the time of William and Mary and Queen Anne it became fashionable in the noble households to install beds which were most luxuriously appointed antique chairs 1600 s all wood carved . In keeping with the tendency to build houses with higher ceilings to the rooms, these beds were also very high with elaborately decorated testers and the entire framework upholstered with quilted silk and velvet george jones majolica ware . Such beds were usually installed to commemorate the stay of some royal visitor antique chamber cabinet .
Beds of the mid-18th century became altogether lighter in construction and appearance and although in some cases the bed-head screen to support the tester was retained, the more ordinary run of beds had lower bed-heads and four posts to support the tester arabic style lambrequins . By this time the tester consisted only of four curtain poles placed across the tops of the posts with a light covering of material stretched Over them antique telescopic dining tables . Thomas Chippendale made a bed for the Duke of Beaufort about 1750 in the Chinese taste draw leaf tables . It has a pagoda-like top with flying dragons a6 the corners and, finished in black japan and gold, has a very attractive appearance carved oak draw-leaf refectory table . Another bed, painted in the Chinese manner, was made for David Garrick about 1770 antique oak drop leaf table american . It also has a light wooden tester with embroidered silk curtains and like the bed of the Duke of Beaufort indicates the tendency for greater delicacy in construction of furniture during the second half of the 18th century myott son & co hanley 1880 .
For some time during the 18th-century Italian and French beds were imported into the British Isles and although the numbers were small they influenced the design of the English type considerably regency mahogany settee hairy paw . The Italians seem to have been the first to do away with the tester and its hangings sheraton gateleg card table . Probably in a warm climate common sense overruled fashion and tradition maggiolini furniture . French patterns of the late 18th century were very elaborate in the decoration of bed-heads and here also the tester seems to have been abandoned entirely antique dutch desk . Only in England, and the climate was probably the chief reason for its retention, did the use of the tester linger on into the 19th century end tables tall spindle leg antique . Wooden canopies, from which side curtains were hung, were still being fitted over the bed-head about 1850 19th century english sideboard .
Lightly constructed beds, rather like the folding kind used for camping today, became fairly common during the Georgian period red delft tiles religious 17th century value . They were small enough to be kept under th;, posted beds when not required and were used by nurses or servants attending sick people or as extra accommodation for an unexpected visitor bone handled fork converted to knive . I have seen small chests of drawers with dummy fronts which swung open like a cupboard door antiquegames writing table . Inside were folding beds which could be pulled out when wanted heals pair oak tables . All these lighter types were generally known as truckle beds and were fitted with small wheels or castors so that they could easily be moved around dutch marquetry sutherland table .
I have already mentioned in a previous chapter how chests were used as seats in early times and it is evident that the larger ones also served as beds or couches porcelain wincanton . Some years ago in a sale-room I saw a panelled oak chest with raised ends antique porclean handled sheffeld flatware . Although I did not realise it at the time I had come across an archebanc couchette, probably of early French design which had been made to serve both as a chest and a couch inlay antique serving trays . I have never seen another since and only hope that one day the opportunity to acquire such a rarity might present itself again 17 century dining tables .
From these bed-chests probably developed the more lightly constructed single bed or day-bed which appeared towards the end of the 16th century etruscan pottery oriental . Shakespeare has referred to them in his plays and, by the Restoration, day-beds had reached a pleasing standard of design meissen porcelain antic . They were made in walnut with six or eight legs and had an adjustable end frame which, together with the main framework of the bed, was equipped with woven splitcanework to give some resilience to the overlay cushions types of table legs 19 century . Day-beds with double ends are found occasionally but they are very rare antique perpetual calendar .
The day-bed continued in use throughout the 18th century conforming to the fashionable characteristics of the time, but it is rather difficult to separate its development into that form known as the chaise-longue from that of the settee, couch or sofa corbusier furniture vintage . Although all these types were used for lying or for sitting upon, I think it should be remembered that the day-bed was designed primarily for resting during the day-time while the settee or sofa was made to enable a number of people to sit together on the same seat mahogany kommode . Perhaps the best way to remember the difference is that the day-bed or chaise-longue was never made with a back like a couch or a settee kilian brothers carved fruit and bird inlaid table . In its later form, as used in the 19th and 20th centuries, it has become known as the divan having neither end supports nor back antique table drop leaf raise .
The chaise-longue of the late Georgian and Regency periods became the symbol of elegant repose, typified perhaps by Jacques Louis David’s portrait of Madame Wcamier fauteuil art deco brandt . The beautiful piece of furniture with its gracefully curving ends was said to have been designed by the artist himself value of gateleg tables . It was in all probability among the finest of the adaptations by the late 18th and early 19th-century designers from the sources of classical Greece and Rome sideboard turns into dining table . A shorter form of seat which is often identical in appearance to the chaise-longue is the window seat bassano maiolica . Like the former, it has no back but is too short for reclining upon and as its name implies was just a small seat made to fit into a low window bay without obscuring the view causes of the reign of terror in france .
The type of Victorian sofa which has just the one scrolled end and a short back-piece running only half its length is really in the tradition of the day-bed rather than that of the couch or settee antique bread making cabinet . Those made in walnut about 1850 with small cabriole legs are attractive pieces of furniture and become increasingly rare as time goes on sheffield shovels .
Children’s cots and cradles are really among the few antiques which are not normally put to their original use and would hardly be considered suitable for the modern baby regency waterfall bookcase . Nowadays, babies are put to bed and left to sleep or lie awake as they will but in olden times an essential of all cot and cradle design was that they should be able to be rocked 1930s antique square table . The two swinging cots illustrated have basically the same structure although they are separated by more than 300 years dressoir timber . The Gothic cot is just an oak box suspended from a well-made stand while the late Georgian version, dating from around 1820, is a much finer affair in turned and needed mahogany pollard elm furniture . It has a clockwork mechanism incorporated in the suspension of the cot which will actually cause it to rock for nearly an hour lusterware made in czechoslovakia . It might be that the steady ticking of the clockwork also acted as a further soporific josef originals+ballerinas+value .
The more homely cradle of the farmhouse and cottage had a small hood at one end century furniture chinoiserie dining table chair credenza . It was mounted on a pair of rockers so that the mother could rock the baby to sleep with her foot while her hands were busy with some sewing or the preparation of food metal plates and trays from iran .

Ti-glazed earthenware was produced in France from at least the beginning of the 16th century when itinerant potters from Italy first introduced the technique. The ware is called “faience”, since much of the early ware resembled maiolica made in Faenza, Italy.
THE 16TH CENTURY
The dominant style for most of the 16th century was Italian; craftsmen from Italy appear to have settled in Lyons (1512), Nevers, Montpellier, and Nimes, and the output of these centres closely reflects the contemporary Italian polychrome maiolica of Urbino, Faenza, and Savona. The Italian istoriato (narrative) style is found on wares made in Lyons and Nevers, while the panelled a quartiery style associated with Faenza is seen on the faience of Nimes and Montpellier. However, in the north of France at Rouen around the middle of the century the work of Masseot Abaquesne (active 1526-59) is more sombre, and the designs show a strong affiliation with the Mannerist work of the Fontainebleau School. Early Rouen was noted for the manufacture of tiles some still extant in chateaux), albarelli (drug jars), saucer dishes, and flat-rimmed dishes.
THE 17TH CENTURY
The first half of the century continued to be dominated by the Italian tradition, but from the mid-17th century a more native French Baroque style developed. Mythological figures after contemporary prints were Popular subjects; drawn in a bold, muscular style in which ochre and blue are often dominant, they are somewhat livelier than their Italian istoriato predecessors. Dishes, which greatly outnumber hollow-wares (except apothecaries’ wares), were typically embellished with heavy foliated borders, usually interrupted with cartouches enclosing diverse subjects. During the second quarter of the century the influence of imported Chinese porcelain is evident, both in decoration and in form, and consequently the “hot” Italian colours declined in favour of blue and white. Nevers was probably the most important centre until the last 20 years of the century and was one of the first French pottery centres to decorate its wares with Chinese motifs. Here the earliest manifestations are garbled versions of the many imported late Ming blueand-white wares. A large proportion of production was painted in cobalt blue, sometimes outlined in manganese brown with figures in the manner of Chinese Transitional porcelain. Alongside the Italianate and Chinese styles, faience with solid-coloured grounds was made, including, most commonly, bleu persan (Persian blue), cobalt, and, more rarely, ochre.
Rouen, close to Paris and the French court, developed as a prominent centre for faience at the end of the 17th century. The Rouen style of the late 17th and early 18th centuries is formal, utilizing intricate motifs resembling ironwork (forronerie) or lacework (lambrequin) but probably owing as much to contemporary Chinese ceramic ornament. The lambrequin rayonnant style, so-called because of its radiating “snowflake” complexity, was copied by many other manufacturers in France, including those in Strasbourg and Moustiers. At its height (c.1695-1725) Rouen combined this style with vessels based on the shapes of silverwares because the French nobility had been ordered to melt down its silver in order to finance the wars of Louis XIV. Faience therefore became a fashionable substitute for silver.
THE 18TH AND 19TH CENTURIES
Between c.1710 and 1720 polychrome wares became fashionable once again. For the next 20 or 30 years bold chinoiseries in high-fired (grand-feu) colours eclipsed the blue-and-white wares. From c.1750 low-fired (petit-feu) enamelled decoration became the focus of the leading faience factories of the day, located in Strasbourg, Niderviller, Luneville, Sceaux, and Marseilles. In an ultimately futile competition with porcelain, these manufacturers decorated their wares with botanical flowers, chinoiseries, and fantastical landscapes in the most delicate brushwork. Forms from the mid-18th century, in keeping with the innate intimacy of the Rococo, were diverse and lively, almost matching porcelain in some instances.
However, in the late 18th century, competition from porcelain and English creamware (cream-coloured earthenware) proved too much for faience manufacturers, and many failed around the turn of the century. Some potteries survived the onslaught from English creamware by manufacturing the same material, known
as faience fine, which although clean and crisp was never as creamy or warm as the English ware. In France, factories such as those in Creil, Pontaux-Choux, and Montereau, some active before the
mid-18th century, made great quantities of faience fine, thus helping to accelerate the decline of faience. Many of these factories decorated their wares with transfer-printing in the style of creamware from the Wedgwood factory (est. 1759) in Burslem, England.
By the mid-19th century Quimper was one of the few surviving faience factories in France, producing wares with simple figural subjects loosely imitative
of I 8th-century Rouen. Gien, active toward the end of the 19th century, appears to have concentrated on the manufacture of wares in revival styles, using printed designs based on classic Italian maiolica. The output of historicized faience was fairly limited as many factories preferred to produce the fashionable styles current in the dying years of the 19th century. The firm of Samson (est. 1845) in Paris made a wide range of good reproductions of faience. Although this factory applied the original marks, it usually put its own monogram alongside.
• BODY Rouen: red; Nevers and Marseilles: buff;
Strasbourg: creamy white; Moustiers: greyish
• GLAZE Strasbourg: thick and creamy white; Moustiers: creamy grey
• PALETTE “hot” colours inspired by Italian maiolica; from c.1625 blue and white inspired by imported Chinese porcelain; high-fired colours: cobalt blue, manganese purple, ochre, yellow, green, and iron red; enamels: from the late 1740s a wide range of colours
• DECORATION Rouen: lainbrequins and arabesques; Nevers: narrative style; Strasbourg: botanical studies; Marseilles: naturalistic flowers, bouillabaisse; Moustiers: potato flowers, fantastic creatures, Classical figures, and festoons
Marks
These were very randomly applied; marks arc usually the initials of the proprietor of the factory; most are in puce, blue, or black; care should be taken since marks of such collectable factories as Strasbourg, Sceaux, Marseilles,
Rouen, Lille, and Nevers have been widely copied on 19th- and 20th-century fakes
Strasbourg: Paul Hannong factory (c.1740-60) Marseilles: Veuve Perrin factory (c.1740-95) Moustiers: Olerys factory (1 738–c.1790) Quimper: Antoine de la Hal (est. 1782)
Quimper: Fougeray factory (est. 1872): copies of 18th-century originals

Early chests-of-drawers.
The chest-of-drawers as we know it today essentially evolved during the 17th century. During the 1600s it was adapted and modified until the ideal balance and most practical formula were found. The system of graduated drawers, with the most shallow at the top and the deepest at the bottom, was only really reached right at the end of the century. However, it should be remembered that throughout the 17th century chests and coffers were still the principal items of furniture used for storage.
THE EVOLUTION OF THE CHEST-OF-DRAWERS. The 16th and 17th centuries were times of considerable social change in Europe, when a number of new items of furniture were introduced. The chest-of-drawers was one of these new forms, and through its development in the 17th century it is possible to chart the progress of furniture-makers and the emergence of the cabinet-maker. Although new methods of construction (including dovetailing) were developed and refined during the 17th century, the chest-of-drawers was largely made with joints secured by iron nails; only at the end of the century was dovetailing preferred.
From the mid-16th century, the concept of the drawer became widespread in countries that were influenced by the courts of Spain and Italy. In Spain the vargueno (writing desk) was one of the most important of the furniture forms that influenced the development of numerous furniture types throughout Europe. The contribution of the Moors, who occupied much of Spain until 1492, is particularly evident in the skilled work of the Spanish craftsmen working in the mid-16th century. The numerous small drawers in the vargueno were made using tight dovetails and precisely cut drawer-linings. The vargueno could either have a stand in the form of a small table, or a base that was sometimes enclosed by doors, but often had four exposed drawers.
In the province of Zeeland in the southern Netherlands, which was under Spanish rule between 1482 and 1794, a type of square chest, usually measuring 1.5m (4ft 11in) high and 1.7m (5ft 7in) wide, was made. Like the beeldenkast (cupboard) made in the northern Netherlands, this type was in two sections, sometimes with a central drawer between the two, enclosed by a pairs of doors.
In Britain, the drawer was not introduced in any significant number until the end of the 16th century, when they were added to coffers and cabinets. They were called “tills” or “drawing-boxes”, and the word “drawer” is derived from the latter. From the mid-16th century the term “till” was used to denote a drawer where money was kept, an association it still retains. A coffer or chest could be fitted with drawers, and was then known as a mule chest. An early, hybrid form of the chest-of-drawers and cabinet was made front the mid-17th century; this had a shallow frieze drawer at the top, a deep drawer beneath, and three further drawers enclosed by two doors in the lower section. Graduated drawers were introduced later in the century. These oak chests are still linked to the old form as some had hinged tops, opening to reveal box compartments.
During the later 17th century the chest-of-drawers evolved rapidly. Many were constructed on spiral-turned, double spiral or S-scroll stands (often with a drawer or series of drawers in the stand), stretching to about 1.5m (4ft 11in) in height so that the top drawers were easily accessible. This form is similar to the cheston-stand. By the end of the 17th century the chest-ofdrawers in its familiar form had evolved — the chest was taken down from the stand and rested instead on feet, at first of bun form (introduced (.1690) and later of bracket form (introduced c.1725). It is extremely common for feet to have been replaced either owing to damage from wear or woodworm or as a result of changing fashions and the desire to “improve”.
CONSTRUCTION AND WOODS.
In the Low Countries and Britain during the mid- I Century the chest-of-drawers was made by a joiner. It was constructed of solid oak, often in two parts, with panelled sides and heavy drawers that ran on bearers set into the sides of the carcase. The bearers slid into grooves cut into the drawer-lining along the centre of the outside edge. The joined construction was clearly visible from the outside and can now be seen to form part of the decorative appeal.
By the end of the century the cabinet-maker had become increasingly dominant, and joined furniture was therefore relegated to the provincial areas. Chests-of-drawers made in important centres of furniture production now had oak linings, and the carcase and drawers were secured by dovetailed joints. The thick wood that was required for mortise-and-tenon joints disappeared; consequently the thickness of the drawer-linings diminished, and drawers were set to run on their bases or on bearers set underneath the drawers.
In Spain and Italy forms tended to be heavy and thick in construction, still retaining panelled sides, and the drawer-linings were normally made of pine. In central and northern Europe dovetails and drawer-linings became smaller and more delicate; in Italy they remained much less refined, and of much larger form, right through to the 19th century.
Although, throughout most of the 17th century, oak was the preferred wood in England when furniture was made in the solid, walnut was increasingly popular as the veneer for fine furniture because of its figuring and rich colour. In Spain and Italy walnut was the most common wood used in the solid. In France timbers imported from the overseas provinces were used from an early stage. Ebony was one such exotic wood and gave rise to the term ebeniste (cabinet-maker).
Towards the end of the 17th century, great efforts were made to enrich the visible surfaces of the chestof-drawers, and considerable expense was lavished on the large surface areas. The most popular forms of decoration were veneering with burr woods, oyster veneering, seaweed marquety, and floral marquetry. This explosion of creativity was a far cry from the heavy, joined chests made just 30 to 40 years earlier. This rapid pace of change – which was much slower
in the provinces – continued in construction, decoration, and design well into the next century.
The chest-of-drawers was adopted in all the wealthy circles as a new piece of furniture, and soon gained favour in all the countries of Europe. It took such forms as bachelors’ chests, commodes, and chests-on-chests.
• SAW MARKS until the end of the I 8th century the method of sawing wood for the carcase left straight saw marks; from the end of the 18th century a circular saw was used, which left circular saw marks; these marks should be visible on the inside of the carcasefeet.
• it is common to find pieces of this period without their original feet; bun feet have often been replaced by bracket feet; look underneath the chest for old holes into which the bun feet would have fitted.
• HANDLES these may have been changed; look for the bruise marks on the woodwork to see where the original handles (usually drop) would have rubbed or swung.