Posts Tagged ‘antique rectangular drop leaf tables’
Thursday, May 28th, 2009
GEORGE IV AND WILLIAM IV
WHEN GEORGE III in 1820, his
scandalous son, who had been ruling as Regent for nine years, became King George IV Known [or his extravagant tastes, the interiors created during his reign, particularly those at Windsor Castle, are some of the most sumptuous in British history. The reconstruction of the apartments on the east and south sides of the Upper Ward of the Castle between 1824 and
1830 was entrusted to the architect Sir Jeffry Wyattville. The furniture and upholstery was supplied by cabinetmaker Nicholas Morel. These heavily gilded interiors have a French flavour.
On George’s death in 1830, his brother became William IV In contrast to the worldly pursuits of his predecessor, William’s reign was dominated by the Reform Act, which brought about parliamentary reform.
However, this period also marked an important period of transition between the Regency and Victorian eras. Much of the furniture was still Neoclassical in style although it was generally
heavier than Regency pieces.
TOUS LES LOUIS
The interest in 18th-century French
styles dates from the late 1810s, when
French furniture became
available after the Revolution.
These pieces, especially those with tortoiseshell and brass boullework, were collected by, amongst others, the Duke of Wellington and the Prince Regent. Sometimes called the Rococo revival, it was known (incorrectly) at the time as the Louis XIV style. The serpentine lines of Louis XV furniture were re-interpreted on furniture typical of Louis XIV or XVI.
style was particularly appropriate to seat furniture with buttoned, upholstered backs or sides and plump, cabriole legs. Case furniture tended to have rectilinear, classical lines.
The Old French Style was promoted in a series of pattern books from 1825, including publications by John Taylor, Henry Whitaker, and Thomas King.
John Weale published reprints of mid 18th-century pattern books by Thomas Chippendale’s .
LATE REGENCY
Much of the mahogany furniture of the period was a heavier version of Regency designs, anticipating Victorian solidity. Carving was often Classically inspired and combined with gadrooning and ribbing. Bun feet were used on chests of drawers or plinth supports. Chair and table legs were often turned and ring-turned rather than outsplayed or sabre-form. Bed-posts were similarly designed, sometimes with acanthus carving.
This burr-oak and ebony-inlaid rectangular George IV library table has a crossbanded top above a frieze with two drawers. The table top is supported on quadruple baluster end columns linked by a stretcher. Stamped Holden & Co, Liverpool. Early 19th century.
LIBRARY TABLE
WILLIAM IV SOFA
The panelled top rail of this elegant mahogany sofa is flanked by scrolling terminals depicting acanthus leaves. The lower arms of the sofa are upholstered to match the back and seat cushion. Two bolster cushions provide added comfort. The piece has leaf-carved urn
terminals and is supported on turned and carved tapering feet with brass caps and casters. Early 19th century.
The arms are decorated with leaf motifs.
The back of the sofa is decorated with scrolling acanthus carving,.
WILLIAM IV TRIPOD TABLE
This painted tilt-top table has a rectangular top above a single column, which is supported on a tripod base. There is an armorial design painted on the surface of the table. The piece terminates in bun feet. c.1835.
This elegant mahogany bed has a moulded cornice decorated with a carved frieze and supported on four turned and carved bed posts. At the foot, the posts are reeded and leaf-carved, while at the head of the bed the posts
GEORGE IV LIBRARY ARMCHAIR
The upholstered tub back of this library armchair has a U-shaped front, which has been faced in mahogany and carved with reeds and roundels. The chair is supported on turned and reeded legs that terminate in brass casters.
The chair is one of a pair. Early 19th century. DN
are plain, enclosing a panelled head board (formerly the foot board). The scalloped pelmet and drapes are made of a floral fabric. Early 19th century.
This mirror has a rectangular plate within a gilt and silvered wooden frame, surmounted by a laurel wreath and carved with berried laurel. The lower section has a central scallop shell motif with a thistle below, flanked by rocaille, plants and foliage. One of a pair. c.1830.
WILLIAM IV MIRROR
LIBRARY TABLE
This tortoiseshell-veneered library table has a moulded edge above a shaped apron, and is supported on cabriole legs. All of the surfaces are decorated with tortoiseshell and embellished with gilt-metal mounts. c.1830.
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Thursday, May 7th, 2009
Escritoires and secretaires
The essential difference between a bureau and an escritoire or secretaire is that a bureau has a sloping or curving lid to the writing section, whereas the escritoire and secretaire are
Usually flat fronted and vertical. The terms escritoire and scriptor, scriptoire, or scrutoire (the older names for a writing desk) arc now usually attached to the fall-front writing box or cabinet made up to c. 1720, while secretaire is generally applied to later types.
EARLY ESCRITOIRES
The direct ancestor of the escritoire was the Spanish vargueno, a 16th-century cabinet with a fall front, drawers and compartments, set on a stand or chest. Often highly embellished on the inside, varguenos were usually either decorated in the Moorish tradition, with geometrical patterns in wood or ivory, or carved in low relief and painted. The vargueno was taken as a model for writing cabinets in other parts of Europe. A cabinet with elaborate intarsia decoration was the speciality of craftsmen in Augsburg and Nuremberg during the 16th and 17th centuries, while Antwerp was famous for cabinets veneered in tortoiseshell and ebony, with ivory embellishments, and sometimes painted inside. In Italy cabinets of architectural form set with coloured marbles and hardstones, or decorated with ivory, were produced.
In Britain escritoires were decorated with oyster veneers of walnut or cocas wood and finely wrought silver mounts. The fall fronts were usually supported on
cords or chains attached halfway up the sides. Cabinets Of this type were placed on stands with spiral or baluster-turned legs. By the 1680s escritoires in two parts and of more architectural proportions were produced. The upper section had an overhanging cornice and sometimes a drawer in the frieze, while the lower part consisted of a chest-of-drawers. The best examples were decorated with floral or “seaweed” marquetry, but oyster veneers remained popular, and burr woods were also used during the early 18th century. From the second half of the 17th century
japanning was used for both Dutch and English escritoires. In addition to these fall-front cabinets, a hybrid form of chest, with a secretaire drawer, was developed. Later 17th- and early 18th- century v chests-of-drawers from northern Italy sometimes have shallow drawers fitted for writing; the front of this type of drawer is hinged in such a way that it can be pulled out and let down to form a flat writing surface, often revealing compartments and small drawers for stationery at the back. The most handsome examples of the type are of bombe form in walnut, inlaid with floral patterns in ivory, mother-of-pearl, and pewter.
The French developed the vargueno-type desk in a characteristically sophisticated form during the later 18th century. The so-called secretaire a abattant had a fall-front writing cabinet resting on a chest-of-drawers or small cupboard, often constructed as one piece rather than two; this verticality was emphasized by the tall, narrow proportions seen in many examples. Some pieces were produced with substructures of legs with decorative stretchers, giving them a lighter appearance than the standard form. Fine-quality timber was used, sometimes incorporating panels of Oriental lacquer, and the fall front was often the vehicle for elaborate marquetry or, during the I 770s and 1780x, Sevres porcelain plaques. The lavish use of ormolu mounts added to the richness of the decoration. These models were copied in The Netherlands, where lacquer panels and the finest geometrical marquetry were sometimes combined, and the traditional Dutch floral marquetry rampaged across fall fronts and drawers alike. Similar forms were imitated, usually with more restraint, in Germany, eastern Europe, and Scandinavia. In Britain, marquetry secretaires of this type are among the finest examples of Neo-classical furniture.
During the French Empire period (1804-15) the secretaire a abattant remained popular, although the outline became more severe and broader, with the fall front above cupboard doors presenting an almost unbroken veneered surface when closed. In Russia and Austria the fall-front secretaire on a chest, characteristically veneered in such indigenous woods as birch, poplar, maple, or fruitwood, was especially successful in the early 19th century_ . These pieces were of simple Classical design, relying on the figuring of the veneers for decorative interest. They went on to become staples of the Biedermeier period, which brought a return to grander proportions, with solid but elegant and well-crafted furniture. Some Biedermeier fall-front desks closely resemble English escritoires of the early 18th century.
During the early 18th century the most fashionable item of writing furniture in Britain was the bureau, but the chest with a straight-fronted writing drawer continued to be an alternative. On some examples a secr6taire drawer was incorporated into the chest-on-chest. The secretaire drawer gradually became deeper, and the chest was often surmounted by a superstructure of bookshelves enclosed by glazed or panelled doors. Such pieces were most often made of walnut until c.1730, when this was superseded by mahogany. These cabinets were the forerunners of the fine two-part secretaires, made for parlours or libraries, with glazed upper sections and lower sections with drawers or cupboards, produced in Britain in considerable quantities from the mid-18th century. Designs for a variety of secretaires were published in The Cabinet-Maker and Upholsterer’s Drawing Book ( 1791-1802) by Thomas Sheraton (1751-1806). The usefulness of the secretaire bookcase or secretaire cabinet ensured that it continued to be made in the 19th century, with infinite variations of detail in the style of pediments, glazing patterns, and surface decoration.
• CONSTRUCTION continental secretaires a abbatant often have no visible means of support and are therefore prone to damage, particularly at the bottom where the flap is hinged to the carcase.
• CONVERSIONS on some British escritoires the fall front has been converted into two doors, thus making it a cabinet – these are generally more commercial – look for evidence of the old hinge plates or the top central lock.
• ”IMPROVEMENTS” as many continental examples were very plain, they have often been improved or modified to make them more commercial.
• TIMBERS on British examples different woods are often used for the interior (e.g. satinwood) and exterior (mahogany); the interiors should look “fresher” than the exterior as they have not been exposed to light.
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Friday, May 1st, 2009
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