Posts Tagged ‘antique hanging corner display cabinet’

MODERNISM
CHAIRS
AS FURNITURE PRODUCTION steadily
shifted emphasis from craft-based manufacturing to industrial methods, so the look of the chair changed dramatically Ornament was doggedly erased from designs as structure became more important to the aesthetic look. Solid wood began to fall from favour (too expensive and inflexible) as moulded plywood and tubular steel stepped into the spotlight.
Just as the notion of open-plan space was creeping into Western architecture, so furniture was freed from fulfilling just one function. Chairs became
increasingly ambiguous, with some made for indoor and outdoor use, and others equally at home in an office or dining room. Chairs became lighter, too, as they were frequently moved around the house.
With mass production in mind, designers began to concentrate their efforts on fixtures. The aim became
to produce a chair made of a minimum number of components that fitted together easily and quickly It’s no surprise, then, that the cantilever chair became so popular, as the continuous loop of legs and base eradicated the need for numerous nuts and bolts.
While the structure of the chair became increasingly celebrated in its design, as opposed to any stylistic conceits, so the designer as an
individual receded into the background. Industry became more important than art, as designers sought to express nothing more romantic than the manufacturing process.
The reason the chair dominated the focus of designers’ effort`_ is because a person’s emotional attachment is far greater to a chair than to, say, a shelving unit. If Modernist designers wanted to alter their audience’s emotional and intellectual outlook, it was through the chair that they tried to do so.
The slender armrests display a use of cushioning that is rare fora chair by Marcel Breuer.
The steel struts beneath the seat have been bowed so they cannot be felt by the sitter.
The chair is made from non-reinforced tubular steel, thereby making it less rigid.
B34 CHAIR WITH ARMS
The frame of this cantilever chair is made from one continuous loop of tubular steel. Although the base looks as though it is all in contact with the floor, the side pieces bend slightly so that only the corners touch the floor — the idea
being that most floors are slightly uneven and the smallest change in level would make the chair wobble. This chair has arms with elbow supports, and a blue canvas seat and back. Designed by Marcel Breuer and produced by Thonet. 1928. H:85cm (33Vzin); W.57.5cm (22Vain); D:63cm (24-Xin), Qu I
This armchair was inspired by a model made by Alvar Aalto. The chair’s seat and back are made from a single sheet of laminated wood and sit within an oak open-arm frame. H:76cm (30in) CA
LANDI CHAIR
This easy chair comprises a series of square-section planks of pine, joined by wooden dowels. It has a slatted section on both seat and chair back. Designed by Hein Stolle. c.1930. BonBay 2
SIDE CHAIR
The seat and back of this early cantilevered chair are made of ebonized moulded plywood and sit on a chrome-plated tubular-steel frame. The armrests are ebonized beech. Mart Stam for Thonet. c.1930. BonBay 2
ZIG-ZAG CHAIR
One of a pair, this chair has a tubular-steel frame reminiscent of Rietveld’s Zig-Zag chair. The wooden seat is supported on steel rods and has a later vinyl cover. H: 82.5cm (321in); W.41.5cm (161in); D:63.5cm (25in). Qu I
Lightweight and durable, this stacking chair is made from pressed and bent aluminium. Each armrest and pair of legs is from one piece of aluminium. Hans Coray. 1938. H: 76cm (290); W.51cm (19in); D:55cm (21in). BonBay 2
CLUB CHAIR
AALTO-INSPIRED CHAIR
EASY CHAIR
The rectilinear frame is made from stained pearwood secured with brass fittings. The chair is upholstered in hand-woven woolen fabric. Peter Keler, Bauhaus Weimar. 1925. H:69cm (27in); W.62cm (24V:ln); D:68cm (26%0). WKA
LOUNGE CHAIR
CANTILEVERED ARMCHAIR
One of a pair, this armchair has a tubular-chrome frame and seat with cushions upholstered in a dark brown, brushed fabric with red trim. The armrests are black-enamelled. H:86.5cm (34in). SDR I
Designed by Gilbert Rohde, this cantilevered armchair has a bright chrome base and black laminated armrests. The cushions are upholstered in ivory leather with a black trim. H:94cm (37in). SDR 1
THE STACKING CHAIR
STILL FOUND IN CAFES WORLDWIDE, THIS ICONIC DESIGN IS PERHAPS THE FIRST STACKING CHAIR, AND CERTAINLY THE FIRST WIDESPREAD DESIGN, OF ITS KIND.
The so-called Bistro chairs These have a pressed-steel frame and are painted red; with plywood seats. c.1926. H:82cm (32Vin). DOR 3
The origins of this chair, despite the efforts of numerous historians, have proved murky at best. The design is most likely to have been developed in France some time around 1925, specifically for the country’s booming cafe culture. The chair bears a strong, albeit rather crude, resemblance to chairs designed by Emile Jacques Ruhlmann, although it’s doubtful whether the French high-society designer ever had a hand in its conception.
What is perhaps most impressive about the chair, apart from its stackability, is its economy of materials. The steel used is incredibly thin and, to give the legs rigidity, the steel has been subtly curved. To save further on metal, holes have been cut from the seat back. While the perfect low-cost, space-saving chair was to become something of a holy grail for 20th-century furniture designers, few ever bettered the chair design that first set the ball rolling.
FREE SWINGER ARMCHAIR
The base of this chromed-steel cantilevered armchair from Austria is the only part of the structure that is exposed. The chair seat and back are filled with down and upholstered in sand-coloured velour. H:84cm (331in). DOR 3
LAMINATED LOUNGE CHAIR
This chair has been made from one sheet of cut and moulded laminated birch and resembles the Gerald Summers classic (see p.438). The arms are fixed to the back with metal brackets. Hans Pieck. 1944. H:76cm (30in). Bon Bay 4
BAUHAUS ARMCHAIR
This chair was designed by Erich Dieckmann for the Weimer Bauhaus, in collaboration with Ernst Mayo. Made from solid beech, it has a bowed back and slatted seat. c.1930. H:81.5cm (321:in); W.52.5cm (21in). WKA
DINING CHAIR
This is one of a pair of stacking birch plywood dining chairs that were produced by Artek. The chair has a circular wooden seat and a pierced plywood back, supported on L-shaped plywood uprights. c.1930s.
DIAGONAL CHAIR
This chrome-plated, tubular steel chair is named after the supports between the seat back and legs. The arms, seat, and back are of laminated wood. W.H. Gispen. c.1927. H:82.5cm (321-in); W-54cm (2111n): D:60cm (23,Xln). QU 2
SLATTED CHAIR
This Viennese chair has a tubular-steel frame and solid, stained-beech wooden slats for the seat and back. The arms have wooden armrests. One of a set of four. 1925. H:84.5cm (33V4in). DOR 3

The French Revolution in 1789 brought a temporary halt to the output of precious jewels in the country which had until then been the leading producer. Ostentatious adornment was felt to conflict with the revolutionary principles of egalitarism. Moreover, the abolition of the traditional guild system, which in the past had ensured a high standard by regulating the terms of apprenticeship, led to a rapid decline in quality. And finally there was a lack of patronage and a scarcity of precious metals and gemstones. Many French aristocrats, the traditional patrons of French jewellers, fled the country, taking their valuables to sell abroad as a means of livelihood. French jewellers were therefore deprived both of old jewels with gems and precious metals for re-setting and of new imported bullion and gemstones. It was during this time of upheaval that the prized French crown jewels were stolen.
From the French Revolution to Waterloo
Not surprisingly, earrings created at this time reflect the impoverishment of design and production; only inexpensive examples of low artistic value based on Revolutionary motifs are to be found. One design used glass and debris from the demolished Bastille. Another commonly known as boucle dorellleii la guillotine, and favoured in Nantes rather than Paris, consisted of a small guillotine surmounted by a red cap, with a pendant below in the form of a decapitated crowned head.
Fine jewellery staged a gradual comeback during the years of the Directory (1795-99); France began to recover its leadership in the field; new motifs and designs were developed, remaining in favour until the early 19th century.
The new earrings, in line with the general interest in classicism, were designed to complement the ‘A la Grecque’ hairstyles and the fashion for flimsy white dresses inspired by Classical goddesses. (Indeed, the passion for pale, flimsy chemise-dresses with drapery clinging to the body was so great that some ladies even wore their clothes wet to enhance the effect. As a consequence there was an increase in deaths from pneu-
P. 90, 91 monia.) Fashionable earrings of the period were usually large and geometrical, with the emphasis on flat linearity rather than volume. Although quite large, they were usually very light; gold was still scarce and earrings would be cut out of thin sheets, frequently of low carat gold; enamel often took the place of gemstones. Once again, this tendency can be explained partly by the general scarcity of stones on the market, partly by a desire to create earrings which would complement the face without overpowering it with an excess of jewels.
Between 1790 and 1810 two main types can be distinguished. The first is known as the poissarde, so called because it was originally worn by fishwives (poissardes) in the market of Les Halles in Paris. It is characterized by a hinged fitting at the back, either semicircular or S-shaped, running from bottom to top, where it fastens to the front section of the earring. The front is usually in the form of a flat panel or half-A pair of poissarde earrings set with citrines, early 19th century, front and side view. Note the S-shaped hinged fitting running from top to 5()ttom.
hoop decorated with enamel, often pierced and set with a few imitation or semiprecious stones. The second type is a long pendent earring with a combination of flat and extremely thin gold elements linked to each other by means of fine chains. As with the poissardes they are hardly ever set with precious stones but are decorated with polychrome enamel, pierced gold and filigree. One example incorporates marquise-shaped surmounts decorated respectively with grisaille miniature portraits of man and wife in profile on a light blue enamel ground. A double chain connects the surmount with a central element decorated with sentimental imagery: a dove above a pair of red enamel flaming hearts, followed by the inscription Fidel in a garland of blue forget-me-nots and red leaves. Though typical of early i 9th-century earrings, and probably French, to judge from the inscription, the sentimental imagery is an unusual feature. Earrings, unlike other forms of jewellery, are normally purely decorative and hardly ever display the explicitly sentimental motifs which are often found on rings — the traditional symbol of love and eternal union, and a normal betrothal gift since Antiquity.
Earrings of these two types were worn throughout Europe, not only in France. Maria de la Concepcion Rodriguez de Caspe, a lady from Granada, for example, was painted by Jose Gil in 18 16 wearing earrings that have two circular elements each set with a red unfaceted stone, probably coral, connected by fine chains. Once again the typical linearity, lack of volume and absence of precious gemstones are noticeable. Similar examples were also extensively produced in Sicily and in Northern Italy; some measure over 8 cms in length and still remain light, being made of thin 18 carat gold sheets and weighing on average 7 grams. Northern Italian earrings display some distinctive features, in particular a plaque stamped out of a thin circular, oval or rectangular sheet of gold. This is decorated at the centre in relief to simulate a cameo, with the profile of a warrior from Classical mythology. Classical martial imagery, such as Mars and Bellona, both war-deities, were popular subjects during Napoleon’s campaigns in Northern Italy of 1796-97. The borders, however, present a characteristic form of decoration with small hollow hemispherical motifs imitating beaded wirework, filigree, palmette and flowerhead motifs.
The coronation of Napoleon in 1804 and the creation of a grand Imperial court prompted demand for extremely important jewels. The overall design of earrings remained unchanged, but gold and enamel were replaced by precious stones, dia-
P. go monds being again in favour. This can clearly be seen in a pair of diamond pendent earrings, where the general design continues to be long and linear, but fine connecting chains, typical of the earlier gold earrings, have been replaced by a grand chain of brilliant-cut diamonds.
Until the closing years of the i 8th century gemstones had always been mounted in closed settings which did not allow light to pass from behind through the stone. This technique enabled the jewellers to match, modify and intensify the tint of coloured gemstones by placing coloured foils behind the stone, but this greatly reduced the sparkle and brilliance of diamonds. Towards i 80o jewellers, realizing the importance of light for the glitter of diamonds, started to claw- or collet-set them in open mounts, although smaller and rose-cut diamonds and coloured stones continued to be mounted in closed settings. Many pendent earrings of this time are transitional in type, with a large diamond, usually the centre stone, mounted in an open setting and smaller stones, generally in the border, in closed setting.
By the early i 9th century, French supremacy in jewellery design had been reestablished. This was largely due to Napoleon’s enthusiasm for the development of French arts and technology. He regarded the luxury of his court as an aspect of national prestige, not mere frivolity. This led to an immense number of commissions for jewellery, which was then distributed throughout Europe as diplomatic gifts.
It is at this time that complete sets of matching jewels known as parures begin to be worn. They consisted of a necklace, bracelets, a pair of pendent earrings and frequently also a tiara. Amidst such an abundance of gemstones, earrings continued to be simple, the favourites being long pearl or diamond pendeloques on small surmounts; they can be seen being worn by the Empress Josephine and other members of the imperial family in portraits by David, Gerard and Regnault. Another favoured type consists of a cluster with a large gemstone or cameo at the centre within a border of pearls or diamonds, often holding a similarly set pear-shaped drop. This is well represented by a pair of diamond and emerald briolette earrings, part of the parure probably by Nitot given by Napoleon to Stephanie Beauharnais, a niece of the Empress Josephine, on the occasion of her marriage in i 806. (This is an example of the political role of jewellery; she was marrying the Grand Duke of Baden’s heir, an alliance intended to consolidate the Confederacy of the Rhine.) This parure is now in the Victoria and Albert Museum in London, and the bride is portrayed wearing it in a painting by Gerard. The popularity of earrings set with cameos, carved both in shell and hardstone and occasionally in precious stones such as emeralds and sapphires, was a consequence of Napoleon’s interest in carved and engraved gems. Following the Italian campaigns of 1796, when many cameos were brought back to France from Italy, Napoleon opened in Paris a school of gem engraving which boosted the production of cameos of Classical inspiration which were then frequently set in earrings.
1815-1830
The Congress of Vienna brought about the restoration of the legitimate monarchs in Europe in 18 15, and with it the desire to emulate the style of the Ancien Regime in all the applied arts. In jewellery earrings reverted to the form of i 8th-century girandoles and pendeloques, but they were adapted to the more impoverished economic situation. The scarcity of precious metals and gemstones prompted the development of filigree and cannetille which allowed jewellers to make do with very little gold. Both cannetille, named after a type of embroidery made with very fine gold and silver thread, and filigree techniques consist of working fine gold wires into lace-work patterns. Long but light pendeloque and girandole earrings manufactured on the Continent in this way were mainly set with semiprecious stones such as foiled topazes, amethysts and citrines. In England, which had been spared the consequences of the war, more expensive gemstones such as emeralds, diamonds and rubies (but never sapphires at this period) mounted in cannetille settings were often used. These gemstones are almost invariably set in closed collets lined with metallic foils tinted to intensify the colour and improve the match of the stones. The earrings are usually found as part of parures, accompanied by a pair of bracelets and a necklace with a detachable pendant at the centre designed to match the earrings either as a girandole, or, when the earrings are designed as pendeloques, in the form of a lozenge or Latin cross. These parures were extremely popular in the 18 2os and early 1830s: their gold filigree work of burr, tendrils, scrolls and lace-like patterns was often embellished with leaves and florets stamped out of thin gold sheet sometimes in contrasting colours. The two exceptional English examples illustrated, set with rubies and emeralds both comprising a necklace with girandole pendant and a pair of matching earrings, are particularly notable for the quality of the gemstones and for the pristine condition of the cannetille work, something which has rarely survived intact because of its lightness and fragility. The overall design of the girandoles, elongated in shape and with the central drop longer than the two at the sides, is close to late i 8th-century examples, but the cartouche-shaped surmount of the example set with emeralds, the parsimonious use of gemstones and the fine intricacy of light gold wire and granulation make them typical of their date.
The 183 Os
Around the 1830s long earrings reaching almost the shoulders became extremely popular. The fashion was prompted by changes in dress and hairstyle. Couturiers of the time had launched the fashion for dresses with wide bell-shaped skirts, narrow waists and leg-of-mutton sleeves which expanded sideways out of all proportion, giv-
P. 74 ing the upper part of the female silhouette a marked triangular shape. The head became the focal point of interest for jewellers and milliners: hairstyles became extremely complex, with tight curls and knots of false and natural hair gathered at the top and side of the head and embellished with all sorts of feathers, plumes and jewelled aigrettes. This exaggerated horizontal expansion of female silhouette and overabundance of hairstyle decoration needed to be counterbalanced by long drop earrings which also well suited the very generous decolletees of evening dresses.
The most fashionable earrings of the time were designed as elongated drops measuring up to TO— 12 CMS in length stamped out of thin gold sheet and decorated en
Portrait of a lady wearing a pair of long pendent earrings set with faceted semiprecious gemstone drops, to counterbalance the side expansion of the elaborate hairstyles fashionable in the 183os. By Adele Kindt (Belgian 1804-1884).
• are in shape to match the pendant of the necklace: lozenge-shaped pendants are in most cases accompanied by pendeloque earrings, girandole pendants by similarly designed earrings.
repousse (embossed); their rich scroll, shell and foliate motifs were often applied with minute naturalistic decorative elements in gold of various colours and set with gems. A good example of this type is the pair of torpedo-shaped earrings reproduced on P. 93, decorated with embossed quatrefoil motifs suspended from a shell-shaped surmount.
Some of the earliest examples of repousse earrings are also decorated with applied cannetille motifs in the form of burr and scrolling tendrils and can be regarded as transitional between cannetille and repousse earrings.
By the early 1840s gold repousse earrings had completely supplanted the costly and time-consuming cannetille type. Their lightness was dictated partly by economic considerations and partly by the necessity of keeping such large earrings light and comfortable for the wearer. Repousse earrings were cheap to produce. They were made on mechanical presses and needed only very thin sheets of precious metal, though the repousse work itself was often set with small semiprecious gemstones, turquoises being among the favourites.
If a large stone was used, it was likely to be aquamarine, chrysoberyl, amethyst, topaz or citrine, set within a scrolled border of rich gold repousse work. The aquamarine drops reproduced on p. 95 exemplify the trend particularly well, in that they are extremely long (12 ems approximately) and light (weighing approximately 1 _(we i gh i ng approx i mately 15 grams each) and are set with Brazilian aquamarines of fancy cut, well adapting to the repousse scroll-motif mount.
In Switzerland and Northern Italy, where enamel techniques were mastered at the time, polychrome enamel plaques could replace gemstones.
These earrings might look massive but they were in fact fairly light, as one can tell from the fact that they did not, like the heavy girandoles of the 18th century, require an additional hoop to ease their weight: almost all examples are set with a simple hinged hook fitting into the lobe from back to front.
Typical of English earrings of the time is the widespread use of elongated drops in agate or chalcedony (either left white or stained blue or green) and applied with small semiprecious stones such as garnets and turquoises set in gold floral motifs. These earrings usually came with a matching Maltese cross pendant. There are varying degrees of decoration: some are plain drops carved in hardstone, while others show a greater complexity, with applied decoration of naturalistic inspiration. Similarly designed sets set with diamonds are now less common but we know that they existed.
Also popular in England, where diamonds were more plentiful than in France as a consequence of the more stable political and economic situation, were earrings in the form of diamond pear-shaped drops with a large pearl or diamond swing centre on a cluster of foliate surmount.
The simplest form of earring fashionable at the time had a large pear-shaped drop of semiprecious stone, usually a faceted amethyst or citrine, mounted in a gold collet suspended from a similarly-set single-stone circular or oval surmount.
1840s and 1850s
In the late 184os a new hairstyle with a parting at the centre and the hair brushed to each side of the face and gathered in a knot at the back, totally covering the ears, led to the virtual disappearance of earrings — another indication of the close relationship between hairstyles and earrings. One has only to look at portraits by Wintherhalter and other society painters to see how universal this fashion was. In the middle of the century Queen Victoria was consistently portrayed with her ears covered, and even in catastrophic situations such as those shown in John Martin’s The Great Day of His Wrath (1852) or The Last Judgement (1853), women in the last extremity of distress are depicted with their ears carefully covered by neatly arranged hair at the sides.
The temporary eclipse of earrings is confirmed by the fact that at the Great Exhibition of 1851 in London, although jewellery was well represented, earrings were not given prominence. Those that were produced at this time were attractive but generally small and compact in design, frequently featuring naturalistic motifs such as flowerhead clusters, bunches of grapes, acorns, and other foliate arrangements chased in gold, set with a gemstone depicting a bud or berry, or carved in coral and ivory. The trend towards naturalism was common to all the decorative arts and Jewellery. Other earrings assumed the shape of crescent hoops or elongated beads. Long gem-set earrings were never worn at important formal occasions because the ears remained completely concealed by the hair and covered by elaborate tiaras in the form
120, 121
A pencil and gouache design for a tiara, bracelet and corsage ornament by Mellerio, mid 19th century. Note the two lateral cascading spray of leaves and flowers which concealed the ears.
1840s and 1850s
In the late 184os a new hairstyle with a parting at the centre and the hair brushed to each side of the face and gathered in a knot at the back, totally covering the ears, led to the virtual disappearance of earrings — another indication of the close relationship between hairstyles and earrings. One has only to look at portraits by Wintherhalter and other society painters to see how universal this fashion was. In the middle of the century Queen Victoria was consistently portrayed with her ears covered, and even in catastrophic situations such as those shown in John Martin’s The Great Day of His Wrath (1852) or The Last Judgement (1853), women in the last extremity of distress are depicted with their ears carefully covered by neatly arranged hair at the sides.
The temporary eclipse of earrings is confirmed by the fact that at the Great Exhibition of 1851 in London, although jewellery was well represented, earrings were not given prominence. Those that were produced at this time were attractive but generally small and compact in design, frequently featuring naturalistic motifs such as flowerhead clusters, bunches of grapes, acorns, and other foliate arrangements chased in gold, set with a gemstone depicting a bud or berry, or carved in coral and ivory. The trend towards naturalism was common to all the decorative arts and Jewellery. Other earrings assumed the shape of crescent hoops or elongated beads. Long gem-set earrings were never worn at important formal occasions because the ears remained completely concealed by the hair and covered by elaborate tiaras in the form Ink design for a dormeuse earring, Kreuter, Germany, April 1877, front and side view.
of garlands of flowers which framed the face and cascaded in two sprays decorated en pampille down the sides of the head. During the day, bonnets with large brims tied under the chin with wide ribbons made earrings superfluous and difficult to wear; for the same reason brooches ceased to be worn high on the collar where they interfered with the hat ribbon tied under the chin. Simple single-stone earrings — know as dormeuses or ’sleepers’ because they were worn at night to prevent the pierced hole in the lobe from closing — were the only form of earring that continued to be used.

Baroque Furniture
The principal characteristic of Baroque is its rejection of the rationalism of the Renaissance. Baroque is much more dynamic and lively, particularly with its use of light and shade in the manner of a painter. The design of a piece and its detail were subjugated to achievement of dynamism, which was at the core of Baroque. The eye for the main lines was expressed through the materials used. Wood was inlaid with gemstones or semi-precious stones, tortoiseshell, precious metal, and ivory. Light was reflected by polished wood. Supports were turned as scrolls and an overall impression of curved form was created by the use of projecting pediments, plinths, and cornices. Much use was made of acanthus stems with broad leaves and conch shell motifs.
It is difficult to determine with furniture when Baroque replaced the Renaissance because the two styles co-existed for a time. Furthermore the characteristic Baroque elements only became fully apparent during the late eighteenth century.
France
Most of Europe, with a few exceptions, fell sway to the dynamism of Baroque. France though preferred more rigid classical lines. This found its expression in an individual French style of furniture. It was precisely at this time that greater power came into the hands of the French king and with it a greater role in artistic commissions and hence of trends at the hands of the French court.
The best artists and craftsmen worked in the Royal studios — with the establishment in 1677 of the Manufacture Royale des Meubles de la Couronne. Cabinet making became regarded as an art in itself, with cabinet makers also working as ebeniste (specialist in inlay or marquetry — the name is derived from the
French predilection for ebony inlay) and woodcarver.
In addition to the importance of construction and decoration in the making of furniture, consideration was also given to the location in which the furniture was to stand. The ebeniste, designer of the ornamentation, and the architect all made decisions about the final form of a piece. In the Middle Ages furniture had been largely portable or easily moved but during the Renaissance furniture was made for a more set place in the interior of homes. Now the far extreme was reached in which it was no longer intended that the piece should ever be moved.
A strange schism arose between furniture for the citizenry and very luxurious pieces. This also meant that different materials were used in the making of these different items. Instead of the customary walnut, more exotic types of wood were now used.
A good example of this is the use of ebony, which by the time of Louis XIII was already being decorated with coloured inlays.
The artist Andre Charles, who worked for the court of Louis XIV was exceptionally talented, and stood out from the other ebenistes. In his early period he also used Dutch motifs such as vases of jasmine, roses, and tulips in his mosaic woodwork. Later he was influenced by the designs of Berain and Marot and replaced his motifs with banding linked together with acanthus stems. His designs were formed with both negative and positive inlays such as light pewter in tortoiseshell and vice versa. Later still he replaced the marquetry of the 1660’s and 70’s as it became less fashionable.
The bed was an important piece of furniture as the whole morning ceremony of rising or lever occurred around it. The enclosed square form of the bed remained with four posts and both outer and inner curtains. The bedroom had several ante-rooms attached in which there was much coming and going of court functionaries. The chest was banished from the furnishing of rooms and was replaced by the commode which became popular in France around 1700. The commode was a development of the chest with drawer which Boulle placed on legs. In the French salons table commodes also appeared, set on tall legs, encrusted with inlays of metal and tortoiseshell. These legs were furthermore decorated with bronze mascarons or grotesque masks. The drawers too were fitted with bronze handles which also held the encrusted decoration in the veneer.
The most important piece of salon furniture was a superbly made cabinet with drawes. At first the Boulle cabinets had separate plinths but later these were integral.
Tables were adapted to the considerable demands of the time and there were numerous variations. In common with other furniture, tables too were inlaid with metal and the same was equally true of cashier’s tables, most of which had a small drawer. The older-style baluster legs were considered too plump and were replaced by cabriole legs.
Other rooms than the salons were often used for a number of purposes and as required night and toilet cabinets might be placed in them.
There were also heavy tables with marble tops plus smaller tables for lamps and suchlike. Console tables provided an architectural element.Seating in the form of fa u teu ils (armchairs), tabourets, sofas, and chairs formed part of the interiors of the homes of the wealthy and the aristocracy but cabinets did not. These were found in the homes of the citizenry but the new item of luxury furniture was the bookcase.
Many different types of armchair and chair were made. Armchairs with turned legs were widely used but later these legs were replaced with richly decorated baluster legs. These were joined together
with diagonal carved stretchers or with H-form stretchers but these disappeared with the arrival of cabriole legs.
The backs of armchairs became more all encompassing and were upholstered and rounded off at the top in an arch. The curved arms of the chairs also became upholstered.
French furniture makers were also influenced by English furniture makers. This led to the introduction of the commodite — a kind of wide armchair — into France. The canape was also partially developed from the English day bed or lit de repos.
German-speaking Europe and the Low Countries
Baroque expressed itself in Germany through very excessive and lively inlay and carving and was of considerable influence there. The elements of the Baroque style were incorporated with both imagination and consistency. The output of German furniture makers was equally diverse as German politics. Designs based on the Renaissance endured for a long time but alongside this a new style developed in the palaces, castles, and grand homes of the countless principalities, which adopted a great deal of the influences from elsewhere. Furniture was imported into northern Germany for some considerable time from the northern Netherlands. After the death of Frederick I of Prussia in 1713 late Italian Baroque started to become more widespread and the artistic centre moved to Dresden, which became one of the most important artistic centres in Europe under Augustus the Strong, Elector of Saxony.
The Bavarian court in southern Germany was strongly influenced by French examples and items such as console tables with French baluster legs and lighter tables in the style of Boulle were made. The encrusted decoration of this maker and also of Marot found favour here too. Cabinets in ebony from Augsburg of this period are exceptionally fine. They have inlays of polychrome stones, ivory, wood, and pietra dura (mosaic of semi-precious stones).
Furniture was largely made from walnut with intarsia inlays of other wood. Great care was taken to ensure that the beauty of the grain of the walnut was revealed to its fullest potential.
The cabinetmakers achieved considerable results in such furniture. German Baroque ornamentation was dominated from the 1660’s by heavy use of acanthus leaf motifs that had replaced conch shell forms, and by small arrow-like columns. Intarsia decorations became figurative from the start of the eighteenth century (bouquets of flowers were very popular) and no longer utilised vines, squares, or rectangular patterns. Baroque became increasingly more valid in Germany and this is clearly apparent with cabinets.
The older-style cabinet on bun feet was drastically altered. It changed into a four-door — later two-door — cabinet with heavy cornice, turned pilasters or columns, and angled fronts.
In terms of furniture, the northern parts of the Low Countries can be considered as an entity with northern Germany, although there were local style variations of course. Hamburg was an important furniture-making centre. The Hamburg four-door cabinet closely resembled Dutch Renaissance cabinets. In addition to these a fine two door cabinet appeared from Hamburg around 1700 with a straight cornice. The faсade comprised large decorated areas with continuous pilasters. A similar cabinet from the Dutch Republic of this time is the linen cabinet for storing pillows.
The partial cornices of cabinets from Dantzig (Gdansk) gave them a less fussy appearance and their square panels were decorated with mythological scenes. By contrast, cabinets from Lubeck had arched cornices. The Baroque influence ensured that cabinets from Holstein and Westphalia were embellished with figurative decorations.
The influence of the naturalistic Dutch floral intarsia decoration remained apparent throughout the eighteenth century. In addition to the main show pieces many painted and non carved pieces were made in northern Germany.
In southern Germany, new life was given to Renaissance cabinets at Ulm and cabinets from Augsburg were smaller and sometimes overwhelmingly decorated. The popularity of the Wellenschrank originating from Frankfurt was great from the beginning of the seventeenth century. This is a simply decorated cabinet in walnut veneer with an attractive curved front. Cabinets were also the most important item of furniture in northern Germany too.
There were various variants of these as elsewhere. Those from Hamburg were decorated with acanthus stems while Dantzig cabinets were smaller with one or two doors.
Commodes with pull-out leaf for writing and bureaux formed important pieces of furniture in the homes of the middle classes. Their chairs had spiral, turned, or cabriole legs and leather seats and these were also used to sit at table.
These chairs had high backs with heavy armrests and were decorated with carved banding and acanthus stems.
Many canopy beds with turned posts had large panels that were usually copiously decorated with intarsia inlay or carving. Gradually beds began to be made without valances.
Carving fell out of favour over the years so that cabinets had large plain surfaces on their fronts which gave them a monumental appearance.

Coalport
Today the quiet banks of the River Severn at Coalport, Shropshire, seem an unlikely location for two important porcelain factories: Coalport and Caughley. However, Coalport is close to Ironbridge in an area that once lay at the heart of the 18th-century Industrial Revolution. At the end of the century, the iron furnaces of Coalport were replaced by china works that produced a large amount of good everyday porcelain, especially tea-sets and dinner services. The Coalport factory succeeded by keeping abreast of popular tastes and fashions, and still exists today (although relocated to Stoke-on-Trent).
WHITE COALPORT
John Rose began porcelain production in Coalport c.1796. In 1799 he bought the nearby factory of - Caughley, where he continued to make blue-printed teawares. Early Coalport mostly followed New Hall in manufacturing inexpensive enamelled copies of Chinese patterns, and such teawares sold well at a time when popular Chinese tea-sets were no longer being imported in any quantity. Instead of trying to compete with the rich porcelain of Worcester or Derby, Rose realized that there were many skilled British china-painters working independently, all of whom required a regular supply of
plain white porcelain to decorate. Studios such as those managed by Thomas Baxter in London and George Sparks in Worcester bought white Coalport porcelain and added their own wonderful painting and rich gilding. This accounts for the great variety of decoration found on Coalport porcelain, which causes confusion for collectors. The situation is further complicated by the very similar shapes and designs made by another china factory, located next door to Rose’s and owned partly by his brother Thomas Rose. This operated from c.1800 and was bought by Rose in 1814. Rose is also believed to have acquired some moulds and designs following the closure
following
of the Nantgarw and Swansea factories in South Wales.
CONTINENTAL INFLUENCES
Coalport’s popular Neo-classical and “Japan” patterns gave way c.1815 to the latest French fashion for pretty floral wares using the white porcelain as a ground for delicate gilding. Colourful grounds were introduced
during the 1820s, followed in the 1830s by the creation of frivolous Rococo Revival-style wares inspired by the production of the German Meissen factory near Dresden, and therefore known as “English Dresden”. This style was epitomized by Coalport’s ornamental wares including vases, jardinieres, baskets, inkstands, and pastille burners, typically encrusted with brightly coloured modelled flowers. The term “Coalbrookdale”, applied to this type of porcelain (also known as “English Dresden”), originally referred only to Coalport wares, but today is used more loosely to describe encrusted china made by English manufacturers such as Minton Co. and Samuel Alcock & Co., who based their wares on the same Meissen originals. By the mid-19th Century Coalport many many fine in-house decorators and no longer relied on sending work out to independent artists. The exremely fine work of the bird-painter John Randall (1810-1910), and of William Cook (active 1843-76) who specialized in painting flowers, is unmistakable, and their designs are especially fine when combined with a characteristic turquoise ground.
KEY FACTSBODY
• hybrid hard-paste porcelain until c.1820, when bone china was introduced
• FORMS teawares, dinner services, flower-encrusted ornamental waresDECORATION
Chinese-style enamel patterns; French-style floral designs (c. 18 15); Rococo Revival wares inspired by Meissen encrusted with floral decoration, known as “Coalbrookdale” or “English Dresden” (,-.1830); fine painting and gilding; excellent work by independent decorators including Baxter and Sparks
• COLLECTING it is important to examine the shapes of wares as other factories copied Coalport designs