Posts Tagged ‘antique chair style commode with chamber pot’
Monday, June 15th, 2009
Art Deco Cabinets and Sideboards: BRITISH WALNUT SIDEBOARD, BURLED MAPLE CONSOLE, FRENCH COMMODE, FRENCH SIDE CABINET, BRITISH SIDEBOARD, BRITISH DISPLAY CABINET, BRITISH SIDE CABINET.
THE CLEAN LINES and geometric shapes of Art Deco cabinets gave free reign to the prevailing taste for luxurious finishes. The cocktail cabinet made its first appearance in the jazz age. Featuring mirrored interiors and door panels, it contained enough shelving to house all the accoutrements for making cocktails.
REFINED OPULENCE
French furniture designers, such as Paul Follot and Emile-Jacques Ruhlmann, created cabinets that were veneered in a wide range of exotic timbers, including amboyna, bird’s-eye maple, mahogany, zebrawood, rosewood, and sycamore, which were admired for their distinctive markings and lustrous sheen. Understated and refined decorative features adorned their cabinets. Crossbanding was used as edging along the top of a cabinet and delicate marquetry flower
bouquets appeared sparingly. Drawer pulls were defined by their contrasting shapes or finishing material. Decorative motifs were created from rare and
expensive materials, such as ivory, shagreen, tortoiseshell, and wrought iron. Oriental lacquerwork in strong colours was also used by some cabinetmakers, especially Jean Dunand and Eileen Gray.
CLEAN LINES
Furniture-makers working in the Modernist strand of Art Deco, such as Sidney Barnsley in Britain and Paul Frank] and Eliel Saarinen in the United States, created streamlined cabinets in geometric shapes. These designers still used lacquerwork and exotic veneers, but they combined them with modern materials, such as Bakelite, mirror glass, and tubular steel. Ivory, metal, and chrome were used to provide decorative details.
The stepped top of the cabinet is a distinctive Art Deco feature.
The cabinet is veneered with conornandel, an unusual variety of ebony.
The handles are painted red to look like lacquerwork.
The bracket feet are similar to those on late 17th- and 18th-century case furniture.
BRITISH SIDE CABINET
This rectangular side cabinet, flanked with a further two slim cabinets, is veneered with Coromandel, a variety of ebony sometimes known as zebrawood because of its distinctive striped markings. Below the stepped top, there
is a central drawer and the main cabinet, which has two doors. Two cabinets compose the outer sides. The bracket feet and the door and drawer handles are painted red, the only obvious form of decoration. The cabinet was designed by Whytock and Reid of Edinburgh.
BRITISH DISPLAY CABINET
This stylized display cabinet is veneered in walnut. The upper section of the cabinet is circular in form, with two glazed doors enclosing two glazed shelves. The cabinet is raised upon a panelled base and has block feet.
BRITISH DISPLAY CABINET
This unusual display cabinet, possibly veneered in walnut, is carried on two, deeply grooved triangular supports that resemble a fish’s fins. The cabinet itself is circular and has two
minimally decorated glass doors, which enclose four wooden shelves.
BELGIAN SIDEBOARD
This Belgian sideboard is crafted from mahogany, and veneered with rosewood. The shape recalls the forms of late 18th-century commodes. The minimalist design of this rectangular sideboard consists of two simple
doors with understated bronze handles, and the whole piece is raised on short, circular bronze feet. The clean-lined, geometric shape of the piece is complemented by the distinctive vertical figure of the lustrous rosewood veneer used all over the case. c.1935.
BRITISH SIDEBOARD
This sideboard, designed by M.P. Davis of London, is crafted in bleached mahogany.The central
pull-out drawers are slightly protruding, arching outwards. The strongly marked, distinctive figure of the mahogany veneer gives the geometric sideboard a rich opulence that needs no additional ornament - a characteristic common of much Art Deco furniture. c.1929.
FRENCH SIDE CABINET
This side cabinet is made from mahogany, with amboyna veneering and a stylized ebony inlay. The three drawers have circular metal handles and the whole cabinet is raised on tall, cylindrical, tapering legs. c.1935.
Designed by Sue et Mare, this rectilinear, mahogany-veneered commode is a good example of their understated yet luxurious style. The two cabinet doors have subtly stylized circular handles, and the legs and the lower edge of the cabinet are lightly embellished with carving. The cabinet is raised on four slightly tapering, moulded legs. c.1919.
This rectangular burr maple console has four centrally placed drawers with nickled brass handles. These are flanked by a pair of cupboard doors with circular wooden handles. The whole console is supported on two rectangular side panels. Beneath the cupboards and drawers there is a lower shelf that connects the two side panel supports.
FRENCH COMMODE
BURLED MAPLE CONSOLE
This sideboard, designed by Whytock and Reid of Edinburgh, has a rectangular crossbanded top, above an ornate, relief-carved cupboard door. Burr walnut doors flank the cupboard door, and the whole sideboard stands upon shaped legs with moulded feet.
This Swedish sideboard is made from birch, a popular light timber native to Scandinavia, with ebony and burr ash details. It has two cupboards with simple rectangular handles, short cabriole legs, and moulded, splayed feet. The centrally placed, geometric, dark wooden motif is influenced by Asian decorative motifs. c.1930.
This mahogany sideboard is a good example of French Art Deco, with its simple elegant forms, rectilinear design, and high standard of craftsmanship. The cabinet has four cabinet doors, decorated with narrow horizontal bands
of chrome and a central circular feature. The whole sideboard is raised on a pedestal block base. It is typical of Art Deco styling in combining fine woodwork with chrome details. c.1925.
Designed by H&L Epstein, this fine rectangular maple sideboard has rounded corners and a stepped top. The central section is made up of two drawers with circular, moulded handles above a cupboard with a decorative vertical,
slatted-wood design. Two more cupboards with moulded oblong wooden handles flank the central section of the sideboard. The whole sideboard is set on a block base. c.1935.
BRITISH WALNUT SIDEBOARD
FRENCH SIDEBOARD
BRITISH SIDEBOARD
SWEDISH SIDEBOARD
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Posted in Antique Furniture, Art Deco | No Comments »
Wednesday, May 13th, 2009
Swansea and Nantgarw
The high reputation enjoyed by Welsh porcelain is very much deserved, for the body is truly beautiful and the decoration usually most elegant. Credit for the porcelain and the (albeit short) success of the Welsh factories lies firmly with the painter William Billingsley (1758-1828) who in 1813 brought to Nantgarw, near Cardiff, a new formula he had developed at Barr, Flight & Barr in Worcester. In 1814, with his backer, William Weston Young, Billingsley moved production to the Cambrian Works at Swansea. In 1817 he returned to Nantgarw, and in 1820 left for Coalport.
SWANSEA
Swansea made soft-paste porcelain, closer to the paste produced at Sevres than to Staffordshire bone china. Swansea paste is a glass-like, highly translucent body; three types were made, known as ‘: glassy”, “duck egg”, and “trident”. However, attempts to perfect the high-quality porcelain led to numerous firing problems; a very large proportion of wares were tlierefore lost in the kiln, and the factory struggled to make a profit.
Billingsley looked to France for inspiration, and most shapes and forms of decoration were in the French style – the height of fashion in the London market. The
delicate white porcelain was an ideal ground for flower-painting, and, in addition to Billingsley himself, many talented flower-painters were engaged at Swansea, including David Evans, Thomas Pardue (1770-1823), Henry Morris 1799-1880), and William Pollard (1803-54). Thomas Baxter (1782-1821), who later worked at Worcester, painted
atmospheric landscapes, figure subjects, and birds. Simple but elegant formal patterns were painted at Swansea, as well as rich “Japan” patterns; other rich decoration was added in London.
NANTGARW
By 1817 the Swansea venture was failing because of
continued firing problems, and Billingsley, striving to succeed on his own, moved back to Nantgarw where he erected new kilns. Nantgarw porcelain was still difficult to control, a problem that resulted most notably in a scarcity of teawares. Instead, plates could be fired with some success, and for a few years Nantgarw plates were made in reasonable quantity, although output was never large. A few wares were decorated in Wales, but most were sent to London to independent decorators, where the finest decoration, in the French style, was added; this included richly coloured grounds and ornate painting. Attempts to attribute painting to London artists as opposed to Welsh artists are always controversial, although it is likely that London painting was generally far superior to anything carried out at Nantgarw.
Although Nantgarw made extremely fine, beautiful porcelain, it was unable to make a profit. As a result the Venture failed, and in 1820 Billingsley retired to live near Coalport. Many unfinished pieces were left at Nantgarw, and some were decorated up to ten or even twenty years later by local artists such as Pardoc. Auctions held in 1821 and 1822 sold off the last of the wares.
• BODY both soft-paste porcelain; Swansea: types known as “glassy”, “duck egg”, and `trident”; Nantgarw: extremely fine and translucent
• FORMS teawares, flatwares, cabinet cups, ice pails, tea, dinner, and dessert services
• DECORATION superb flower-painting
• DECORATORS Baxter, Billingsley, Pollard, Pardoc,Morris; study can identify the characteristics of different Swansea flower-painters
• PATRONAGE Nantgarw received important commissions
from the aristocracy and local dignitaries
• BEWARE French porcelain was painted in London by the same artists who decorated Swansea and Nantgarw blanks; this can lead to a great deal of confusion
• COLLECTING Swansea shapes are well documented, and specimens must correspond exactly before a Welsh attribution can be claimed; correct identification of body and glaze is important, as Coalport took over some Nantgarw moulds and imitations are plentiful; Wares are often in good condition
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Posted in Porcelain | No Comments »
Friday, May 1st, 2009
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