Posts Tagged ‘antique secretaire abattant oriental’

First created by Cartier in 1952, the design was immediately copied and reinterpreted in many variations by most of the jewellers of the time.
Contemporary daywear fashions were dominated by the classic two-piece suit reintroduced by Chanel at the reopening of her atelier in 1954, and these yellow gold earrings suited them perfectly, as well as the stylish afternoon dresses then in vogue.
Earrings simply mounted with a single pearl, natural or cultured, often of large size without any form of decorative surmount, gained in popularity throughout the decade thanks to their adaptability to both day and evening dresses and to their discreet sheen which always flattered the features of the face without being as overpowering as diamonds. Cultured pearls came back into favour after a decade of neglect; and natural pearls, whose price had dropped dramatically in the 1920S when cultured pearls became widely available, were admired again and rose in value. As cheaper alternatives, large mabe pearls were favoured within gold and diamond borders.
Left and opposite: three pencil designs for gold and gem-set earrings,
by Mellerio, i 95os.
A pair of i 8ct molten gold, diamond and baroque pearl earclips bv Andrew Grima, 1968. The stylized flowerhead surmounts support detachable pendants.
The 1960s
In the 196os the marked distinction between very precious earrings set with diamonds for the evening and less expensive gold earrings for the day disappears. All types could be worn at all times provided that they were large and decorative. Their effect was achieved not necessarily by using materials of high intrinsic value, but by exploiting contrasts of texture and colour. A good example of this style is a pair of opal, emerald, sapphire and diamond pendent earrings mounted in yellow gold in 1966 by Andrew Grima, a particularly successful jeweller and designer who can be regarded as the trendsetter of the sixties style in Britain. His earrings are typical of the time in their abstract design and in their interplay of different textures, the rough gold mounts contrasting with the smooth and polished surface of the opals. Their vivid use of colour is also typical; the bright green emeralds, the intense blue sapphires and the bright multicoloured flashes of opals highlighted with diamonds and gold are particularly striking. It is not surprising that these eyecatching earrings won the 1966 Duke of Edinburgh Prize for Elegant Design, the first and only time that a piece of hand-made jewellery rather than an industrial product gained this prestigious award. The judges’ report stated that British jewellery designers ‘are now starting to win an international reputation for their imaginative work … There is a much less inhibited attitude to new techniques, such as melting under controlled temperatures and new ways of giving different textures to gold. These have given much greater scope to the designer and have released him from the rigid conventions of setting — and much credit for this liberation, and for the gaiety that has resulted, must go to Andrew Grima, the recipient of the 1966 prize.’
Similar qualities are to be found in Italian clips set with emeralds, sapphires and gold. The amoeba-like abstraction of their design once again combines contrasting elements: the large cabochon emerald with its smooth and polished surface in contrast with the textured gold mount, and the striking use of colour: green, blue and yellow. The emeralds and sapphires, although not of gem quality, have been exploited for their attractive colour, once again indicating how contemporary jewellers were often more interested in the decorative quality of the gemstones than in their intrinsic value.
The use of uncut gemstones and natural objects unworked by man was widespread at the time, and jewellers in most countries were eager to exploit such materials. Emphasis was placed on the contrast between faceted and uncut stones, such as agate geodes, aggregates of amethyst or dioptase crystals left in their natural form. In one
P 1771, pair of long pendent earrings, sapphires, diamonds and fragments of crystal dioptase
178 are combined with rough-textured gold-work reminiscent of entwined branches. Interest in unusual textures, striking colour combinations and relatively cheap materials prompted jewellers such as David Webb and Verdura in New York and Darde et Fils in Paris to make use of exotic and colourful sea shells for their earrings. The bold contours of the polymita pieta (Cuban tree snails) with brown, orange, yellow and white stripes applied with gold lozenges by David Webb (1964-65) or with gold saw-teeth by Darde et Fils show how such materials can be successfully used. All the examples reproduced here belonged to the Duchess of Windsor, who like other fashionable women of the mid-sixties did not disdain comparatively inexpensive ear-clips provided that they were unusual and decorative. All sorts of shells of differing shapes were adopted to both short and long earrings, as is illustrated by the extraordinary late sixties example by Grima, where an elongated tusk-shaped shell from the South Pacific is enclosed in a gold wire case and its natural curve exploited to echo the contour of the face.
Nature, transmuted in abstract and stylized forms, was the source of inspiration
for many ear ornaments: for example, the intricate form of sprawling roots is the
basis for gold mounts in the earclips designed by the American jeweller Arthur King,
where the central cultured pearl or smooth coral bead is held in a surround of textured
and entwined gold wire-work. In a similar way small gold batons soldered together,
framing the large sapphires in Grima’s 1968 earclips, are reminiscent of the twigs in
birds’ nests, while in a pair of decorative and exuberant earrings by Meister of Zur-
ich (designed in 19′71 but very much in the style of the i 96os) clusters of mimosa
blossom are juxtaposed with polished gold spheres and brilliant-cut diamonds. Ab-
stract forms and different textures, consistent features of 196os jewels and earrings,
were achieved by means of new techniques such as melting under controlled tempera-
tures. The results can be seen in the gold and coral earclips by Sterl6 where the gold
mount appears as ‘frozen’ molten metal, or in the jagged textured gold edges of Marit
Aschan’s earclips of 1966, reminiscent of butterflies dipped into turquoise enamel
encrusted with diamonds. One of those who has continued since the i 96os to achieve
P. 189 infinite variations of texture in gold is Gerda Flockinger. In a stunning combination
of interchangeable earrings of 1980, the inherent beauty of the molten gold is empha-
sized by minute grains and swirled encrustations where tiny diamonds sparkle at ran-
dom. Most of these innovative examples are one-off productions and reflect the
greater importance attached to creative design rather than intrinsic value; in fact, the
jewels in their settings are worth considerably more than their break-up value, which
indicates both that people are buying more for beauty of design than for investment A pair of gold, enamel and diamond star-shaped earclips with matching brooch, and a pair of gold, ruby and diamond earclips designed as flowerhead clusters, both by Boucheron, Paris, circa 1970.
and that the designer is achieving a personal status very different from the anonymity of his immediate predecessors. Examples produced in larger quantities and not as one-offs were manufactured for a more conventional clientele, and although not as daring as the designs by Grima, Sterl6 or Marit Aschan they display characteristic sixties elements. This is noticeable in the pair of stylized flowerhead earclips by Kutchinsky, where the theme, naturalistic this time and not abstract, is made vivid by bright and smooth green and blue enamel juxtaposed with the rough textured gold border.
Other fashionable earrings, especially for day wear, were inspired by objects, plants and animals that had not been associated with jewellery in previous decades. Some of them are distinctly light-hearted, such as the frog earclips in gold and bright green enamel with cabochon ruby eyes which David Webb presented to the Duchess of Windsor in 1964; or the pineapple earclips set with stripes of calibre-cut onyx and rubies designed in 1968 by Jean Schlumberger. Surrealist themes in jewellery had already been pioneered in the mid-fifties by artists such as Salvador Dall; the ‘Honeycomb Heart’ earclips of 1954 studded with circular-cut rubies and diamonds, and paired gold wing earclips signed ‘Dall’ in black enamel are good examples. But it is only in the sixties that one witnesses in jewellery a proliferation of such witty and amusing motifs. They represented a break with tradition and went hand-in-hand with the vogue for all that was fun, innovative and daring and they suited the fashion that replaced Dior’s sophisticated New Look and opulent but measured elegance with (alternative’ clothes — trousers and miniskirts — and required ‘alternative’ jewels to match. This new social and moral climate of the sixties found expression in such outward signs as the geometric and sculpted dress of Courreges or Paco Rabanne, the miniskirt of Mary Quant, the severe and short bob devised by Vidal Sassoon — and amusing unconventional earrings.
At the same time traditional examples of high intrinsic value continued to be produced. These were designed as diamond-set stylized flowerhead clusters supporting opulent cascades, but their jagged contours, achieved by alternating brilliant-cut and marquise-shaped diamonds held in minute white precious metal claws, differentiate them from the flowing and continuous lines set mainly with baguette diamonds of the previous decade.
The 1970s
After 197o earring design, like fashions in dress and hairstyle, seems to break free from all constraint and to become almost infinitely varied. The only common feature is largeness.
One of the most characteristic types of earring for day wear was a pendant designed as a large circular, oval or drop-shaped hoop held by a smaller surmount of similar design. These were mainly carved in hardstones including rock crystal, lapis lazuli, onyx, coral, tortoiseshell and ivory or rare woods like bois d’armourette, or they could be made of gold, often decorated with bright contrasting enamels such as blue with
P f84, yellow and red. The popularity of this hoop pattern was such that one finds it is
185 repeated both in designs and extant examples from all the major jewellery firms. Van Cleef & Arpels and Mauboussin were famous for their pear-shaped onyx hoops embellished with gold and diamond motifs suspended on variously shaped surmounts, such as the example illustrated on p. 184, where the elongated onyx hoop decorated with pave-set diamond motifs hangs from a leaf-shaped surmount of brilliant-cut diamonds. Often these earrings came with a long chain necklace — the most typical jewel of the seventies — formed of similarly designed links suspending a large pendant which repeated, in an enlarged form, the motif of the earring. Boucheron favoured an upside-down drop-shaped surmount with a similarly designed but larger drop in gold, lapis lazuli, tiger’s eye, or pink coral (e.g., model nos: 37640, 37632, 3763 1 and 37750 of 197o and 1971). The great popularity of the pendent hoop earring was also exploited by Mellerio, who did not limit himself to two hoops but designed examples with three, made of textured or corded gold linked together. Besides the repetition of the pendent hoop motif, another noticeable feature of most jewellers and above all of Boucheron’s production is the use of vivid and striking colour combinations, such as pink-green-gold, brown-pink, brown-green, turquoise-purple, light blue-black-gold and red-black-white. Hoop earrings were all made of gold or carved in hardstone; they were frequently decorated with pave-set diamond motifs but never with faceted coloured gemstones.
Hoop earrings were also widespread in the USA; David Webb in New York became celebrated for his large rock crystal and diamond drop earrings with pear-shaped hoops carved in rock crystal and embellished with diamonds. The design was devised one day when he happened to see a crystal chandelier being dismantled. His heart sank at the sight of such wonderful drops being wasted and he thought immediately of earrings. His design was so successful that these earrings continued to be produced well into the 1980s.
During the 1970s the most important jewellery houses such as Boucheron, Cartier, and Van Cleef & Arpels were differentiating between unique creations set with exceptional gemstones made on commission and more readily available products at more affordable prices intended for a wider but still discriminating clientele. Many of the examples mentioned above were included in the ’boutique’ line of these jewellers and were meant for the fashion-conscious woman who was free to chose her own jewels according to taste and the colours of her clothes. The idea was to own several pairs of earrings of different colours which would be changed to suit various occasions.
The great popularity of the hoop-in-hoop motif meant that it was also adopted for evening wear. When that happened, a more precious version was produced, either
set entirely with diamonds (as the earrings by Gerard 1978-79, where the three P. s, hoops suspended from a cluster surmount are claw-set throughout with brilliant-cut diamonds) or with the hoops enlivened by coloured precious stones such as rubies, emeralds and sapphires alternately set with diamonds (as can be seen in some designs by Boucheron, nos: 37731 and 120971). Other precious examples for the evening P. Y8 repeated a similar outline of the hoop pendants but the hollow centre was filled with encrustations of exotic decorative motifs set with differently coloured gemstones. The inspiration of many of these earrings was Indian-, the red and green colours, as in the Boucheron example of 1978, suggest the combination of colours in Jaipur enamels; and the use of cabochon stones in flowerhead arrangements of gemstones is typical of Indian 18th- and 19th-century traditional jewellery. This source of inspiration is confirmed by some of the names given to designs of this period such as: Arabesque, Sultan, Nepal. It is not surprising that the Middle East and India inspired earring design, for many aspects of artistic, cultural and intellectual life in the 1970s were influenced by the East.
The short earring was often designed as a half-hoop or a hoop simply clamped to the earlobe with a clip fitting. Like pendants, they were made either of yellow gold, variously textured and worked, or set with coloured semiprecious hardstones embellished with diamonds. It is interesting to note that throughout the seventies the metal used for setting all gemstones including diamonds was yellow gold and not platinum or white gold; since the 18th century diamonds had almost invariably been set in white metal to increase the whiteness of the stones, and only in the I 97os did the jewellers switch to yellow gold. This probably has several explanations: firstly the influence of traditional Indian jewels where diamonds were set in gold; secondly a desire to break with tradition; and thirdly an attempt to make diamond, the gemstone par excellence, more wearable at any time of the day and give a more casual look to the most glamorous and evening-orientated gem; the warmth of the metal and its association with daytime jewellery made such adornments more wearable. Obviously there were disadvantages in using gold with diamonds, for example high colour, very white stones appearing of lower quality when reflecting the yellow gold mount. On the other hand diamonds known as Cape stones which possess a yellow tint look better in a yellow gold than in a white gold or platinum setting. The seventies fashion for large earrings, cabochon coloured gemstones and above all the use of gold as the sole metal for setting all gemstones, and especially diamonds, are features which continued to be popular in the following decade.
The 1980s
In the 19 8os earrings became so fashionable that they might be considered the jewel of the decade. Leading jewellers in Europe and the United States agree that by far the best selling jewels of the period were earrings. They were the favourite of the fashion-conscious woman, often being worn as the sole form of jewelled ornament. They were considered an indispensable fashion accessory to match and complement the style of an outfit, whether that of the executive woman in a tailored Armam suit by day or the extravagant and feminine woman in a Lacroix gown by night. This explains why women of the eighties owned numerous pairs of earrings and never felt that they had enough. Furthermore, earrings, unlike rings, have no sentimental implications, and can be bought, given as a gift or changed without a second thought. Demand stimulated supply — from mass-produced types marketed in large numbers to the most exclusive and one-off creations. But they all, short or long, followed a certain
P. 180, pattern: they had to be bold, flashy, large and colourful. Designs in this period are
181 extremely eclectic, but all short earrings are characterized by large, bold yet compact shapes, while pendant earrings may be distinguished by their large sculptural and three-dimensional drops which differ from the elongated linear hoops of the previous decade.
Among day earrings there was another archaeological revival, largely promoted
by Bulgari who since the mid-seventies had been mounting earrings with ancient
p. 186 coins. Greek, Roman and even I 7th- and i 8th-century coins, known as ‘gemme num-
marie’, numismatic gems, were set in sleek mounts of matt or shiny metals of differ-
ing colours. Striking effects were obtained by juxtaposing ancient, worn materials
with smooth and sleek modern mounts and by combining metals of contrasting
colours. An example is the combination of gold and silver in the 1982 gold earclips
set with a silver drachm of Demetrios I Soter, Syria (162-150 BC); platinum, gold
and electrum are placed next to one another in the 1984 clips set with two electrum
hecte struck in the island of Lesbos at Mytilene between 44o and 3 50 BC, held within concentric platinum and gold circles; and bronze or steel in combination with more precious materials became a distinctive feature of Bulgari and was employed in bold and innovative creations. Modernity is opposed to antiquity in the hoop earclips of 1980 designed as a graduated white gold band of flattened tubular linking set at the centre with two fanam yellow gold coins of the Dutch Indies 0 719-40). Although coins might seem rather uninteresting and repetitive to the layman, the variety of these earclips is astonishing: coins appear singly or in pairs, and the mounts display an unlimited variety of decorative patterns: reeded or corded wires, concentric sections, fluted elements and flattened tubular chains sometimes embellished with a few diamonds or cabochon coloured gemstones and small pearls. A compact circular form is common, since it is demanded by the shape of the coin, and a genuine archaeological concern has led to the mounts always being inscribed with the provenance and denomination of the coins.
Archaeologically inspired earrings were not limited to Italy: the Greek jeweller Ilias Lalaounis had been designing such jewels since the late 19 5os but his earrings gained popularity in the eighties, with their large size and decorative bold shapes. His designs have since been copied and reinterpreted by many other jewellers in Greece and throughout Europe.
Lalaounis’ earrings are inspired by the work of ancient Greek and Byzantine goldsmiths. Sometimes they are outstanding for their closeness to original ancient examples, while at others they are pastiches of Classical and Hellenistic themes, such as lions’ or rams’ heads, reminiscent of Greek late Classical earrings. All are in matt 22-carat gold, attempting to match the colour and texture of ancient examples. Reminiscent of Byzantine jewels are domed discs with granulation motifs encrusted with deep green emeralds and red rubies combined with pearls.
The fact that women want to own many pairs of earrings to suit different occasions has prompted the creation of large numbers made of relatively cheap materials which are nevertheless very attractive and eyecatching. Marina B in the 198os had mastered this art by setting her highly innovative and decorative earrings with semiprecious stones of various colours combined with small diamonds, yellow gold, black burnished gold and black metal. In all this variety of materials and shapes (hearts, tassels, drops, hoops) the unifying element is the striking way in which colours are combined with the sculptural, three-dimensional form of both the surmounts and the drops. For example the Cimin model of 1987 inspired by a Chinese lantern is in burnished black gold set with six blue topazes, yellow citrines, and amethysts, two pink tourmalines and diamonds. Among the most successful creations of Marina B is the Pneus earring, first designed in 1980, characterized by a squat circular pendant inspired by the pneumatic tyre of an aeroplane — hence the name. In this type the circular drop, carved in semiprecious gemstones, can be changed for similar drops of differently coloured stones such as pink tourmaline, rock crystal or blue topaz in Pendent earrings with wide and voluminous drops and compact clips in the form of large discs or fat crescents in many variations remained in favour throughout the decade both in Europe and in the United States. Bulgari’s output is still dominated by
P. 183 large earclips such as those set with a pink sapphire flowerhead with emerald leaves at the centre of a cushion-shaped panel decorated with baguette and brilliant-cut diamonds; other motifs include open hearts set with sugar-loaf cabochons of precious stones of various cuts such as emeralds, rubies, sapphires and diamonds. A common characteristic of these colourful earrings is the imaginative and varied cuts of the gemstones which are shaped in order to fit the design: e.g. , the tassel or baton-shaped
P. 181 quartzes of the 1984 Najwa earring by Marina B.
The typical fitting of these earrings is a combination of clip and stud. From the late seventies ear-piercing regained popularity, losing its negative connotations, mainly because earrings fixed through the lobe are much more secure. Safety and comfort are priorities when earrings are heavy. Some eighties earrings weigh up to 4o grams, and the weight, especially in large pendent earrings, is alleviated both by the spread of the surmount and by the additional clip fitting which enables it to be distributed over a larger surface. The combined clip-stud fitting also had the great advantage of being easily adaptable to the unpierced ear by sawing off the prong of the stud.
p. 182 As ‘flash’ is the essence of earrings of the eighties, in examples where coloured gemstones were not used, large surfaces of polished or hammered gold with diamonds were favoured, such as the large disc-shaped earclips retailed by Harry Winston, the bold crescents of the Ecumes by Marina B and the double twisted hoops by Repossi, all mounted in yellow gold pave- or collet-set with diamonds. The glamour
P. 180, of gold, its richness of colour and its reflective quality were exploited also by Paloma
189 Picasso and Elsa Peretti. Both designing for Tiffany, they created earrings of very simple but bold shapes cast in gold. The glamorous effect of their stylized leaf, bean, cross, dome and hoop earrings is achieved by curving the polished gold surface and allowing it to reflect light in different ways. These earrings suited the taste of the emancipated woman of the eighties by combining feminine allure with the masculine look, gold and diamonds with cotton T-shirts and jeans.
The past decade has also witnessed an increase in the production of most lavish and expensive earrings set with exceptionally rare stones. In these cases the shapes tend to be fairly traditional, with the emphasis on the size and shape of the gemstone rather than the design.
The name of Harry Winston in New York has been traditionally associated with
this lavish production. Among his most successful works are informal diamond clus-
ter earclips, set with marquise and pear-shaped stones. The design was first created in
the sixties but it has continued to be favoured until the present day, becoming a trade
P. 191 mark of the firm. A pair of the most recent cluster earclips by Harry Winston, made
in 1989, is set with a total of 26 stones weighing 5 1.22 carats, remarkable not only
for the weight but the quality of the stones which are all D (I.e., pure white) flawless.
A pair of pearl and diamond pendent earrings by Cartier, London, 1928. This example is typical of the late 1920S for the slightly flared drop, differing from
slim and elongated drops and the earlier
for the use of white gemstones only. Their exceptional length, 9 cms, is another typical feature of earrings of the time, me, which often grazed the shoulders.
This example may be distinguished from earlier clusters by its richer and more compact contour.
Cluster earclips are also used as surmounts to suspend detachable drops set with large gemstones such as emeralds, sapphires or diamonds. An exceptional example is the Harry Winston cluster tops with D flawless pear-shaped drops weighing 34.80 and 37.12 carats respectively. Large pear-shaped ruby earrings are never found because gem quality rubies are extremely rare and can hardly be matched. Lavish ruby earrings are always set with clusters of smaller stones, such as those set in hoop earrings by David Webb.
The increasing quest for the perfect stone has meant that most high-quality gemstones set in important earrings are now accompanied by certificates from internationally recognized gemmological laboratories. The origin of coloured gemstones is stated, Columbia is prized for emeralds and Kashmir for sapphires; diamond certificates state the colour of the stone, with pure white (D) being the most sought after, and clarity is defined as the absence of internal impurities visible under ten-fold magnification. In recent years there has been growing interest in naturally coloured diamonds, blue, pink and yellow, and once again Harry Winston has been in the forefront. An example of ‘fancy’ coloured diamonds are those set with a yellow emerald-cut diamond in a border of six pear-shaped stones.
As the object of these earrings is to show off the stones, the mounts have a purely functional role with minimal impact of their own. This explains why the stones are held by minute claws which, in the case of high colour diamonds, are always in white metal. The result differs from the style of contemporary decorative earrings, where larger stones are nearly always collet-set in gold.
The rarity and value of these earrings derives both from the quality of the gemstones and the difficulty of matching them in perfect pairs, especially when one considers how many tons of diamond ore have to be sifted to find just i carat of gem quality diamond.
In the i 99os earrings show no sign of falling in popularity. Indeed their variety, splendour and ingenuity of design seem likely to rival any decade of the past. Costume jewellery, the demi-monde of the fashion world, has attained respectability and examples of it are often almost as expensive as the precious items they imitate or parody. The outrageous has become the commonplace, making it increasingly difficult to distinguish high from high-street fashion. An art form that has been flourishing for at least four thousand years is as alive as it ever was, as exciting, as beautiful.

ART NOUVEAU TABLES: MARQUETRY TWO-TIER TABLE, NEST OF TABLES, MARQUETRY TABLE NEST, PINE WORKBOX, ROSEWOOD STAND, BRASS FRAMED TABLE

ART NOUVEAU TABLES
ART NOUVEAU DESIGNERS transformed
the functional table into works of art, with motifs inspired by the natural world. A table embellished with dragonflies or sculpted leaves, for example, might take on the form of a tree, with its support shaped like a trunk, and feet resembling roots.
Those working in the French and Belgian style of Art Nouveau, such as Louis Majorelle and Emile Galle, created tables with tapering, sinuous legs; serpentine-shaped tops; and carved decoration or marquetry patterns of flower blossoms, trees, or fruit. These were rendered in veneers of precious and exotic woods.
The Glasgow School led by Charles Rennie Mackintosh and other like-minded designers, including Josef Hoffmann and Koloman Moser, offered a radical contrast. They favoured tables with rectangular, geometric proportions, narrow,
elongated lines, and decorative cut-out motifs such as squares and spheres.
In England, tables mirrored historic styles, exotic Japanese or Moorish designs, or favoured simple construction and functional, aesthetic design, as seen in the work of C.F.A. Voysey and Charles Ashbee.
In Spain and Italy, tables were often incorporated into sofas or other pieces of furniture, or had practical features such as built-in cabinets.
The Japanese style was popular with its simple designs, asymmetric forms, undulating lines, use of lacquer or lacquer-look-alikes, and a love of nature, often appearing as typical Japanese motifs such as dragonflies.
Many innovative types of table appeared, such as the tripod, tier, and the nest of tables, while decorative features such as the arched stretcher showed how new techniques pushed wood to limits never seen before.
Raised edges prevent Brass handles enable
items from falling off. the table to be easily moved around the room.
Sculptural design with W-shaped table sides
MARQUETRY TWO-TIER TABLE
This two-tier nutwood and mahogany occasional table by Louis Majorelle is of double-framed construction. It has decorative carving, and each of the two tiers is embellished with floral marquetry. The top tier also has applied brass handles. 1900.
NEST OF TABLES
This nest of four Secessionist, black-lacquered tables is attributed to Josef Hoffmann. Each table has a rectangular top with rounded edges supported by turned, spindle-filled supports leading to platform stretchers. The largest of the four carries two sphere-turned carving handles. The Japanese influence is displayed in both the materials used and the form of this nest.
Floral marquetry table top
MARQUETRY TABLE NEST
This nest of four occasional tables wasdesigned
fined by Emile Galle. They are constructed from mahogany and various other hardwoodswith
high-grade veneer. The tops and side mouldings of the tables are supported by
frames with elegant scroll curves at the bases. Each of the rectangular table tops is decorated in marquetry using various fruitwoods with a different floral scene. The largest of the tables bears the signature “Galle” within the marquetry. c.1900.
BEECH TABLE NEST
This nest of four “968″ tables is made of beech. They were designed by Josef Hoffmann and produced by J. & J. Kohn of Vienna (see .c.376). The tables are raised on slender, tapering legs, joined on three sides by stretchers. The
largest of the tables has handles and trellis splats on the sides. Each of the smaller units slides into place on runners, which store the tables in a hanging position. The table nest has a mahogany stain and the remains of an original paper label underneath. 1905.
This table, designed by Louis Majorelle, is known as les Goings, meaning quinces. Constructed from walnut, the tops of the legs and the apron boards carry deep-carved decoration depicting
quince fruits on the branch. 1905.
This French tea table, from the Ecole de Nancy, is constructed from walnut, brass, and glass. It has a tray top with a raised edge to prevent items falling off. Below the tray top is an additional shelf with fold-down sides. These offer more table space but can be folded
away when not in use. c. 1900.
PINE WORKBOX
FRETWORK OCCASIONAL TABLE
ROSEWOOD STAND
This J.S. Henry occasional table has a shaped top above an elaborate fretwork frieze. It is supported on slender, tapering, cabriole legs with pad feet that are linked by a lower tier. The maker’s label is still attached.
This stained pine artist’s workbox is from the Scottish School. The rectangular top has a twin-hinged lid, which opens to reveal an interior fitted with compartments for materials. The pegs used for joining are visible at the sides.
This rare rosewood and marquetry stand was designed by Emile GaII6. The lobed top is inlaid with floral decoration and butterfly motifs. The four moulded legs are united by an elegant arched stretcher.
This small Austrian bentwood three-tier table is designed in the manner of Josef Hoffmann. It has a rounded square top supported on splayed legs. Two undertiers with wooden balls at the joints provide additional storage.
THREE-TIER TABLE
HEXAGONAL TABLE
GILT SIDE TABLE
BRASS FRAMED TABLE
TILED OCCASIONAL TABLE
Originally sold by Liberty & Co., this hexagonal table has a moulded top raised above square, tapering legs, which are linked by distinctive pierced stretchers halfway up the legs. The piece terminates in simple, pad feet.
This opulent, giltwood side table with relief-moulded decoration was designed by Louis Majorette. A mottled-orange marble top is set within a leaf-and-berry carved slip, with a wavy frieze below. Arched stretchers link the legs.
The elegant brass tripod of this Richard Muller-designed table bends towards the centre at the top. The plain, circular table top is made from mahogany. Two triangular mahogany tiers provide additional storage. 1902.
This occasional table is made of oak. The circular top features a red and green tiled insert in a geometric pattern. The three tapered supports are pierced with decoration

Antiques: Furniture, Tables, Cabinets, 18th Century Furniture, Art Deco Furniture Recently Featured at Antcollectors (3)

Early 19th Century Chairs

ALL “THE CHARACTERISTICS oF Regency
and Empire furniture, from the Neoclassical motifs – often on pierced backs – to the choice of timbers, are displayed on early 19th-century chairs.
One of the most typical types of chair of the period is the Trafalgar chair, which was made in Britain and used for dining. The chair had two horizontal splats – one usually of bar form, the lower one sometimes a rope-twist, set above a caned or drop-in seat. Caning, with all its exotic overtones, was revived again during this period, particularly on British or Cape furniture. During the first two decades of the century the front and back legs were usually of sabre form, but turned or ring-turned legs, which are Structurally stronger, were used later.
These chairs, and many that they inspired, were often made of solid mahogany or rosewood, with veneered
panels on the bar back. Beech was used, and was often painted; light-coloured woods were favoured outside Britain. Chairs from this period rarely had stretchers.
One type of armchair, inspired by Georges Jacob, had a rectangular, scrolled, upholstered back and open arms with straight supports, often carved with sphinx heads or female masks. It also had turned and tapered front legs. These more comfortable fauteuils might be used in the drawing room, whilst Regency bcrgeres, which had caned backs, sides, and seats, were probably made for the library. These chairs had squab cushions, often covered in leather and buttoned. Other pieces might be upholstered in silk or velvet. Needlework was rare, although a suite of furniture from the Winter Palace in Russia, was covered in tapestry, in a mixture of wool and silk.

ENGLISH TRAFALGAR CHAIR
FRENCH DIRECTOIRE CHAIR
This Regency mahogany dining chair has a plain top rail and a rope-twist back rail. The needlework-covered drop-in seat is supported on a plain seat rail and sabre legs. One of a set of four. Early 19th century.
This is one of a pair of Directoire side chairs, each with a rectilinear back rail and splat inlaid with brass musical instruments. The upholstered stuffover seat is supported on sabre legs. c.1800.
SWEDISH BIEDERMEIER ARMCHAIR
CHINA TRADE ARMCHAIR
This birch open armchair has a stepped yoke backrest with a decorative oval inlay and scrolled armrests. The drop-in seat has a plain seat rail and is raised on sabre legs. c.1825.
This Asian hardwood armchair, has a Greek-key carved top rail and a shaped, carved back rail. The cane seat rests on a reeded seat rail above slender reeded legs joined by an T-stretcher. Early 19th century.
All the surfaces of the chair are carved and decorated in shades ofgreen, blue, and red, highlighted with gold.
INDIAN THRONE CHAIR
This polychrome-painted, ivory-veneered chair is in an exaggerated Regency style. It has an arched, slightly panelled back with a reeded top rail, carved uprights, sabre legs, and paw feet. c.1830.

AMERICAN FEDERAL SIDE CHAIR
This walnut and fruitwood side chair has a gently reclining back with a rectangular top and back rail. The padded seat is supported on a plain seat rail above stylized cabriole legs. Early 1901 century.
These Biedermeier mahogany-veneered dining chairs were made in Berlin. Each chair has a bar top rail, a solid, shaped back rail with a central oval, and elegant, slightly sweeping uprights. The shaped caned seats are set
within a curved frame with a rounded seat rail and are supported on tour outswept sabre legs. 1820-30.
This mahogany side chair has a moulded and rope-carved shield back around an urn, Princeof-Wales feathers, draped swags, and leaves. The serpentine seat rests on reeded, tapering legs. Early 19th century.
FRENCH RESTAURATION CHAIR
GERMAN BIEDERMEIER CHAIRS

AMERICAN GONDOLA CHAIR
ITALIAN GONDOLA CHAIRS
GEORGE III SHIELD-BACK CHAIR
This is one of a pair of Neoclassical figured mahogany gondola chairs, each with a curved back and vasiform, solid splat, a padded slip seat, and downswept stiles continuing into shaped sabre front legs. c.1830.
These six dining chairs are made of walnut and are designed in the Neoclassical style. Each chair has an unusual fluted, rectangular backrest positioned above a pierced, stylized leaf border. The cane seats have an applied
roundel at each side and are supported on plain seat rails. The chairs are raised on sabre legs. The elegant sweeping uprights give the chairs their characteristic shape, which is reminiscent of the style of the gondola boats found in Venice.
Early 191h century.
This mahogany armchair has a shield-shaped, curved back, outlined with guilloche moulding, with five reeded splats, curved downswept arms, a bowed seat rail, and reeded, tapering front legs.
RUSSIAN OPEN ARMCHAIR
AMERICAN DINING CHAIRS
SWEDISH GUSTAVIAN SIDE CHAIR
This birch open armchair has a stepped yoke backrest, with carved fan detail, and slender, scrolled armrests. The upholstered seat is raised on sabre legs. It is one of a pair. Early 19th century.
These eight Neoclassical-style dining chairs are made of mahogany. Each chair has a flat curved top rail carved with a foliate pattern and a slender horizontal splat, also decorated with leaf carving, plus a rosette. The seats
are upholstered with black Naugahyde and are showing considerable signs of wear. The seats are supported on plain seat rails and raised on sabre legs. The armchairs have gently curving supports. The set comprises two armchairs and six side chairs, and is attributed to Anthony Quervelle. c.1820.
This white-painted side chair has a shield-shaped back with a solid, carved splat. The padded seat is supported on a moulded seat rail and is raised on stop-fluted legs joined by an H-stretcher. Early 19th century.

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Settles and sofas after 1840
The revival of interest in historical styles from the mid-19th century resulted in a multiplicity of designs for all types of furniture, including sofas, which were often made as part of the new salon or parlour suites. A major technical development during this period was use of the coil spring, patented in 1828, which resulted in sturdier, bulkier, and squatter designs that sacrificed form to comfort. These deeply upholstered seats, with their button backs, culminated in the Chesterfield, which was the first fully upholstered sofa.

Seat furniture
The period c. 1860 to (.1880 was in many ways the golden age of upholstery. Stuffing had been growing steadily thicker from the 1840s, and buttons were introduced to prevent the thread holding the stuffing
in place from pulling the covering material. Extra fabric was necessary to create the familiar diamond pattern of buttons or threads characteristic of the deep, luxurious upholstery, with its air of prosperity and comfort, so admired by the Victorian middle classes. The development of the coil spring made increased demands on buttoning. Whereas sofas had previously been stuffed with layers of wadding and horsehair, coiled metal springs were now used. The springs were supported by a layer of hessian webbing, covered with more webbing, which in turn was covered with horsehair stuffing and padding. As a result, Victorian sofas were much more comfortable than early 19th-century examples, but they were also much bulkier; many sofas had button backs to emphasize the new upholstered look. The luxurious effect was emphasized by the use of velvet and other elaborate fabrics. Sofas with their original worn upholstery arc more collectable today than those with high-quality restoration using an inappropriate fabric.
French sofas were generally lighter in design than British examples, since French craftsmen and manufacturers employed such revival styles as Rococo and Louis XVI, making use of giltwood and lighter upholstery fabrics. In the USA, parlour suites on a grand scale were produced by such leading makers as John Henry Belter (1804-63) of New York, who in the 1850s created laminated and moulded rosewood sofas with deep pierced carving. Renaissance Revival suites, with square-backed sofas, were also popular, while the fashion in Europe and the USA for “Turkish” corners gave rise to over-stuffed upholstered sofas with elaborate fringing.
Edwardian sofas of the first two decades of the 20th century borrowed heavily from Neo-classical styles –especially the designs of Thomas Sheraton (1751-1806) – and from Regency styles, but managed to avoid the excesses of Victorian interpretations. Suites of chairs with matching sofas were produced; these were generally made from mahogany, or occasionally from walnut or satinwood. Sofas and chairs often had caned backs and sides, with silk or damask upholstery.

•    CHALSES-LONGUES these are not particularly commercial as they can be large and not very comfortable to sit on; examples with good shapes are more popular, as are those that are more heavily carved
•    GILDING good-quality regilding is quite acceptable if well executed– the highlights should be burnished, and the quality of the carving evident; beware of spray gilding – this will have a flat, matt appearance, with a very even coverage
•    RE-UPHOLSTERY the condition of the upholstery should be carefully examined, as seating can be very expensive to re-upholster; furniture with taut webbing is
preferable to that with springing, which tends to give an overstuffed look
•    COLLECTING many sofas and settees were originally part of parlour or salon suites, which are now rarely found complete; three-seater examples are generally more commercial than two-seater